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19151_T

Nike (Kougioumtzis)

In Nike (Kougioumtzis), how is the London discussed?

A version of the statue was installed in the Royal Arsenal, Woolwich, London in 2012. It is made of bronze.

19151_NT

Nike (Kougioumtzis)

In this artwork, how is the London discussed?

A version of the statue was installed in the Royal Arsenal, Woolwich, London in 2012. It is made of bronze.

19152_T

Portrait of Minerva Anguissola (Milan)

Focus on Portrait of Minerva Anguissola (Milan) and explore the abstract.

Portrait of Minerva Anguissola is a c. 1564 oil-on-canvas painting by the Italian painter Sofonisba Anguissola, now in the Pinacoteca di Brera in Milan.Its subject is believed to be the artist's sister, Minerva Anguissola, not to be confused with her older sister Elena Anguissola who took the name of "Sister Minerva" upon entering holy orders at the convent of San Vincenzo in Mantua. In comparison, one can see Elena Anguissola, painted as a novice by Sofonisba Anguissola in Portrait of Elena Anguissola. However some art historians argue that the painting is in fact a self-portrait produced during the artist's stay in Spain.

19152_NT

Portrait of Minerva Anguissola (Milan)

Focus on this artwork and explore the abstract.

Portrait of Minerva Anguissola is a c. 1564 oil-on-canvas painting by the Italian painter Sofonisba Anguissola, now in the Pinacoteca di Brera in Milan.Its subject is believed to be the artist's sister, Minerva Anguissola, not to be confused with her older sister Elena Anguissola who took the name of "Sister Minerva" upon entering holy orders at the convent of San Vincenzo in Mantua. In comparison, one can see Elena Anguissola, painted as a novice by Sofonisba Anguissola in Portrait of Elena Anguissola. However some art historians argue that the painting is in fact a self-portrait produced during the artist's stay in Spain.

19153_T

Merry Company with Two Men and Two Women

Focus on Merry Company with Two Men and Two Women and explain the abstract.

Merry Company with Two Men and Two Women, also known as The Visit, is an oil-on-panel painting by the Dutch painter Pieter de Hooch, created c. 1657. It is an example of a Merry Company, a popular form of genre painting in Dutch Golden Age painting showing a group of figures, who are not meant to be identified as portraits, enjoying each other's company. It is now in the Metropolitan Museum of Art, in New York.The painting was documented by Hofstede de Groot in 1910, who wrote:192. TWO LADIES AND TWO GENTLEMEN IN AN INTERIOR. Sm. 34. The party are assembled in the left-hand corner of a room, beside a large window, the upper part of which is fastened back. At the left corner of the table stands a girl, pouring out wine; she wears a red jacket trimmed with white fur, a blue skirt, and a large white apron. A young gentleman, wearing a white costume, with a broad collar and a slouch hat, stands behind the table looking at the girl; he leans with his right hand on a chair-back, and holds a pipe in his left. To the right of the table sits a gentleman in a black cape with long curls which conceal his profile; he takes the arm of a girl, who sits beside him and regards him with a watchful and mischievous look. In the right foreground lies his slouch hat. In the background to the right is a bed with curtains; above it hangs a portrait of a man, on the left of which is a map of a Dutch harbour with an inscription. The light falls from the left. It is a good picture, powerful and luminous in the rendering of light and colour. Burger regarded it as a Vermeer; see Gazette des Beaux-Arts for 1866, p. 551, No. 14. Panel, 27 inches by 22 1/2 inches. In the collection of Baron Delessert, 1833 (Sm.). Sales. Francois Delessert, Paris, May 15, 1869, No. 36 (150,000 francs). B. Narischkine, Paris, April 5, 1883 (160,000 francs). Secrétan, Paris, July 1, 1889 (270,000 francs). Afterwards in the possession of Durand-Ruel of Paris. Now in the Havemeyer collection in New York.

19153_NT

Merry Company with Two Men and Two Women

Focus on this artwork and explain the abstract.

Merry Company with Two Men and Two Women, also known as The Visit, is an oil-on-panel painting by the Dutch painter Pieter de Hooch, created c. 1657. It is an example of a Merry Company, a popular form of genre painting in Dutch Golden Age painting showing a group of figures, who are not meant to be identified as portraits, enjoying each other's company. It is now in the Metropolitan Museum of Art, in New York.The painting was documented by Hofstede de Groot in 1910, who wrote:192. TWO LADIES AND TWO GENTLEMEN IN AN INTERIOR. Sm. 34. The party are assembled in the left-hand corner of a room, beside a large window, the upper part of which is fastened back. At the left corner of the table stands a girl, pouring out wine; she wears a red jacket trimmed with white fur, a blue skirt, and a large white apron. A young gentleman, wearing a white costume, with a broad collar and a slouch hat, stands behind the table looking at the girl; he leans with his right hand on a chair-back, and holds a pipe in his left. To the right of the table sits a gentleman in a black cape with long curls which conceal his profile; he takes the arm of a girl, who sits beside him and regards him with a watchful and mischievous look. In the right foreground lies his slouch hat. In the background to the right is a bed with curtains; above it hangs a portrait of a man, on the left of which is a map of a Dutch harbour with an inscription. The light falls from the left. It is a good picture, powerful and luminous in the rendering of light and colour. Burger regarded it as a Vermeer; see Gazette des Beaux-Arts for 1866, p. 551, No. 14. Panel, 27 inches by 22 1/2 inches. In the collection of Baron Delessert, 1833 (Sm.). Sales. Francois Delessert, Paris, May 15, 1869, No. 36 (150,000 francs). B. Narischkine, Paris, April 5, 1883 (160,000 francs). Secrétan, Paris, July 1, 1889 (270,000 francs). Afterwards in the possession of Durand-Ruel of Paris. Now in the Havemeyer collection in New York.

19154_T

The Treachery of Images

Explore the abstract of this artwork, The Treachery of Images.

The Treachery of Images (French: La Trahison des Images) is a 1929 painting by Belgian surrealist painter René Magritte. It is also known as This Is Not a Pipe and The Wind and the Song. Magritte painted it when he was 30 years old. It is on display at the Los Angeles County Museum of Art.The painting shows an image of a pipe. Below it, Magritte painted, "Ceci n'est pas une pipe", French for "This is not a pipe".The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it's just a representation, is it not? So if I had written on my picture "This is a pipe", I'd have been lying! The theme of pipes with the text "Ceci n'est pas une pipe" is extended in Les Mots et Les Images, La Clé des Songes, Ceci n'est pas une pipe (L'air et la chanson), The Tune and Also the Words, Ceci n’est pas une pomme, and Les Deux Mystères.The painting is sometimes given as an example of meta message conveyed by paralanguage, like the Alfred Korzybski's "The word is not the thing" and "The map is not the territory", as well as Denis Diderot's This is not a story. On December 15, 1929, Paul Éluard and André Breton published an essay about poetry in La Révolution surréaliste (The Surrealist Revolution) as a reaction to the publication by poet Paul Valéry "Notes sur la poésie" in Les Nouvelles littéraires of September 28, 1929. When Valéry wrote "Poetry is a survival", Breton and Éluard made fun of it and wrote "Poetry is a pipe", as a reference to Magritte's painting.In the same edition of La Révolution surréaliste, Magritte published "Les mots et les images" (his founding text which illustrated where words play with images), his answer to the survey on love, and Je ne vois pas la [femme] cachée dans la forêt, a painting tableau surrounded by photos of sixteen surrealists with their eyes closed, including Magritte himself.

19154_NT

The Treachery of Images

Explore the abstract of this artwork.

The Treachery of Images (French: La Trahison des Images) is a 1929 painting by Belgian surrealist painter René Magritte. It is also known as This Is Not a Pipe and The Wind and the Song. Magritte painted it when he was 30 years old. It is on display at the Los Angeles County Museum of Art.The painting shows an image of a pipe. Below it, Magritte painted, "Ceci n'est pas une pipe", French for "This is not a pipe".The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it's just a representation, is it not? So if I had written on my picture "This is a pipe", I'd have been lying! The theme of pipes with the text "Ceci n'est pas une pipe" is extended in Les Mots et Les Images, La Clé des Songes, Ceci n'est pas une pipe (L'air et la chanson), The Tune and Also the Words, Ceci n’est pas une pomme, and Les Deux Mystères.The painting is sometimes given as an example of meta message conveyed by paralanguage, like the Alfred Korzybski's "The word is not the thing" and "The map is not the territory", as well as Denis Diderot's This is not a story. On December 15, 1929, Paul Éluard and André Breton published an essay about poetry in La Révolution surréaliste (The Surrealist Revolution) as a reaction to the publication by poet Paul Valéry "Notes sur la poésie" in Les Nouvelles littéraires of September 28, 1929. When Valéry wrote "Poetry is a survival", Breton and Éluard made fun of it and wrote "Poetry is a pipe", as a reference to Magritte's painting.In the same edition of La Révolution surréaliste, Magritte published "Les mots et les images" (his founding text which illustrated where words play with images), his answer to the survey on love, and Je ne vois pas la [femme] cachée dans la forêt, a painting tableau surrounded by photos of sixteen surrealists with their eyes closed, including Magritte himself.

19155_T

David Vases

Focus on David Vases and discuss the abstract.

The David Vases are a pair of blue-and-white temple vases from the Yuan dynasty. The vases have been described as the "best-known porcelain vases in the world" and among the most important blue-and-white Chinese porcelains.Though they are fine examples of their type, their special significance comes from the date in the inscriptions on the vases. It made them the earliest-dated blue-and-white porcelains known at the time of their acquisition, although blue-and-white porcelains are likely to have been made earlier. The vases are named after Sir Percival David who collected the vases from two different sources, and form part of the collection of the Percival David Foundation of Chinese Art, now on display in the British Museum.

19155_NT

David Vases

Focus on this artwork and discuss the abstract.

The David Vases are a pair of blue-and-white temple vases from the Yuan dynasty. The vases have been described as the "best-known porcelain vases in the world" and among the most important blue-and-white Chinese porcelains.Though they are fine examples of their type, their special significance comes from the date in the inscriptions on the vases. It made them the earliest-dated blue-and-white porcelains known at the time of their acquisition, although blue-and-white porcelains are likely to have been made earlier. The vases are named after Sir Percival David who collected the vases from two different sources, and form part of the collection of the Percival David Foundation of Chinese Art, now on display in the British Museum.

19156_T

David Vases

How does David Vases elucidate its Provenence?

The vases are Jingdezhen porcelain, commissioned by someone named Zhang Wenjin (張文進) from Yushan County to be presented as altar pieces to a Daoist temple in Xingyuan (星源, present day Wuyuan County, Jiangxi) in 1351. It has been proposed that the vases were manufactured at the Hengfeng Zhen kilns near the temple. Long inscriptions were added to the vases, which gives their date of production.David acquired the vases from two separate sources; the first from Mountstuart Elphinstone in the 1920s, the second from an auction in 1935 of the collection of Charles E. Russell. Russell was said to have acquired his vase from a Chinese collector Wu Lai-Hsi (吳賴熙, Wu Laixi), who in turn was claimed to have bought it from a priest of Zhilun temple in eastern Beijing, although this fact could not be verified.

19156_NT

David Vases

How does this artwork elucidate its Provenence?

The vases are Jingdezhen porcelain, commissioned by someone named Zhang Wenjin (張文進) from Yushan County to be presented as altar pieces to a Daoist temple in Xingyuan (星源, present day Wuyuan County, Jiangxi) in 1351. It has been proposed that the vases were manufactured at the Hengfeng Zhen kilns near the temple. Long inscriptions were added to the vases, which gives their date of production.David acquired the vases from two separate sources; the first from Mountstuart Elphinstone in the 1920s, the second from an auction in 1935 of the collection of Charles E. Russell. Russell was said to have acquired his vase from a Chinese collector Wu Lai-Hsi (吳賴熙, Wu Laixi), who in turn was claimed to have bought it from a priest of Zhilun temple in eastern Beijing, although this fact could not be verified.

19157_T

David Vases

Focus on David Vases and analyze the Descriptions.

The shape of the vases is based on bronze vessels. They are painted in underglazed cobalt blue with images of a number of auspicious motifs. On the main body of each vase is painted a four-clawed dragon surrounded by clouds. Above is a band of lotus scroll, and on the neck are flying phoenixes, as well as a band of overlapping plantain leaves. Around the mouth is a chrysanthemum scroll, and at the foot is a peony scroll above petal panels containing various auspicious symbols. On the neck are two elephant heads forming two handles. Originally, the vases had porcelain rings suspended from the handles. There are a few small differences in decorations between the two vases, for example, the mouth of the dragon is closed in one but open in the other.

19157_NT

David Vases

Focus on this artwork and analyze the Descriptions.

The shape of the vases is based on bronze vessels. They are painted in underglazed cobalt blue with images of a number of auspicious motifs. On the main body of each vase is painted a four-clawed dragon surrounded by clouds. Above is a band of lotus scroll, and on the neck are flying phoenixes, as well as a band of overlapping plantain leaves. Around the mouth is a chrysanthemum scroll, and at the foot is a peony scroll above petal panels containing various auspicious symbols. On the neck are two elephant heads forming two handles. Originally, the vases had porcelain rings suspended from the handles. There are a few small differences in decorations between the two vases, for example, the mouth of the dragon is closed in one but open in the other.

19158_T

David Vases

Describe the characteristics of the Inscriptions in David Vases's Descriptions.

On the neck of the vases are inscribed dedications by Zhang. There are minor differences in inscriptions between the two vases, some characters have been changed in one inscription, but they have essentially the same meaning:信州路玉山縣順城鄉德教里荊塘社奉聖弟子張文進喜捨香炉花瓶一付祈保合家清吉子女平安 至正十一年四月良辰謹記 星源祖殿胡淨一元帥打供 The respectful disciple of the sages, Zhang Wenjin from Jintang Section of Dejiao Lane, Shungchen Village, Yushan County of Xingzhou Circuit, happily presents a set of incense burner and flower vases as prayer for the protection of the whole family and for peace and prosperity of his descendants. Recorded in reverent remembrance on a propitious day in the 11th year and 4th month of the Zhizheng era, as offering for the Xingyuan temple of Generalissimo Hujingyi.The 11th year of the Zhizheng era dates the vases to 1351. The incense burner mentioned in the inscriptions has not been found. It has been noted that the inscriptions have miswritten characters and are not carefully spaced, therefore they could not have been written by a court official. The ability to commission expensive high quality porcelain from an official kiln, and the use of royal insignias of dragons and phoenixes but with substandard written inscriptions, raised question as to who Zhang Wenjin might have been. The vases were commissioned during a period of peasant revolts, and it has been speculated the name may have been an alias of the rebel Zhang Shicheng.

19158_NT

David Vases

Describe the characteristics of the Inscriptions in this artwork's Descriptions.

On the neck of the vases are inscribed dedications by Zhang. There are minor differences in inscriptions between the two vases, some characters have been changed in one inscription, but they have essentially the same meaning:信州路玉山縣順城鄉德教里荊塘社奉聖弟子張文進喜捨香炉花瓶一付祈保合家清吉子女平安 至正十一年四月良辰謹記 星源祖殿胡淨一元帥打供 The respectful disciple of the sages, Zhang Wenjin from Jintang Section of Dejiao Lane, Shungchen Village, Yushan County of Xingzhou Circuit, happily presents a set of incense burner and flower vases as prayer for the protection of the whole family and for peace and prosperity of his descendants. Recorded in reverent remembrance on a propitious day in the 11th year and 4th month of the Zhizheng era, as offering for the Xingyuan temple of Generalissimo Hujingyi.The 11th year of the Zhizheng era dates the vases to 1351. The incense burner mentioned in the inscriptions has not been found. It has been noted that the inscriptions have miswritten characters and are not carefully spaced, therefore they could not have been written by a court official. The ability to commission expensive high quality porcelain from an official kiln, and the use of royal insignias of dragons and phoenixes but with substandard written inscriptions, raised question as to who Zhang Wenjin might have been. The vases were commissioned during a period of peasant revolts, and it has been speculated the name may have been an alias of the rebel Zhang Shicheng.

19159_T

David Vases

In the context of David Vases, explain the Dating of the Significance.

The inscriptions on the vases that gives the dates are important for the much-discussed question of when the blue-and-white style was introduced. The date has been given as 1351 (11th year of the Zhizheng era), towards the end of the Yuan dynasty. According to the British Museum they are the earliest dated blue-and-white porcelains. The date suggests that the blue-and-white technique was already sophisticated enough by the late Yuan period for works of such quality to be produced. At the time they were collected by Percival David, the blue and white style was thought to have been invented during the next Ming dynasty, and the vases played a role in overturning that assumption and placing it under the Yuan dynasty. However, some scholars now push the date even further back, to the Song dynasty. Isolated examples of blue-and-white ceramics from the Tang dynasty have also been found, for example, a blue and white stoneware plate with floral motif (cobalt-blue pigment over white slip), manufactured in kilns in Gongxian, Henan, was found in the Belitung shipwreck, dated ca. 825–850 during the Tang dynasty.

19159_NT

David Vases

In the context of this artwork, explain the Dating of the Significance.

The inscriptions on the vases that gives the dates are important for the much-discussed question of when the blue-and-white style was introduced. The date has been given as 1351 (11th year of the Zhizheng era), towards the end of the Yuan dynasty. According to the British Museum they are the earliest dated blue-and-white porcelains. The date suggests that the blue-and-white technique was already sophisticated enough by the late Yuan period for works of such quality to be produced. At the time they were collected by Percival David, the blue and white style was thought to have been invented during the next Ming dynasty, and the vases played a role in overturning that assumption and placing it under the Yuan dynasty. However, some scholars now push the date even further back, to the Song dynasty. Isolated examples of blue-and-white ceramics from the Tang dynasty have also been found, for example, a blue and white stoneware plate with floral motif (cobalt-blue pigment over white slip), manufactured in kilns in Gongxian, Henan, was found in the Belitung shipwreck, dated ca. 825–850 during the Tang dynasty.

19160_T

David Vases

Explore the Blue and white standard about the Significance of this artwork, David Vases.

As the only firmly dated Yuan dynasty porcelains for many years, the vases have been considered as "one of the main cornerstones in the chronology of blue and white", and "linchpin in studies of the development of Chinese ceramics with underglaze blue decorations", and the standard by which all other Yuan dynasty blue-and-white pieces may be compared. However, it is also argued that the pieces were produced in a period of upheaval and instability in the closing years of the Yuan dynasty, therefore should only be considered as representative of Yuan blue-and-white at its ebb. High quality Yuan porcelain from officially-controlled kilns have since been found.It was believed that early blue-and-white ware was produced only for export, and that blue-and-white was denigrated in China before it gained acceptance. The early Ming work Gegu Yaolun (格古要論) described blue and multi-coloured ware as "exceedingly vulgar". However, the David vases showed that blue-and-white porcelains were produced for local consumption during the Yuan dynasty, and more Yuan blue-and-white wares have since been uncovered.

19160_NT

David Vases

Explore the Blue and white standard about the Significance of this artwork.

As the only firmly dated Yuan dynasty porcelains for many years, the vases have been considered as "one of the main cornerstones in the chronology of blue and white", and "linchpin in studies of the development of Chinese ceramics with underglaze blue decorations", and the standard by which all other Yuan dynasty blue-and-white pieces may be compared. However, it is also argued that the pieces were produced in a period of upheaval and instability in the closing years of the Yuan dynasty, therefore should only be considered as representative of Yuan blue-and-white at its ebb. High quality Yuan porcelain from officially-controlled kilns have since been found.It was believed that early blue-and-white ware was produced only for export, and that blue-and-white was denigrated in China before it gained acceptance. The early Ming work Gegu Yaolun (格古要論) described blue and multi-coloured ware as "exceedingly vulgar". However, the David vases showed that blue-and-white porcelains were produced for local consumption during the Yuan dynasty, and more Yuan blue-and-white wares have since been uncovered.

19161_T

David Vases

Focus on David Vases and discuss the Media.

The vases are listed in the BBC programme A History of the World in 100 Objects.

19161_NT

David Vases

Focus on this artwork and discuss the Media.

The vases are listed in the BBC programme A History of the World in 100 Objects.

19162_T

The Father of Columbus Baseball

How does The Father of Columbus Baseball elucidate its abstract?

The Father of Columbus Baseball is a bronze sculpture depicting Harold Cooper by Alan Hamwi, installed outside Huntington Park (whose predecessor stadium was in named in his honor for) in Columbus, Ohio's Arena District, in the United States. The statue was unveiled in 2009.

19162_NT

The Father of Columbus Baseball

How does this artwork elucidate its abstract?

The Father of Columbus Baseball is a bronze sculpture depicting Harold Cooper by Alan Hamwi, installed outside Huntington Park (whose predecessor stadium was in named in his honor for) in Columbus, Ohio's Arena District, in the United States. The statue was unveiled in 2009.

19163_T

Yo, Picasso

Focus on Yo, Picasso and analyze the abstract.

Yo, Picasso (English: I, Picasso), is an oil-on-canvas painting by Pablo Picasso, which he painted in 1901. It is a self-portrait of the artist that depicts him in his youth, aged 19. The painting was created at the beginning of Picasso's Blue Period. On 9 May 1989, the painting sold at Sotheby's, achieving a price of $47.85 million, making it one of the most expensive paintings sold up to that date.

19163_NT

Yo, Picasso

Focus on this artwork and analyze the abstract.

Yo, Picasso (English: I, Picasso), is an oil-on-canvas painting by Pablo Picasso, which he painted in 1901. It is a self-portrait of the artist that depicts him in his youth, aged 19. The painting was created at the beginning of Picasso's Blue Period. On 9 May 1989, the painting sold at Sotheby's, achieving a price of $47.85 million, making it one of the most expensive paintings sold up to that date.

19164_T

Yo, Picasso

In Yo, Picasso, how is the Description discussed?

Yo, Picasso depicts the artist as he appeared in his youth. The painting is a brightly coloured, flamboyant portrait, reminiscent of Van Gogh, which depicts the artist wearing a white shirt and a bright orange cravate around his neck, set against a blue background. The title of the painting is derived from the inscription made by Picasso on the top left of the painting. It has been described as a "a 19th-century swagger portrait" by Charles Darwent for the Independent. The Irish Times has described the portrait as, "a bohemian dandy with thick hair and an intense look". Picasso looks directly at the viewer "with supreme self-confidence", illustrated by the inscription "YO" in large capital letters. This assertion has been described as "defiant" by the Evening Standard.Picasso’s YO challenges not only us but the great Raphael portrait of Castiglione in the Louvre; make the comparison, this YO demands, my crude immediate brushwork against Raphael’s delicacy, my jarring chromatic contrasts against his tone, my furious energy against his calm, the work of half an afternoon triumphant over the work of weeks of craft and contemplation. Even the palette is not logically laid out as we might expect, but stabbed with the short strokes of colour characteristic of a finished painting — particularly of La Nana, which may be its immediate contemporary. Picasso’s was a YO about to trample all conventions.

19164_NT

Yo, Picasso

In this artwork, how is the Description discussed?

Yo, Picasso depicts the artist as he appeared in his youth. The painting is a brightly coloured, flamboyant portrait, reminiscent of Van Gogh, which depicts the artist wearing a white shirt and a bright orange cravate around his neck, set against a blue background. The title of the painting is derived from the inscription made by Picasso on the top left of the painting. It has been described as a "a 19th-century swagger portrait" by Charles Darwent for the Independent. The Irish Times has described the portrait as, "a bohemian dandy with thick hair and an intense look". Picasso looks directly at the viewer "with supreme self-confidence", illustrated by the inscription "YO" in large capital letters. This assertion has been described as "defiant" by the Evening Standard.Picasso’s YO challenges not only us but the great Raphael portrait of Castiglione in the Louvre; make the comparison, this YO demands, my crude immediate brushwork against Raphael’s delicacy, my jarring chromatic contrasts against his tone, my furious energy against his calm, the work of half an afternoon triumphant over the work of weeks of craft and contemplation. Even the palette is not logically laid out as we might expect, but stabbed with the short strokes of colour characteristic of a finished painting — particularly of La Nana, which may be its immediate contemporary. Picasso’s was a YO about to trample all conventions.

19165_T

Yo, Picasso

Focus on Yo, Picasso and explore the Other self-portraits.

Picasso created many self-portraits throughout his life, many of which he kept in his possession and passed to his heirs. These self-portraits offer a wide variety of self-representations using different styles, including: Self Portrait (Yo), 1901, oil on cardboard painting mounted on wood, 51.4 cm x 31.8 cm, MoMA.Self-Portrait, 1907. oil on canvas, 56 cm x 46 cm. Národní galerie v Praze Self-Portrait, oil on canvas, 56 cm x 45.3 cm, Private collection, Switzerland Self-Portrait, Barcelona, 1899–1900, charcoal and chalk on paper, 22.5 cm x 26.5 cm

19165_NT

Yo, Picasso

Focus on this artwork and explore the Other self-portraits.

Picasso created many self-portraits throughout his life, many of which he kept in his possession and passed to his heirs. These self-portraits offer a wide variety of self-representations using different styles, including: Self Portrait (Yo), 1901, oil on cardboard painting mounted on wood, 51.4 cm x 31.8 cm, MoMA.Self-Portrait, 1907. oil on canvas, 56 cm x 46 cm. Národní galerie v Praze Self-Portrait, oil on canvas, 56 cm x 45.3 cm, Private collection, Switzerland Self-Portrait, Barcelona, 1899–1900, charcoal and chalk on paper, 22.5 cm x 26.5 cm

19166_T

Pitsa panels

Focus on Pitsa panels and explain the Motifs.

The tablets depict religious scenes connected with the cult of the nymphs. One of the two near-complete examples shows a sacrifice to the nymphs. Three or more females, dressed in chiton and peplos, are approaching an altar to the right. They are accompanied by musicians playing the lyra and aulos. The person nearest the altar appears to be pouring a libation from a jug. A small figure behind her, perhaps a slave, is leading a lamb, the sacrificial victim. An inscription in the Corinthian alphabet names two woman dedicators, Euthydika and Eucholis and states that the tablet, or the depicted offering, is dedicated to the nymphs. The second well-preserved tablet also has a written dedication to the nymphs and shows three partially overlapping female figures, perhaps the nymphs themselves.

19166_NT

Pitsa panels

Focus on this artwork and explain the Motifs.

The tablets depict religious scenes connected with the cult of the nymphs. One of the two near-complete examples shows a sacrifice to the nymphs. Three or more females, dressed in chiton and peplos, are approaching an altar to the right. They are accompanied by musicians playing the lyra and aulos. The person nearest the altar appears to be pouring a libation from a jug. A small figure behind her, perhaps a slave, is leading a lamb, the sacrificial victim. An inscription in the Corinthian alphabet names two woman dedicators, Euthydika and Eucholis and states that the tablet, or the depicted offering, is dedicated to the nymphs. The second well-preserved tablet also has a written dedication to the nymphs and shows three partially overlapping female figures, perhaps the nymphs themselves.

19167_T

Pitsa panels

Explore the Function and context of this artwork, Pitsa panels.

The tablets are votive offerings, connected with the rural cult of the nymphs, which was widespread throughout Greece. Stylistically and technically, they probably represent rather low quality panel paintings of their time. This, as well as references to wooden painted or inscribed votives at other Greek sanctuaries (e.g. Epidaurus), indicates that the Pitsa tablets belong to the types of votives available to the lower, or poorer, sections of population. Such simple votives may have been far more numerous originally, but the fact that they are made of perishable materials, whereas richer votives were of stone, bronze or precious metals, has led to their near-total disappearance from the archaeological record.

19167_NT

Pitsa panels

Explore the Function and context of this artwork.

The tablets are votive offerings, connected with the rural cult of the nymphs, which was widespread throughout Greece. Stylistically and technically, they probably represent rather low quality panel paintings of their time. This, as well as references to wooden painted or inscribed votives at other Greek sanctuaries (e.g. Epidaurus), indicates that the Pitsa tablets belong to the types of votives available to the lower, or poorer, sections of population. Such simple votives may have been far more numerous originally, but the fact that they are made of perishable materials, whereas richer votives were of stone, bronze or precious metals, has led to their near-total disappearance from the archaeological record.

19168_T

Lady Cockburn and Her Three Eldest Sons

Focus on Lady Cockburn and Her Three Eldest Sons and discuss the abstract.

Lady Cockburn and Her Three Eldest Sons (1775) is an oil on canvas portrait by Joshua Reynolds. Work began on the picture in 1773, and, in Grand Manner fashion, Reynolds exploited two classical paintings: the attitude of the child on the left was modelled on Cupid in Velázquez's Toilet of Venus whilst the general composition was inspired by Anthony van Dyck's Charity. The painting passed to Mister Cockburn's son George, and then to his daughter, Mrs Hamilton, the wife of Sir James Hamilton. It was bequeathed to London's National Gallery in 1906. The painting is one of the few signed by Reynolds: Lady Cockburn's dress bears his signature and the year 1775.Lady Cockburn (Augusta Anne Ayscough, 1749–1837) was the daughter of Francis Ayscough and his wife Anne. She married Sir James Cockburn (, Scottish English: [ˈkobʌɾn]) the 8th Baronet and became Lady Cockburn of Langton in Berwick in 1769. The marriage was made as the result of a large marriage settlement of twenty thousand pounds which was arranged by her maternal uncle, Sir George Lyttlelton, her widowed mother and her brother George Edward Ayscough. The money was raised on her father's estate and included three houses in London and two farms.Lady Cockburn's first three sons are depicted in the portrait. The first son, James (b. 1771), became the 9th baronet and Governor of Bermuda (1811–19), and her second son, George (b. 1772) became an Admiral of the Fleet and the 10th Baronet. Her third son, William (b. 1773) became the Dean of York, and her fourth son, Alexander (b. 1776), became British envoy extraordinary and minister plenipotentiary to Württemberg and the Columbia District whilst her fifth son, Francis, (b. 1776) became a general after being involved in the early history of Canada as a colony and serving in diplomatic positions in the Bahamas and British Honduras. Lady Cockburn's daughter, Augusta, was wed in 1807.

19168_NT

Lady Cockburn and Her Three Eldest Sons

Focus on this artwork and discuss the abstract.

Lady Cockburn and Her Three Eldest Sons (1775) is an oil on canvas portrait by Joshua Reynolds. Work began on the picture in 1773, and, in Grand Manner fashion, Reynolds exploited two classical paintings: the attitude of the child on the left was modelled on Cupid in Velázquez's Toilet of Venus whilst the general composition was inspired by Anthony van Dyck's Charity. The painting passed to Mister Cockburn's son George, and then to his daughter, Mrs Hamilton, the wife of Sir James Hamilton. It was bequeathed to London's National Gallery in 1906. The painting is one of the few signed by Reynolds: Lady Cockburn's dress bears his signature and the year 1775.Lady Cockburn (Augusta Anne Ayscough, 1749–1837) was the daughter of Francis Ayscough and his wife Anne. She married Sir James Cockburn (, Scottish English: [ˈkobʌɾn]) the 8th Baronet and became Lady Cockburn of Langton in Berwick in 1769. The marriage was made as the result of a large marriage settlement of twenty thousand pounds which was arranged by her maternal uncle, Sir George Lyttlelton, her widowed mother and her brother George Edward Ayscough. The money was raised on her father's estate and included three houses in London and two farms.Lady Cockburn's first three sons are depicted in the portrait. The first son, James (b. 1771), became the 9th baronet and Governor of Bermuda (1811–19), and her second son, George (b. 1772) became an Admiral of the Fleet and the 10th Baronet. Her third son, William (b. 1773) became the Dean of York, and her fourth son, Alexander (b. 1776), became British envoy extraordinary and minister plenipotentiary to Württemberg and the Columbia District whilst her fifth son, Francis, (b. 1776) became a general after being involved in the early history of Canada as a colony and serving in diplomatic positions in the Bahamas and British Honduras. Lady Cockburn's daughter, Augusta, was wed in 1807.

19169_T

Kindred Ties

How does Kindred Ties elucidate its abstract?

Kindred Ties is a work of public art by Evelyn Patricia Terry located near the intersection of Fond du Lac Avenue, North Avenue and 21st Street on the north side of Milwaukee, Wisconsin, United States. The artwork, a bus shelter of painted metal and glass, was commissioned by the Spirit of Milwaukee Neighborhood Millennium Art Initiative. Terry created the work in collaboration with a team of local artists.

19169_NT

Kindred Ties

How does this artwork elucidate its abstract?

Kindred Ties is a work of public art by Evelyn Patricia Terry located near the intersection of Fond du Lac Avenue, North Avenue and 21st Street on the north side of Milwaukee, Wisconsin, United States. The artwork, a bus shelter of painted metal and glass, was commissioned by the Spirit of Milwaukee Neighborhood Millennium Art Initiative. Terry created the work in collaboration with a team of local artists.

19170_T

The Fathers

Focus on The Fathers and analyze the abstract.

The Fathers is a conceptual and performative work of critical and biographical content by artist Abel Azcona. The Fathers was first performed in 2016 in Madrid with the final performance, also in Madrid, in 2017 in an exhibition format. The durational piece included dozens of female survivors of prostitution who gave a physical description of their last client. On the other side of a ten-meter-long table, composite artists listened to them and drew images of the clients. The performance generated dozens of portraits which, at the closing of the work in 2017, were exhibited with the premise that any of them could be Azcona's father. The biographical work creates a critical discourse with prostitution and its inheritance, and in the case of Azcona himself, of an unknown father, having been conceived during an act of prostitution. Abel Azcona, the son of a prostituted woman who is looking for his whoremonger father, because it perfectly summarizes everything that the patriarchy has built on their subordination and for our autonomy. Abel represents the aching son of an unknown father. All of us are those men who walk on their backs. To those who do not see their faces until the end. Those parents who sign unwritten covenants and who leave their semen springs across the planet. Those who rent vaginas, wombs, and maids. It is urgent to face those who prefer to remain installed in comfort. Only in this way will it be possible to turn our face towards the camera, without fear of being recognized in a robot portrait of a whoremonger father. Without fear of the mirror returning the image of a monster. Azcona's works push his body to the limit and are usually related to social issues. Azcona states that within his works he pursues an end beyond the purely aesthetic. His intent with his works is to question the viewer and force them to react, making his own body the representation of critical and political subjects. The themes of most of his performances are mostly autobiographical and focused on issues such as abandonment, violence, abuse, child abuse, mental illness, deprivation of liberty, prostitution, life and death.

19170_NT

The Fathers

Focus on this artwork and analyze the abstract.

The Fathers is a conceptual and performative work of critical and biographical content by artist Abel Azcona. The Fathers was first performed in 2016 in Madrid with the final performance, also in Madrid, in 2017 in an exhibition format. The durational piece included dozens of female survivors of prostitution who gave a physical description of their last client. On the other side of a ten-meter-long table, composite artists listened to them and drew images of the clients. The performance generated dozens of portraits which, at the closing of the work in 2017, were exhibited with the premise that any of them could be Azcona's father. The biographical work creates a critical discourse with prostitution and its inheritance, and in the case of Azcona himself, of an unknown father, having been conceived during an act of prostitution. Abel Azcona, the son of a prostituted woman who is looking for his whoremonger father, because it perfectly summarizes everything that the patriarchy has built on their subordination and for our autonomy. Abel represents the aching son of an unknown father. All of us are those men who walk on their backs. To those who do not see their faces until the end. Those parents who sign unwritten covenants and who leave their semen springs across the planet. Those who rent vaginas, wombs, and maids. It is urgent to face those who prefer to remain installed in comfort. Only in this way will it be possible to turn our face towards the camera, without fear of being recognized in a robot portrait of a whoremonger father. Without fear of the mirror returning the image of a monster. Azcona's works push his body to the limit and are usually related to social issues. Azcona states that within his works he pursues an end beyond the purely aesthetic. His intent with his works is to question the viewer and force them to react, making his own body the representation of critical and political subjects. The themes of most of his performances are mostly autobiographical and focused on issues such as abandonment, violence, abuse, child abuse, mental illness, deprivation of liberty, prostitution, life and death.

19171_T

Statue of Sidney Herbert, London

In Statue of Sidney Herbert, London, how is the abstract discussed?

The statue of Sidney Herbert, 1st Baron Herbert of Lea is an outdoor sculpture in London, England. Created by J. H. Foley, it was erected by public subscription in 1867 and was originally placed in the courtyard of Cumberland House, Pall Mall (which at the time was the headquarters of the War Office). It moved with the War Office to Whitehall in 1906, where it was placed (out of public sight) in the courtyard of the new War Office building; but eight years later it was moved again to Waterloo Place to stand alongside the Crimean War Memorial, where it is paired with a statue of Herbert's friend and fellow reformer Florence Nightingale.

19171_NT

Statue of Sidney Herbert, London

In this artwork, how is the abstract discussed?

The statue of Sidney Herbert, 1st Baron Herbert of Lea is an outdoor sculpture in London, England. Created by J. H. Foley, it was erected by public subscription in 1867 and was originally placed in the courtyard of Cumberland House, Pall Mall (which at the time was the headquarters of the War Office). It moved with the War Office to Whitehall in 1906, where it was placed (out of public sight) in the courtyard of the new War Office building; but eight years later it was moved again to Waterloo Place to stand alongside the Crimean War Memorial, where it is paired with a statue of Herbert's friend and fellow reformer Florence Nightingale.

19172_T

Man Proposes, God Disposes

Focus on Man Proposes, God Disposes and explore the abstract.

Man Proposes, God Disposes is an 1864 oil-on-canvas painting by Edwin Landseer. The work was inspired by the search for Franklin's lost expedition which disappeared in the Arctic after 1845. The painting is in the collection of Royal Holloway, University of London, and is the subject of superstitious urban myth that the painting is haunted.

19172_NT

Man Proposes, God Disposes

Focus on this artwork and explore the abstract.

Man Proposes, God Disposes is an 1864 oil-on-canvas painting by Edwin Landseer. The work was inspired by the search for Franklin's lost expedition which disappeared in the Arctic after 1845. The painting is in the collection of Royal Holloway, University of London, and is the subject of superstitious urban myth that the painting is haunted.

19173_T

Man Proposes, God Disposes

Focus on Man Proposes, God Disposes and explain the Description.

The painting adopts the dark tones of Landseer's later works. The scene shows two polar bears among the scattered wreckage of the expedition – a telescope, the tattered remains of a red ensign, a sail, and human bones, which William Michael Rossetti called "the saddest of membra disjecta". The image shows humanity and civilization defeated by "nature, red in tooth and claw", and can be seen as a commentary on the crisis of British triumphalism and imperialism in the middle of the 19th century.

19173_NT

Man Proposes, God Disposes

Focus on this artwork and explain the Description.

The painting adopts the dark tones of Landseer's later works. The scene shows two polar bears among the scattered wreckage of the expedition – a telescope, the tattered remains of a red ensign, a sail, and human bones, which William Michael Rossetti called "the saddest of membra disjecta". The image shows humanity and civilization defeated by "nature, red in tooth and claw", and can be seen as a commentary on the crisis of British triumphalism and imperialism in the middle of the 19th century.

19174_T

Man Proposes, God Disposes

Explore the Background about the Description of this artwork, Man Proposes, God Disposes.

The painting depicts an imagined Arctic scene in the aftermath of Sir John Franklin's expedition in 1845 to explore the Northwest Passage. The 134 men of Franklin's expedition left Greenhithe in May 1845 on two steam-powered ironclad icebreakers, HMS Erebus and HMS Terror. After five left the ship, the remaining 129 men were last seen by a whaling vessel in Lancaster Sound in July 1845, but then disappeared without trace into the ice. The expedition was well-provisioned for a voyage of several years, but eventually, search parties were sent out as time passed and no further sightings were made. In 1854, Inuit recounted tales of sightings in 1850 to Captain John Rae of the Hudson's Bay Company, and he found some dead bodies on King William Island. Rae also reported suspicions of cannibalism among the last survivors. In 1859, Francis Leopold McClintock published The Voyage of the Fox in the Arctic Seas, an account of his voyage on the Fox in search of Franklin from 1857 to 1859, and his discovery of the remains of two crew from Erebus on King William Island earlier in 1859, together with the ship's boat and other detritus. The painting may also have been inspired by Caspar David Friedrich's 1824 painting The Sea of Ice, and Frederic Edwin Church's The Icebergs, which was first exhibited in New York in 1861 and shown in London in 1863.

19174_NT

Man Proposes, God Disposes

Explore the Background about the Description of this artwork.

The painting depicts an imagined Arctic scene in the aftermath of Sir John Franklin's expedition in 1845 to explore the Northwest Passage. The 134 men of Franklin's expedition left Greenhithe in May 1845 on two steam-powered ironclad icebreakers, HMS Erebus and HMS Terror. After five left the ship, the remaining 129 men were last seen by a whaling vessel in Lancaster Sound in July 1845, but then disappeared without trace into the ice. The expedition was well-provisioned for a voyage of several years, but eventually, search parties were sent out as time passed and no further sightings were made. In 1854, Inuit recounted tales of sightings in 1850 to Captain John Rae of the Hudson's Bay Company, and he found some dead bodies on King William Island. Rae also reported suspicions of cannibalism among the last survivors. In 1859, Francis Leopold McClintock published The Voyage of the Fox in the Arctic Seas, an account of his voyage on the Fox in search of Franklin from 1857 to 1859, and his discovery of the remains of two crew from Erebus on King William Island earlier in 1859, together with the ship's boat and other detritus. The painting may also have been inspired by Caspar David Friedrich's 1824 painting The Sea of Ice, and Frederic Edwin Church's The Icebergs, which was first exhibited in New York in 1861 and shown in London in 1863.

19175_T

Man Proposes, God Disposes

Focus on Man Proposes, God Disposes and discuss the Origin of the title.

The phrase "Man proposes, but God disposes" is a translation of the Latin phrase "Homo proponit, sed Deus disponit" from Book I, chapter 19, of The Imitation of Christ, a 15th-century book by the German cleric Thomas à Kempis. A few modernized and paraphrased Bible translations use it as a translation of Proverbs 19:21, but the original of that verse is longer and more elaborate. The phrase was also put on a Dutch commemorative medal celebrating the Elizabethan England Protestant victory in 1588 over the Catholic Spanish Armada. A similar phrase appears in the concluding lines of Lucian's "Symposium" (circa 150 AD), quoting from the concluding lines of Euripides's Alcestis, Andromache, Helen, and Bacchae (5th century BC): "πολλὰ δ᾽ ἀέλπτως κραίνουσι θεοί" (loosely translated, "the gods bring many matters to surprising ends").

19175_NT

Man Proposes, God Disposes

Focus on this artwork and discuss the Origin of the title.

The phrase "Man proposes, but God disposes" is a translation of the Latin phrase "Homo proponit, sed Deus disponit" from Book I, chapter 19, of The Imitation of Christ, a 15th-century book by the German cleric Thomas à Kempis. A few modernized and paraphrased Bible translations use it as a translation of Proverbs 19:21, but the original of that verse is longer and more elaborate. The phrase was also put on a Dutch commemorative medal celebrating the Elizabethan England Protestant victory in 1588 over the Catholic Spanish Armada. A similar phrase appears in the concluding lines of Lucian's "Symposium" (circa 150 AD), quoting from the concluding lines of Euripides's Alcestis, Andromache, Helen, and Bacchae (5th century BC): "πολλὰ δ᾽ ἀέλπτως κραίνουσι θεοί" (loosely translated, "the gods bring many matters to surprising ends").

19176_T

Vocation of the Apostles

How does Vocation of the Apostles elucidate its abstract?

The Vocation of the Apostles is a fresco by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1481–1482 and located in the Sistine Chapel, Rome. It depicts the Gospel narrative of Jesus Christ calling Peter and Andrew to become his disciples.

19176_NT

Vocation of the Apostles

How does this artwork elucidate its abstract?

The Vocation of the Apostles is a fresco by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1481–1482 and located in the Sistine Chapel, Rome. It depicts the Gospel narrative of Jesus Christ calling Peter and Andrew to become his disciples.

19177_T

Vocation of the Apostles

Focus on Vocation of the Apostles and analyze the History.

In 1481 a group of Florentine painters left for Rome, where they had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as mid-1481, along with Pietro Perugino, who was already there. The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament. A continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter (the first alleged bishop of Rome) as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome. Two frescoes are certainly by Ghirlandaio, the Vocation of the Apostles and the Resurrection, which was repainted in the late 16th century due to extensive damage. A third, The Crossing of the Red Sea, in the "Stories of Moses" wall, has been assigned to one among Ghirlandaio, Biagio d'Antonio or Cosimo Rosselli.

19177_NT

Vocation of the Apostles

Focus on this artwork and analyze the History.

In 1481 a group of Florentine painters left for Rome, where they had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as mid-1481, along with Pietro Perugino, who was already there. The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament. A continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter (the first alleged bishop of Rome) as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome. Two frescoes are certainly by Ghirlandaio, the Vocation of the Apostles and the Resurrection, which was repainted in the late 16th century due to extensive damage. A third, The Crossing of the Red Sea, in the "Stories of Moses" wall, has been assigned to one among Ghirlandaio, Biagio d'Antonio or Cosimo Rosselli.

19178_T

Spain Asks for Forgiveness

In Spain Asks for Forgiveness, how is the abstract discussed?

Spain Asks for Forgiveness is a conceptual and performative work of critical and anti-colonial content by recognized artist Abel Azcona. Created and started in Bogotá in November 2018 through a conference and a live performance by Azcona at the museum of contemporary art of Bogotá.

19178_NT

Spain Asks for Forgiveness

In this artwork, how is the abstract discussed?

Spain Asks for Forgiveness is a conceptual and performative work of critical and anti-colonial content by recognized artist Abel Azcona. Created and started in Bogotá in November 2018 through a conference and a live performance by Azcona at the museum of contemporary art of Bogotá.

19179_T

Big Bambú

Focus on Big Bambú and explore the Metropolitan Museum installation.

The installation on the roof of the Metropolitan Museum of Art was conceived as a giant wave cresting over the rooftop. Art critic Karen Wilkin wrote that the experience of walking on the roof terrace under the sculpture felt like "wandering through a bamboo grove." She described the piece as not a "significant sculpture... it's more of a phenomenon. But it's a delightful addition to the Met for the next six months—a temporary, ecologically correct folly designed to entertain."Big Bambú is built of several types of bamboo, primarily a Japanese type called Madake, and also thin Meyeri bamboo and thick moso bamboo. All of the bamboo was grown in Georgia and South Carolina. The construction was undertaken by the artists working together with a team of twenty qualified rock climbers. Construction continued throughout the exhibition's six-month run, with the sculpture ultimately reaching 100 feet long, 50 feet wide, 50 feet high and using 3,200 bamboo poles. Museum visitors were required to wear rubber-soled, close-toed shoes to climb through the structure. Visitors could walk underneath the sculpture without obtaining a ticket and with no restriction on footwear.

19179_NT

Big Bambú

Focus on this artwork and explore the Metropolitan Museum installation.

The installation on the roof of the Metropolitan Museum of Art was conceived as a giant wave cresting over the rooftop. Art critic Karen Wilkin wrote that the experience of walking on the roof terrace under the sculpture felt like "wandering through a bamboo grove." She described the piece as not a "significant sculpture... it's more of a phenomenon. But it's a delightful addition to the Met for the next six months—a temporary, ecologically correct folly designed to entertain."Big Bambú is built of several types of bamboo, primarily a Japanese type called Madake, and also thin Meyeri bamboo and thick moso bamboo. All of the bamboo was grown in Georgia and South Carolina. The construction was undertaken by the artists working together with a team of twenty qualified rock climbers. Construction continued throughout the exhibition's six-month run, with the sculpture ultimately reaching 100 feet long, 50 feet wide, 50 feet high and using 3,200 bamboo poles. Museum visitors were required to wear rubber-soled, close-toed shoes to climb through the structure. Visitors could walk underneath the sculpture without obtaining a ticket and with no restriction on footwear.

19180_T

Big Bambú

Focus on Big Bambú and explain the Israel Museum installation.

Big Bambu: 5000 arms to hold you, constructed in the sculpture garden of the Israel Museum in Jerusalem in 2014, is 16 meters (52.5 feet) high and covers an area of over 700 square meters (7,500 square feet). Visitors are invited to climb on the framework of 10,000 bamboo poles bound by rope, which forms a labyrinth of winding paths and offers panoramic views of the Jerusalem cityscape.

19180_NT

Big Bambú

Focus on this artwork and explain the Israel Museum installation.

Big Bambu: 5000 arms to hold you, constructed in the sculpture garden of the Israel Museum in Jerusalem in 2014, is 16 meters (52.5 feet) high and covers an area of over 700 square meters (7,500 square feet). Visitors are invited to climb on the framework of 10,000 bamboo poles bound by rope, which forms a labyrinth of winding paths and offers panoramic views of the Jerusalem cityscape.

19181_T

Big Bambú

Explore the Ordrupgård Museum, Denmark of this artwork, Big Bambú.

In 2018 a Big Bambú installation was made at Ordrupgård Museum in Denmark.

19181_NT

Big Bambú

Explore the Ordrupgård Museum, Denmark of this artwork.

In 2018 a Big Bambú installation was made at Ordrupgård Museum in Denmark.