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0201_T

The Good Fruit of the Earth

Focus on The Good Fruit of the Earth and explain the Description.

The painting, oil on canvas, has dimensions of 188 cm. X 140 cm and is exhibited at the State Gallery of Contemporary Cypriot Art.

0201_NT

The Good Fruit of the Earth

Focus on this artwork and explain the Description.

The painting, oil on canvas, has dimensions of 188 cm. X 140 cm and is exhibited at the State Gallery of Contemporary Cypriot Art.

0202_T

The Good Fruit of the Earth

Explore the Analysis of this artwork, The Good Fruit of the Earth.

The painting was made by Lucia Nicolaidou-Vasiliou, the first woman from Cyprus to study painting abroad, particularly in France. In this canvas she demonstrates the obvious influence of Paul Gauguin as shown in the areas of the forms, the theme and the symbolism. The painting stands out for its large color surfaces and for the female figures mother and daughter, symbolizing the quest for innocence, while exuding a sense of sensuality absent from the corresponding women depicted in the works of other Cypriot artists of that period.

0202_NT

The Good Fruit of the Earth

Explore the Analysis of this artwork.

The painting was made by Lucia Nicolaidou-Vasiliou, the first woman from Cyprus to study painting abroad, particularly in France. In this canvas she demonstrates the obvious influence of Paul Gauguin as shown in the areas of the forms, the theme and the symbolism. The painting stands out for its large color surfaces and for the female figures mother and daughter, symbolizing the quest for innocence, while exuding a sense of sensuality absent from the corresponding women depicted in the works of other Cypriot artists of that period.

0203_T

Perfect Harmony (painting)

Focus on Perfect Harmony (painting) and discuss the abstract.

The Perfect Accord (L'Accord parfait), also adapted into English as Perfect Harmony, is an oil-on-panel painting by Antoine Watteau, created c. 1719, now held in the Los Angeles County Museum of Art. It was the pendant to the same artist's The Surprise. It was initially owned by a friend of the artist, Nicolas Hénin, but it and Surprise were sold separately by his heir around 1756.

0203_NT

Perfect Harmony (painting)

Focus on this artwork and discuss the abstract.

The Perfect Accord (L'Accord parfait), also adapted into English as Perfect Harmony, is an oil-on-panel painting by Antoine Watteau, created c. 1719, now held in the Los Angeles County Museum of Art. It was the pendant to the same artist's The Surprise. It was initially owned by a friend of the artist, Nicolas Hénin, but it and Surprise were sold separately by his heir around 1756.

0204_T

Standing Female Faun

Focus on Standing Female Faun and analyze the Description.

The work represents the conception of a being of hybrid nature which is half human and half ram. On the left-hand-side of the base it is signed "A Miss Gladys Deacon / Auguste Rodin", testifying to the close relationship between the artist and Gladys Deacon.

0204_NT

Standing Female Faun

Focus on this artwork and analyze the Description.

The work represents the conception of a being of hybrid nature which is half human and half ram. On the left-hand-side of the base it is signed "A Miss Gladys Deacon / Auguste Rodin", testifying to the close relationship between the artist and Gladys Deacon.

0205_T

Bernward Monument

In Bernward Monument, how is the abstract discussed?

The Bernward Monument (German: Bernwardsdenkmal) is a larger-than-life-sized bronze statue of Bishop Bernward of Hildesheim in the Domhof in Hildesheim. It was made by Ferdinand Hartzer in 1893 for the nine hundredth anniversary of St. Bernward's enthronement as Bishop of Hildesheim. On 7 September 2011, in the course of the renovations of Hildesheim Cathedral it was temporarily relocated to the garden of house 24, Domhof.

0205_NT

Bernward Monument

In this artwork, how is the abstract discussed?

The Bernward Monument (German: Bernwardsdenkmal) is a larger-than-life-sized bronze statue of Bishop Bernward of Hildesheim in the Domhof in Hildesheim. It was made by Ferdinand Hartzer in 1893 for the nine hundredth anniversary of St. Bernward's enthronement as Bishop of Hildesheim. On 7 September 2011, in the course of the renovations of Hildesheim Cathedral it was temporarily relocated to the garden of house 24, Domhof.

0206_T

Bernward Monument

Focus on Bernward Monument and explore the The monument up to 2011.

The statue stood on a broad cubic base of roughly hewn stone blocks in the forecourt of the northwestern entrance to the cathedral. The statue was positioned so that it faced towards people approaching the cathedral from the east (i.e. from town), welcoming them before they entered the cathedral itself. Behind the statue, the ground-level is raised to the height of the base. Steps next to the monument allow the visitor to climb up to roughly the same level as the bishop. The bronze statue, covered by a patina and weathered by wind and rain, depicts the saint in episcopal garb, with alb, stole, maniples, mitre and crosier. With these, the artist attempted to be historically accurate, roughly imitating the depictions of Bernward's chasuble preserved in the cathedral museum. However, the mitre and crosier, with the coronation of the Virgin depicted in the crook, are based on examples from a century or two after Bernward's death. The Bishop stands upright, bending down slightly to look at the viewer. His right hand is raised in benediction, his left hand holds his coriser at about the same height. The chasuble drapes down from this point. The forward position of his left foot and the forward tilt of the crosier imbues the statue with forward momentum. This is emphasised from behind by his billowing cloak and hair. His narrow, serious, no longer youthful face seems to look over his people with in concern and care. At the point where the crosier touches the ground there is a model of St. Michael's Church, which Bernward founded and in which he was buried. It here serves as a symbol of the saint. The depiction of the church corresponds to its modern shape (which is basically the same as the original building), not to its appearance in the nineteenth century.

0206_NT

Bernward Monument

Focus on this artwork and explore the The monument up to 2011.

The statue stood on a broad cubic base of roughly hewn stone blocks in the forecourt of the northwestern entrance to the cathedral. The statue was positioned so that it faced towards people approaching the cathedral from the east (i.e. from town), welcoming them before they entered the cathedral itself. Behind the statue, the ground-level is raised to the height of the base. Steps next to the monument allow the visitor to climb up to roughly the same level as the bishop. The bronze statue, covered by a patina and weathered by wind and rain, depicts the saint in episcopal garb, with alb, stole, maniples, mitre and crosier. With these, the artist attempted to be historically accurate, roughly imitating the depictions of Bernward's chasuble preserved in the cathedral museum. However, the mitre and crosier, with the coronation of the Virgin depicted in the crook, are based on examples from a century or two after Bernward's death. The Bishop stands upright, bending down slightly to look at the viewer. His right hand is raised in benediction, his left hand holds his coriser at about the same height. The chasuble drapes down from this point. The forward position of his left foot and the forward tilt of the crosier imbues the statue with forward momentum. This is emphasised from behind by his billowing cloak and hair. His narrow, serious, no longer youthful face seems to look over his people with in concern and care. At the point where the crosier touches the ground there is a model of St. Michael's Church, which Bernward founded and in which he was buried. It here serves as a symbol of the saint. The depiction of the church corresponds to its modern shape (which is basically the same as the original building), not to its appearance in the nineteenth century.

0207_T

Bernward Monument

Focus on Bernward Monument and explain the Creation.

Even more than his predecessors, Daniel Wilhelm Sommerwerck, Bishop of Hildesheim 1871-1905 modelled himself on Bernward and put the saint ever more prominently before the eyes of his diocese. With Kulturkampf and the consolidation of the catholic church in the new German empire ongoing, Bernward's political deeds, especially his role as tutor and advisor to Emperor Otto III and Emperor Henry II gained great symbolic value. Already in the 1870s, therefore, there were plans for a monument. But it was only in 1885, in a pastoral letter on the subject of Bernward that Bishop Sommerwerck made an open appeal, seeking support for the planned monument. The appeal had a surprisingly enthusiastic reception. Even the Prussian government indicated its willingness to cooperate from the outset. Out of eight submissions, that of C.F. Hartzer was selected. The substructure which he had envisioned was not accepted, however, and Hartzer immediately produced a new design, with the help of the architect Christoph Hehl, who was a close friend of his. On 28 September 1893, the day before Michaelmas, Bishop Sommerwerck revealed the new monument to a great audience of diocesan clerics, government officials, and the people of Hildesheim in a festive ceremony, calling the saint:

0207_NT

Bernward Monument

Focus on this artwork and explain the Creation.

Even more than his predecessors, Daniel Wilhelm Sommerwerck, Bishop of Hildesheim 1871-1905 modelled himself on Bernward and put the saint ever more prominently before the eyes of his diocese. With Kulturkampf and the consolidation of the catholic church in the new German empire ongoing, Bernward's political deeds, especially his role as tutor and advisor to Emperor Otto III and Emperor Henry II gained great symbolic value. Already in the 1870s, therefore, there were plans for a monument. But it was only in 1885, in a pastoral letter on the subject of Bernward that Bishop Sommerwerck made an open appeal, seeking support for the planned monument. The appeal had a surprisingly enthusiastic reception. Even the Prussian government indicated its willingness to cooperate from the outset. Out of eight submissions, that of C.F. Hartzer was selected. The substructure which he had envisioned was not accepted, however, and Hartzer immediately produced a new design, with the help of the architect Christoph Hehl, who was a close friend of his. On 28 September 1893, the day before Michaelmas, Bishop Sommerwerck revealed the new monument to a great audience of diocesan clerics, government officials, and the people of Hildesheim in a festive ceremony, calling the saint:

0208_T

Bernward Monument

Explore the Original location of this artwork, Bernward Monument.

Originally the Bernward monument stood further north, roughly halfway between the cathedral and the bishop's house and looked down from the top of a podium which was more than three metres high towards the Großen Domhof to the north. This was the same location in which the Bernward Column stood until it was moved inside the cathedral for conservation reasons in 1893. The pedestal, made from light grey granite had neoromanesque architectural decorations and was divided into several different levels of decreasing size. On the rounded central level there were four bronze reliefs: the front one bearing Bernward's name and dates, the other three showing key scenes from his life, which showed him as a teacher, a church leader, and an artist - indicating the contemporary meaning of the monument. Immediately below the statue itself was a copy of the Cross of Bernward, which explains why this symbol is absent from the statue itself. The bronze reliefs were taken and melted down for war purposes in 1943. The statue itself was put in storage and escaped the destruction of Hildesheim. After the war, the cathedral chapter decided that the tall podium was no longer appropriate and it was removed in 1966.

0208_NT

Bernward Monument

Explore the Original location of this artwork.

Originally the Bernward monument stood further north, roughly halfway between the cathedral and the bishop's house and looked down from the top of a podium which was more than three metres high towards the Großen Domhof to the north. This was the same location in which the Bernward Column stood until it was moved inside the cathedral for conservation reasons in 1893. The pedestal, made from light grey granite had neoromanesque architectural decorations and was divided into several different levels of decreasing size. On the rounded central level there were four bronze reliefs: the front one bearing Bernward's name and dates, the other three showing key scenes from his life, which showed him as a teacher, a church leader, and an artist - indicating the contemporary meaning of the monument. Immediately below the statue itself was a copy of the Cross of Bernward, which explains why this symbol is absent from the statue itself. The bronze reliefs were taken and melted down for war purposes in 1943. The statue itself was put in storage and escaped the destruction of Hildesheim. After the war, the cathedral chapter decided that the tall podium was no longer appropriate and it was removed in 1966.

0209_T

Seated Jie Daishi

How does Seated Jie Daishi elucidate its abstract?

Seated Jie Daishi (慈恵大師坐像) is an anonymous wooden sculpture dated from 1286 depicting Jie Daishi (Priest Ryōgen), property of the Kongōrin-ji temple in Aishō, Shiga. It is designated an Important Cultural Property.Ryōgen (912–985), also known as Jie Daishi, was the 18th chief abbot of Enryaku-ji, the head Tendai monastery located on Mount Hiei in Ōtsu. He is considered a restorer of the Tendai school of Mahayana Buddhism, and credited for reviving Enryaku-ji. It was Ryōgen's son Renmyo who requested the creation of a posthumous portrait of his father, in prayer for his rebirth in the Pure Land, the celestial realm in Mahayana Buddhism.The sculpture was created during the Kamakura period (1185-1333), an era famous for its sculpture. It is currently owned by the Kongōrin-ji temple, one of the three Koto Sanzan temples of the Tendai school.The sculpture is often on display in Room 3 of the Honkan (Japanese Gallery) of the Tokyo National Museum. The last time was from July 11 to October 1 of 2017. It was previously on exhibit in 2014 (July 23 to August 31), and in 2012 (April 24 to July 16).

0209_NT

Seated Jie Daishi

How does this artwork elucidate its abstract?

Seated Jie Daishi (慈恵大師坐像) is an anonymous wooden sculpture dated from 1286 depicting Jie Daishi (Priest Ryōgen), property of the Kongōrin-ji temple in Aishō, Shiga. It is designated an Important Cultural Property.Ryōgen (912–985), also known as Jie Daishi, was the 18th chief abbot of Enryaku-ji, the head Tendai monastery located on Mount Hiei in Ōtsu. He is considered a restorer of the Tendai school of Mahayana Buddhism, and credited for reviving Enryaku-ji. It was Ryōgen's son Renmyo who requested the creation of a posthumous portrait of his father, in prayer for his rebirth in the Pure Land, the celestial realm in Mahayana Buddhism.The sculpture was created during the Kamakura period (1185-1333), an era famous for its sculpture. It is currently owned by the Kongōrin-ji temple, one of the three Koto Sanzan temples of the Tendai school.The sculpture is often on display in Room 3 of the Honkan (Japanese Gallery) of the Tokyo National Museum. The last time was from July 11 to October 1 of 2017. It was previously on exhibit in 2014 (July 23 to August 31), and in 2012 (April 24 to July 16).

0210_T

Winter (Purvītis)

Focus on Winter (Purvītis) and analyze the abstract.

Winter (Latvian: Ziema) is an Impressionist painting by the Latvian painter Vilhelms Purvītis from 1910 .

0210_NT

Winter (Purvītis)

Focus on this artwork and analyze the abstract.

Winter (Latvian: Ziema) is an Impressionist painting by the Latvian painter Vilhelms Purvītis from 1910 .

0211_T

Winter (Purvītis)

In Winter (Purvītis), how is the Description discussed?

The painting is oil on canvas with dimensions 72 x 101.3 centimeters. It is held in the collection of the Latvian National Museum of Art in Riga.

0211_NT

Winter (Purvītis)

In this artwork, how is the Description discussed?

The painting is oil on canvas with dimensions 72 x 101.3 centimeters. It is held in the collection of the Latvian National Museum of Art in Riga.

0212_T

Winter (Purvītis)

Focus on Winter (Purvītis) and explore the Analysis.

The subject is a snowy landscape with a half icy river before clusters of trees in the evening sun. Purvītis is considered the greatest Latvian painter of the 20th century.

0212_NT

Winter (Purvītis)

Focus on this artwork and explore the Analysis.

The subject is a snowy landscape with a half icy river before clusters of trees in the evening sun. Purvītis is considered the greatest Latvian painter of the 20th century.

0213_T

Berthe Morisot with a Fan

Focus on Berthe Morisot with a Fan and explain the abstract.

Berthe Morisot with a Fan is a painting by French artist Édouard Manet, executed in 1874. It belongs to the collection of the Musée d'Orsay, in Paris, but since 2000 it is in loan to the Palais des Beaux-Arts de Lille.

0213_NT

Berthe Morisot with a Fan

Focus on this artwork and explain the abstract.

Berthe Morisot with a Fan is a painting by French artist Édouard Manet, executed in 1874. It belongs to the collection of the Musée d'Orsay, in Paris, but since 2000 it is in loan to the Palais des Beaux-Arts de Lille.

0214_T

Berthe Morisot with a Fan

Explore the Provenance of this artwork, Berthe Morisot with a Fan.

The portrait entered Morisot's own collection, possibly directly from the artist, before being donated to the French state in 1999. It was initially allocated to the Musée d'Orsay, in Paris, before being moved in 2000 to the Palais des Beaux-Arts de Lille, where it still hangs.Musée d'Orsay, in Paris, before being moved in 2000 to the Palais des Beaux-Arts de Lille.

0214_NT

Berthe Morisot with a Fan

Explore the Provenance of this artwork.

The portrait entered Morisot's own collection, possibly directly from the artist, before being donated to the French state in 1999. It was initially allocated to the Musée d'Orsay, in Paris, before being moved in 2000 to the Palais des Beaux-Arts de Lille, where it still hangs.Musée d'Orsay, in Paris, before being moved in 2000 to the Palais des Beaux-Arts de Lille.

0215_T

A Dream of the Past: Sir Isumbras at the Ford

Focus on A Dream of the Past: Sir Isumbras at the Ford and discuss the abstract.

A Dream of the Past: Sir Isumbras at the Ford (1857) is a painting by John Everett Millais depicting a medieval knight helping two young peasant children over a swollen river. The children are carrying heavy burdens of wood for winter fuel. Though the title refers to the medieval poem Sir Isumbras, the painting does not illustrate a scene from the original text. However Millais's friend, the writer Tom Taylor, wrote verse in a pastiche of the original poem, describing the event depicted. This was included in the original exhibition catalogue. The background of the painting is based closely on a ruined medieval bridge which stood in Bridge of Earn, Perthshire (since demolished). Some of the village houses (in Back Street) can also be seen, though the tower house or castle to the left is imaginary. When first exhibited the painting was extremely controversial, and was attacked by many critics. Millais's former supporter John Ruskin declared it to be a "catastrophe". The painting was also satirised in a print by Frederic Sandys, entitled "A Nightmare", in which Millais himself was represented as the knight. His fellow Pre-Raphaelites Dante Gabriel Rossetti and William Holman Hunt were caricatured as the children, and the horse—transformed into a donkey—was branded with the initials of Ruskin.

0215_NT

A Dream of the Past: Sir Isumbras at the Ford

Focus on this artwork and discuss the abstract.

A Dream of the Past: Sir Isumbras at the Ford (1857) is a painting by John Everett Millais depicting a medieval knight helping two young peasant children over a swollen river. The children are carrying heavy burdens of wood for winter fuel. Though the title refers to the medieval poem Sir Isumbras, the painting does not illustrate a scene from the original text. However Millais's friend, the writer Tom Taylor, wrote verse in a pastiche of the original poem, describing the event depicted. This was included in the original exhibition catalogue. The background of the painting is based closely on a ruined medieval bridge which stood in Bridge of Earn, Perthshire (since demolished). Some of the village houses (in Back Street) can also be seen, though the tower house or castle to the left is imaginary. When first exhibited the painting was extremely controversial, and was attacked by many critics. Millais's former supporter John Ruskin declared it to be a "catastrophe". The painting was also satirised in a print by Frederic Sandys, entitled "A Nightmare", in which Millais himself was represented as the knight. His fellow Pre-Raphaelites Dante Gabriel Rossetti and William Holman Hunt were caricatured as the children, and the horse—transformed into a donkey—was branded with the initials of Ruskin.

0216_T

A Dream of the Past: Sir Isumbras at the Ford

How does A Dream of the Past: Sir Isumbras at the Ford elucidate its Controversy?

Critical commentary on the painting when it was first exhibited was largely hostile, with many critics finding the horse over-large and ugly and the expressions of the children exaggerated. Ruskin (whose wife Effie had left him for Millais a few years previously) was extremely savage, condemning the picture for making errors in "pictorial grammar" by portraying the foreground as lighter than the "more exposed" hills in the background. He insisted that Millais had suffered "not just a fall—but catastrophe". In response, Millais attempted to repaint parts of the picture before he sent it to another exhibition in Liverpool. The repainted version won a prize at the Liverpool exhibition. Millais altered the picture again in the 1880s, adding decoration to the reins and bridle.

0216_NT

A Dream of the Past: Sir Isumbras at the Ford

How does this artwork elucidate its Controversy?

Critical commentary on the painting when it was first exhibited was largely hostile, with many critics finding the horse over-large and ugly and the expressions of the children exaggerated. Ruskin (whose wife Effie had left him for Millais a few years previously) was extremely savage, condemning the picture for making errors in "pictorial grammar" by portraying the foreground as lighter than the "more exposed" hills in the background. He insisted that Millais had suffered "not just a fall—but catastrophe". In response, Millais attempted to repaint parts of the picture before he sent it to another exhibition in Liverpool. The repainted version won a prize at the Liverpool exhibition. Millais altered the picture again in the 1880s, adding decoration to the reins and bridle.

0217_T

Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States

Focus on Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States and analyze the abstract.

Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States is a large-scale oil painting completed in 1930 by American artist N. C. Wyeth of president-elect George Washington at his reception in Trenton, New Jersey during his journey to the 1789 inauguration in New York City. The mural was commissioned by the First Mechanics National Bank of Trenton, now part of Wells Fargo. It has been on display in the lobby of Thomas Edison State University since 2013. Wells Fargo donated the painting to the university in 2019, the most expensive gift ever given to the university.

0217_NT

Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States

Focus on this artwork and analyze the abstract.

Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States is a large-scale oil painting completed in 1930 by American artist N. C. Wyeth of president-elect George Washington at his reception in Trenton, New Jersey during his journey to the 1789 inauguration in New York City. The mural was commissioned by the First Mechanics National Bank of Trenton, now part of Wells Fargo. It has been on display in the lobby of Thomas Edison State University since 2013. Wells Fargo donated the painting to the university in 2019, the most expensive gift ever given to the university.

0218_T

Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States

In Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States, how is the Legacy discussed?

The mural is used as the book cover art of Crossroads of the Revolution: Trenton 1774–1783 by historian William L. Kidder.

0218_NT

Reception to Washington on April 21, 1789, at Trenton on his way to New York to Assume the Duties of the Presidency of the United States

In this artwork, how is the Legacy discussed?

The mural is used as the book cover art of Crossroads of the Revolution: Trenton 1774–1783 by historian William L. Kidder.

0219_T

Northbrook Madonna

Focus on Northbrook Madonna and explore the Description.

The Madonna is wearing a red blouse and a dark blue skirt. She and the infant are both fair skinned with light red-orange hair. Behind them is a green landscape receding to blue mountains under a blue sky. A brown structure is on the right side of the landscape.

0219_NT

Northbrook Madonna

Focus on this artwork and explore the Description.

The Madonna is wearing a red blouse and a dark blue skirt. She and the infant are both fair skinned with light red-orange hair. Behind them is a green landscape receding to blue mountains under a blue sky. A brown structure is on the right side of the landscape.

0220_T

Northbrook Madonna

Focus on Northbrook Madonna and explain the History.

The painting takes its name from having been in the Northbrook Collection in England. The painting was donated to the Worcester Art Museum in 1940. At the time it was attributed to Raphael, but scholars have since discarded that idea. There is no clear consensus on its authorship. It is said to possibly have been the work of a student of Raphael, and that he "may have designed it or supervised its execution", or that it "may have been the result of a collaboration, a practice that Raphael was known for throughout his career."In 2015 the painting was exhibited alongside the Small Cowper Madonna by Raphael, on loan from the National Gallery of Art in Washington, D.C. The exhibition's intent was to attempt to identify the artist who painted the Northbrook Madonna, as well as to "explore Raphael's masterful interpretation and the spread of his early style among followers in Central Italy".In October 2019, another previously unknown painting that particularly closely resembles the Northbrook Madonna was offered for auction by Dorotheum and was expected to sell for €300,000–400,000 ($US 340,000–450,000), ultimately selling instead for $US 2,000,000 (€1,657,190).As of 2021, the museum says the painter of the Northbrook Madonna was possibly Domenico Alfani of Umbria, a region of central Italy. Alfani and Raphael were close friends, they had studied together at the school of Pietro Perugino, and there have also been other instances in which Alfani's work has been incorrectly attributed to Raphael.

0220_NT

Northbrook Madonna

Focus on this artwork and explain the History.

The painting takes its name from having been in the Northbrook Collection in England. The painting was donated to the Worcester Art Museum in 1940. At the time it was attributed to Raphael, but scholars have since discarded that idea. There is no clear consensus on its authorship. It is said to possibly have been the work of a student of Raphael, and that he "may have designed it or supervised its execution", or that it "may have been the result of a collaboration, a practice that Raphael was known for throughout his career."In 2015 the painting was exhibited alongside the Small Cowper Madonna by Raphael, on loan from the National Gallery of Art in Washington, D.C. The exhibition's intent was to attempt to identify the artist who painted the Northbrook Madonna, as well as to "explore Raphael's masterful interpretation and the spread of his early style among followers in Central Italy".In October 2019, another previously unknown painting that particularly closely resembles the Northbrook Madonna was offered for auction by Dorotheum and was expected to sell for €300,000–400,000 ($US 340,000–450,000), ultimately selling instead for $US 2,000,000 (€1,657,190).As of 2021, the museum says the painter of the Northbrook Madonna was possibly Domenico Alfani of Umbria, a region of central Italy. Alfani and Raphael were close friends, they had studied together at the school of Pietro Perugino, and there have also been other instances in which Alfani's work has been incorrectly attributed to Raphael.

0221_T

The Prophet Jonah (Stavrakis)

Explore the abstract of this artwork, The Prophet Jonah (Stavrakis).

The Prophet Jonah was a tempera painting created by Demetrios Stavrakis. He was a Greek painter representing the Heptanese School. His nickname was Romanos. He was active during the 18th century. He flourished on the island of Zakynthos. He was the nephew of Stylianos Stavrakis and Andreas Stavrakis. Both were famous painters. He thrived during the Greek Rococo and Neoclassical eras in Greek art. Fifteen of his works survived.According to the Book of Jonah the Prophet, during his lifetime Jonah was commanded by God to travel to the city Nineveh to condemn their wickedness. He decided to flee from the presence of the lord and he set sail for Tarshish, a huge storm arose. The sailors realized that it was no ordinary storm and that Jonah was to blame. Jonah admitted that he was to blame and that if he was thrown overboard, the storm will cease. After being cast from the ship, Jonah was swallowed by a whale. He resided in the belly of the whale for three days and three nights. Completely distraught he prayed to God and promised to do what he was asked. God commanded the whale to vomit Jonah. The story inspired countless paintings about Jonah and the whale.Notable versions of Jonah and the whale were completed by famous artists from all over the world namely Pieter Lastman, Jacopo Tintoretto, and Michelangelo. Jan Sadeler I was a Flemish Renaissance engraver. His career began in Antwerp and he eventually migrated to Venice with his brother and son. He died in Venice around 1600. His engravings influenced countless Greek painters namely Theodore Poulakis, Georgios Markazinis and Konstantinos Tzanes. Stavrakis also used one of his engravings for The Prophet Jonah. The painting is part of the collection of the Byzantine Museum of Zakynthos.

0221_NT

The Prophet Jonah (Stavrakis)

Explore the abstract of this artwork.

The Prophet Jonah was a tempera painting created by Demetrios Stavrakis. He was a Greek painter representing the Heptanese School. His nickname was Romanos. He was active during the 18th century. He flourished on the island of Zakynthos. He was the nephew of Stylianos Stavrakis and Andreas Stavrakis. Both were famous painters. He thrived during the Greek Rococo and Neoclassical eras in Greek art. Fifteen of his works survived.According to the Book of Jonah the Prophet, during his lifetime Jonah was commanded by God to travel to the city Nineveh to condemn their wickedness. He decided to flee from the presence of the lord and he set sail for Tarshish, a huge storm arose. The sailors realized that it was no ordinary storm and that Jonah was to blame. Jonah admitted that he was to blame and that if he was thrown overboard, the storm will cease. After being cast from the ship, Jonah was swallowed by a whale. He resided in the belly of the whale for three days and three nights. Completely distraught he prayed to God and promised to do what he was asked. God commanded the whale to vomit Jonah. The story inspired countless paintings about Jonah and the whale.Notable versions of Jonah and the whale were completed by famous artists from all over the world namely Pieter Lastman, Jacopo Tintoretto, and Michelangelo. Jan Sadeler I was a Flemish Renaissance engraver. His career began in Antwerp and he eventually migrated to Venice with his brother and son. He died in Venice around 1600. His engravings influenced countless Greek painters namely Theodore Poulakis, Georgios Markazinis and Konstantinos Tzanes. Stavrakis also used one of his engravings for The Prophet Jonah. The painting is part of the collection of the Byzantine Museum of Zakynthos.

0222_T

The Prophet Jonah (Stavrakis)

Focus on The Prophet Jonah (Stavrakis) and discuss the History.

The materials used were egg tempera paint on a wood panel. The height is 42.8 cm (16.8 in) and the width is 37 cm (14.5 in). The painting was taken from the church Agios Spyridon Flampouriaris. Another painting with the use of similar colored paint was also taken from the same church called The Miracle of Saint Spyridon. Both paintings were painted with a distinct blue color. Ioannis Kornaros used blue in his famous painting entitled Great Art Thou (Megas Ei Kyrie). Blue was rarely used by Cretan Renaissance painters. Greek artists of the later periods also avoided blue.The whale is larger in the Sadeler engraving. The figure of Jonah also takes up more of the engraving than Stavraki's painting. In Stavraki's painting, a boat is traveling in the middle ground. In the background of the painting, the boat is clearly sinking and a large whale head protrudes from the water. In the foreground, the story ends with Jonah regurgitated from the whale's mouth. Clearly, the painting animates the landscape with brilliant shades of blue. The artist imbues change with his advanced knowledge of spatial depth and deeper space. The work escapes the maniera greca and enforces enhanced three-dimensionality. The natural figure draws from the Greek mythological God Poseidon (Neptune). Jonah is a sculpturesque, simple and weighty figure. The whale is painted in superlative detail. The artist uses shadows to accentuate dimensionality.

0222_NT

The Prophet Jonah (Stavrakis)

Focus on this artwork and discuss the History.

The materials used were egg tempera paint on a wood panel. The height is 42.8 cm (16.8 in) and the width is 37 cm (14.5 in). The painting was taken from the church Agios Spyridon Flampouriaris. Another painting with the use of similar colored paint was also taken from the same church called The Miracle of Saint Spyridon. Both paintings were painted with a distinct blue color. Ioannis Kornaros used blue in his famous painting entitled Great Art Thou (Megas Ei Kyrie). Blue was rarely used by Cretan Renaissance painters. Greek artists of the later periods also avoided blue.The whale is larger in the Sadeler engraving. The figure of Jonah also takes up more of the engraving than Stavraki's painting. In Stavraki's painting, a boat is traveling in the middle ground. In the background of the painting, the boat is clearly sinking and a large whale head protrudes from the water. In the foreground, the story ends with Jonah regurgitated from the whale's mouth. Clearly, the painting animates the landscape with brilliant shades of blue. The artist imbues change with his advanced knowledge of spatial depth and deeper space. The work escapes the maniera greca and enforces enhanced three-dimensionality. The natural figure draws from the Greek mythological God Poseidon (Neptune). Jonah is a sculpturesque, simple and weighty figure. The whale is painted in superlative detail. The artist uses shadows to accentuate dimensionality.

0223_T

Peace Concluded

How does Peace Concluded elucidate its abstract?

Peace Concluded, 1856 (1856) is a painting by John Everett Millais which depicts a wounded British officer reading The Times newspaper's report of the end of the Crimean War. It was exhibited at the Royal Academy in 1856 to mixed reviews, but was strongly endorsed by the critic John Ruskin who proclaimed that in the future it would be recognised as "among the world's best masterpieces". The central figure in the painting is a portrait of Millais's wife Effie Gray, who had previously been married to Ruskin. It is now in the Minneapolis Institute of Arts.

0223_NT

Peace Concluded

How does this artwork elucidate its abstract?

Peace Concluded, 1856 (1856) is a painting by John Everett Millais which depicts a wounded British officer reading The Times newspaper's report of the end of the Crimean War. It was exhibited at the Royal Academy in 1856 to mixed reviews, but was strongly endorsed by the critic John Ruskin who proclaimed that in the future it would be recognised as "among the world's best masterpieces". The central figure in the painting is a portrait of Millais's wife Effie Gray, who had previously been married to Ruskin. It is now in the Minneapolis Institute of Arts.

0224_T

Peace Concluded

Focus on Peace Concluded and analyze the Subject.

There is some evidence that Millais originally intended the painting to be satirical - an attack on pampered officers who were allowed to go home for so-called "urgent private affairs", while ordinary soldiers were forced to live in poor conditions in the Crimea. When the war ended, the satire seemed obsolete, so he changed it to a portrayal of a wounded officer recuperating at home.The officer is depicted lying with an Irish wolfhound at his feet, while his wife rests on the sofa, and partly on his lap; behind her head a large myrtle bush sprouts, a traditional symbol of marital fidelity. He has put aside a chapter of William Makepeace Thackeray's novel The Newcomes (the yellow booklet behind his head), which shares the story of a pious military man and his family, to read the newspaper.The two children have been playing with a wooden box in the form of Noah's ark, a popular toy in this period. It contains models of various animals, some of which have been placed on the mother's lap. Each animal symbolises one of the combatants in the Crimean war. The Gallic rooster is the symbol of France; the lion of Britain; the bear of Russia; the turkey of the Ottoman empire (based in Turkey). The child at the left has just picked a dove from the box, symbolising peace. The rich fabric of the mother's dress creates a large red patch under the toys, suggestive of blood. The girl on the right holds up her father's campaign medal, looking at him questioningly. In the background is a print by James Heath of The Death of Major Peirson by John Singleton Copley, depicting the death of a British officer defending Jersey (Millais's family home) during the Battle of Jersey (1781).

0224_NT

Peace Concluded

Focus on this artwork and analyze the Subject.

There is some evidence that Millais originally intended the painting to be satirical - an attack on pampered officers who were allowed to go home for so-called "urgent private affairs", while ordinary soldiers were forced to live in poor conditions in the Crimea. When the war ended, the satire seemed obsolete, so he changed it to a portrayal of a wounded officer recuperating at home.The officer is depicted lying with an Irish wolfhound at his feet, while his wife rests on the sofa, and partly on his lap; behind her head a large myrtle bush sprouts, a traditional symbol of marital fidelity. He has put aside a chapter of William Makepeace Thackeray's novel The Newcomes (the yellow booklet behind his head), which shares the story of a pious military man and his family, to read the newspaper.The two children have been playing with a wooden box in the form of Noah's ark, a popular toy in this period. It contains models of various animals, some of which have been placed on the mother's lap. Each animal symbolises one of the combatants in the Crimean war. The Gallic rooster is the symbol of France; the lion of Britain; the bear of Russia; the turkey of the Ottoman empire (based in Turkey). The child at the left has just picked a dove from the box, symbolising peace. The rich fabric of the mother's dress creates a large red patch under the toys, suggestive of blood. The girl on the right holds up her father's campaign medal, looking at him questioningly. In the background is a print by James Heath of The Death of Major Peirson by John Singleton Copley, depicting the death of a British officer defending Jersey (Millais's family home) during the Battle of Jersey (1781).

0225_T

Peace Concluded

In Peace Concluded, how is the Reception discussed?

Ruskin's elaborate praise of the painting emphasised Millais's increasing mastery of colour, which the critic compared to Titian. Other critics were less impressed. An opponent of the Pre-Raphaelites stated that the "coats, hats, trousers" all had more vitality than the people. Some of Millais's Pre-Raphaelite colleagues also disliked the picture. Critics were also befuddled as to the physical and apparent emotional closeness of the parents. "The agroupment [sic] of the two principle (sic) figures, although probable incident, is not easy. We first lost the extremities of the husband and have to look for them beyond the wife, and then the question arises as to what she is seated on--being upheld by a supposition that she occupies a mysterious space at the edge of the sofa." Upon further research it is possible that part of their closeness represents the closeness of Millais and Gray, as the painting and their first anniversary share the same date. There is evidence that this was not the first time that Millais has inserted his own personal life into one of his paintings.

0225_NT

Peace Concluded

In this artwork, how is the Reception discussed?

Ruskin's elaborate praise of the painting emphasised Millais's increasing mastery of colour, which the critic compared to Titian. Other critics were less impressed. An opponent of the Pre-Raphaelites stated that the "coats, hats, trousers" all had more vitality than the people. Some of Millais's Pre-Raphaelite colleagues also disliked the picture. Critics were also befuddled as to the physical and apparent emotional closeness of the parents. "The agroupment [sic] of the two principle (sic) figures, although probable incident, is not easy. We first lost the extremities of the husband and have to look for them beyond the wife, and then the question arises as to what she is seated on--being upheld by a supposition that she occupies a mysterious space at the edge of the sofa." Upon further research it is possible that part of their closeness represents the closeness of Millais and Gray, as the painting and their first anniversary share the same date. There is evidence that this was not the first time that Millais has inserted his own personal life into one of his paintings.

0226_T

The Market Cart

Focus on The Market Cart and explore the abstract.

The Market Cart is a 1786 oil on canvas painting by the British artist Thomas Gainsborough. It is one of his final landscapes, painted about 18 months before his death and is now in the collection of the National Gallery in London, to which it was presented by the British Institution's governors in 1830.

0226_NT

The Market Cart

Focus on this artwork and explore the abstract.

The Market Cart is a 1786 oil on canvas painting by the British artist Thomas Gainsborough. It is one of his final landscapes, painted about 18 months before his death and is now in the collection of the National Gallery in London, to which it was presented by the British Institution's governors in 1830.

0227_T

The Market Cart

Focus on The Market Cart and explain the Description.

The painting depicts a horse-drawn cart, with two girls sat aboard, travelling along a woodland path. It was first exhibited at Gainsborough's own home in Pall Mall in 1786. He would later add a figure of a woodman gathering bundles of wood in 1787. William Dutt, in a book published in 1901, claimed that this painting depicted Gainsborough Lane, which later gave its name to part of the South East Area, Ipswich.

0227_NT

The Market Cart

Focus on this artwork and explain the Description.

The painting depicts a horse-drawn cart, with two girls sat aboard, travelling along a woodland path. It was first exhibited at Gainsborough's own home in Pall Mall in 1786. He would later add a figure of a woodman gathering bundles of wood in 1787. William Dutt, in a book published in 1901, claimed that this painting depicted Gainsborough Lane, which later gave its name to part of the South East Area, Ipswich.

0228_T

Infanta Margarita Teresa in a Peach Dress

Explore the abstract of this artwork, Infanta Margarita Teresa in a Peach Dress.

Infanta Margarita Teresa in a Peach Dress is an oil on canvas painting by Spanish painter Diego Velázquez, from 1653 to 1654. It is one of five portraits that he painted of Infanta Margaret Theresa of Spain. It is now in the Kunsthistorisches Museum, in Vienna.

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Infanta Margarita Teresa in a Peach Dress

Explore the abstract of this artwork.

Infanta Margarita Teresa in a Peach Dress is an oil on canvas painting by Spanish painter Diego Velázquez, from 1653 to 1654. It is one of five portraits that he painted of Infanta Margaret Theresa of Spain. It is now in the Kunsthistorisches Museum, in Vienna.

0229_T

Infanta Margarita Teresa in a Peach Dress

Focus on Infanta Margarita Teresa in a Peach Dress and discuss the History.

This was the first of five paintings that Velázquez made of the Infanta Margaret Teresa of Austria, although at first it was believed that it was a portraits was her half-sister, the Infanta Maria Theresa of Spain. This painting was offered by her father, Philip IV of Spain, to the Viennese court so that her fiancé Leopold I of Habsburg could know how she looked like. Another version with variants, where the infanta seems somewhat older and her hair looks longer, is kept in the Palacio de Liria in Madrid (Casa de Alba Collection). Traditionally assumed to be an authentic work of Velázquez, it is now believed to have been painted by an assistant.

0229_NT

Infanta Margarita Teresa in a Peach Dress

Focus on this artwork and discuss the History.

This was the first of five paintings that Velázquez made of the Infanta Margaret Teresa of Austria, although at first it was believed that it was a portraits was her half-sister, the Infanta Maria Theresa of Spain. This painting was offered by her father, Philip IV of Spain, to the Viennese court so that her fiancé Leopold I of Habsburg could know how she looked like. Another version with variants, where the infanta seems somewhat older and her hair looks longer, is kept in the Palacio de Liria in Madrid (Casa de Alba Collection). Traditionally assumed to be an authentic work of Velázquez, it is now believed to have been painted by an assistant.

0230_T

Infanta Margarita Teresa in a Peach Dress

How does Infanta Margarita Teresa in a Peach Dress elucidate its Description?

The painting represents the infanta aged two or three years old. She is standing with her right hand resting on a small table where a glass vase containing roses, lilies and daisies stands. The infanta's left hand holds a closed fan.

0230_NT

Infanta Margarita Teresa in a Peach Dress

How does this artwork elucidate its Description?

The painting represents the infanta aged two or three years old. She is standing with her right hand resting on a small table where a glass vase containing roses, lilies and daisies stands. The infanta's left hand holds a closed fan.

0231_T

For Gordon Bunshaft

Focus on For Gordon Bunshaft and analyze the abstract.

For Gordon Bunshaft is a 2006 sculpture by Dan Graham, installed at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., United States. The work, which refers to American architect Gordon Bunshaft, was installed by the reflection pool of the Bunshaft-designed sculpture garden at the Hirshhorn on May 30, 2008.

0231_NT

For Gordon Bunshaft

Focus on this artwork and analyze the abstract.

For Gordon Bunshaft is a 2006 sculpture by Dan Graham, installed at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., United States. The work, which refers to American architect Gordon Bunshaft, was installed by the reflection pool of the Bunshaft-designed sculpture garden at the Hirshhorn on May 30, 2008.

0232_T

The Monarch of the Glen (painting)

In The Monarch of the Glen (painting), how is the abstract discussed?

The Monarch of the Glen is an oil-on-canvas painting of a red deer stag completed in 1851 by the English painter Sir Edwin Landseer. It was commissioned as part of a series of three panels to hang in the Palace of Westminster, in London. As one of the most popular paintings throughout the 19th century, it sold widely in reproductions in steel engraving, and was finally bought by companies to use in advertising. The painting had become something of a cliché by the mid-20th century, as "the ultimate biscuit tin image of Scotland: a bulky stag set against the violet hills and watery skies of an isolated wilderness", according to the Sunday Herald.In 2017 the National Galleries of Scotland in Edinburgh launched a successful campaign to buy the painting for £4 million, finally achieving the acquisition. The painting is now part of the collection, and is on display at the Scottish National Gallery in Room 12.

0232_NT

The Monarch of the Glen (painting)

In this artwork, how is the abstract discussed?

The Monarch of the Glen is an oil-on-canvas painting of a red deer stag completed in 1851 by the English painter Sir Edwin Landseer. It was commissioned as part of a series of three panels to hang in the Palace of Westminster, in London. As one of the most popular paintings throughout the 19th century, it sold widely in reproductions in steel engraving, and was finally bought by companies to use in advertising. The painting had become something of a cliché by the mid-20th century, as "the ultimate biscuit tin image of Scotland: a bulky stag set against the violet hills and watery skies of an isolated wilderness", according to the Sunday Herald.In 2017 the National Galleries of Scotland in Edinburgh launched a successful campaign to buy the painting for £4 million, finally achieving the acquisition. The painting is now part of the collection, and is on display at the Scottish National Gallery in Room 12.

0233_T

The Monarch of the Glen (painting)

Focus on The Monarch of the Glen (painting) and explore the History.

Landseer was a member of the Royal Academy, a favourite of Queen Victoria, and had become famous for his paintings and drawings of animals. His later works include the sculptures of the lions at the foot of Nelson's Column in Trafalgar Square. From the 1840s, he produced a series of intricately observed studies of stags based on those he had seen on the trips he had been making to the Scottish Highlands since 1824. In 1850, Landseer received a national commission to paint three subjects connected with the chase for the Refreshment Rooms of the House of Lords, for which he produced Monarch of the Glen and two other paintings. Once they were completed the House of Commons refused to grant the £150 promised for the commission (equivalent to £17,065 in 2021), and, as a result, the paintings were sold to private collectors. It has been claimed that the landscape setting shows Glen Affric.It was exhibited in London in 1851, 1874 and 1890. From the collection of William Denison, 1st Earl of Londesborough it passed in 1884 to Henry Eaton, 1st Baron Cheylesmore after whose death in 1891 it realized £7,245 at his sale at Christie's in May 1892 (equivalent to £841,778 in 2021), where it was bought by Agnew's, who resold it to T. Barratt for £8,000. In 1916 he resold it at Christie's for £5,250 (equivalent to £378,700 in 2021). The price in 1892 was the highest made by a Landseer before the 1960s, with the exception of a rumoured price of £10,000 in a private sale of The Otter Hunt in 1873, which would have then represented the highest price ever paid for a British painting.The painting was purchased in 1916 by Pears soap company and featured in their advertising. It was sold on to John Dewar & Sons distillery and became their trademark before similarly being used by Glenfiddich. The painting was then acquired as part of the purchase of Dewar's by Diageo. In 1997 Diageo sold Dewar's to Bacardi but this did not include ancillary assets. Diageo then loaned the painting to the National Museum of Scotland in Edinburgh. On 2 November 2016, Diageo announced their intention to sell the painting, as they stated it had "no direct link to our business or brands". The National Galleries of Scotland was offered the painting, valued at £8 million, at half this price, if they could raise the required £4 million. A campaign was then launched to raise the funds, which succeeded.

0233_NT

The Monarch of the Glen (painting)

Focus on this artwork and explore the History.

Landseer was a member of the Royal Academy, a favourite of Queen Victoria, and had become famous for his paintings and drawings of animals. His later works include the sculptures of the lions at the foot of Nelson's Column in Trafalgar Square. From the 1840s, he produced a series of intricately observed studies of stags based on those he had seen on the trips he had been making to the Scottish Highlands since 1824. In 1850, Landseer received a national commission to paint three subjects connected with the chase for the Refreshment Rooms of the House of Lords, for which he produced Monarch of the Glen and two other paintings. Once they were completed the House of Commons refused to grant the £150 promised for the commission (equivalent to £17,065 in 2021), and, as a result, the paintings were sold to private collectors. It has been claimed that the landscape setting shows Glen Affric.It was exhibited in London in 1851, 1874 and 1890. From the collection of William Denison, 1st Earl of Londesborough it passed in 1884 to Henry Eaton, 1st Baron Cheylesmore after whose death in 1891 it realized £7,245 at his sale at Christie's in May 1892 (equivalent to £841,778 in 2021), where it was bought by Agnew's, who resold it to T. Barratt for £8,000. In 1916 he resold it at Christie's for £5,250 (equivalent to £378,700 in 2021). The price in 1892 was the highest made by a Landseer before the 1960s, with the exception of a rumoured price of £10,000 in a private sale of The Otter Hunt in 1873, which would have then represented the highest price ever paid for a British painting.The painting was purchased in 1916 by Pears soap company and featured in their advertising. It was sold on to John Dewar & Sons distillery and became their trademark before similarly being used by Glenfiddich. The painting was then acquired as part of the purchase of Dewar's by Diageo. In 1997 Diageo sold Dewar's to Bacardi but this did not include ancillary assets. Diageo then loaned the painting to the National Museum of Scotland in Edinburgh. On 2 November 2016, Diageo announced their intention to sell the painting, as they stated it had "no direct link to our business or brands". The National Galleries of Scotland was offered the painting, valued at £8 million, at half this price, if they could raise the required £4 million. A campaign was then launched to raise the funds, which succeeded.

0234_T

The Monarch of the Glen (painting)

Focus on The Monarch of the Glen (painting) and explain the Modern derivatives and corporate logos.

According to the Sunday Herald, the painting became a cliché by the mid 20th century as "the ultimate biscuit tin image of Scotland"; its usage included a 1940s tin of McVitie's shortbread.The painting has many copiers, one, The Challenger, was an inspiration for the sides of delivery trucks for Challenge Dairies whose heritage was later added to butter cartons in stores.Glenfiddich single malt Scotch whisky has used a variation of Landseer's stag image in their logo since 1968.Company legend has it the first President of Challenge Cream and Butter Association, J.P. Murphy, now Challenge Dairy of California, chose the name from a variation of the mural, depicted on the company's current logo.In 2012 Peter Saville collaborated with Dovecot Studios Edinburgh to celebrate their centenary by creating a large scale tapestry of his work After, After, After Monarch of the Glen. This tapestry was Dovecot Studios' re-appropriation of Saville's version of Sir Peter Blake's usage of Landseer's 1851 painting.The painting has also been used on the label of tins of Baxter's Royal Game soup in the UK, and as the backdrop for the front desk of the Rosebudd Motel from the Canadian television sitcom, Schitt's Creek. The subject of the painting was cut and pasted into the sleeve of the 1983 Electric Light Orchestra album Secret Messages.

0234_NT

The Monarch of the Glen (painting)

Focus on this artwork and explain the Modern derivatives and corporate logos.

According to the Sunday Herald, the painting became a cliché by the mid 20th century as "the ultimate biscuit tin image of Scotland"; its usage included a 1940s tin of McVitie's shortbread.The painting has many copiers, one, The Challenger, was an inspiration for the sides of delivery trucks for Challenge Dairies whose heritage was later added to butter cartons in stores.Glenfiddich single malt Scotch whisky has used a variation of Landseer's stag image in their logo since 1968.Company legend has it the first President of Challenge Cream and Butter Association, J.P. Murphy, now Challenge Dairy of California, chose the name from a variation of the mural, depicted on the company's current logo.In 2012 Peter Saville collaborated with Dovecot Studios Edinburgh to celebrate their centenary by creating a large scale tapestry of his work After, After, After Monarch of the Glen. This tapestry was Dovecot Studios' re-appropriation of Saville's version of Sir Peter Blake's usage of Landseer's 1851 painting.The painting has also been used on the label of tins of Baxter's Royal Game soup in the UK, and as the backdrop for the front desk of the Rosebudd Motel from the Canadian television sitcom, Schitt's Creek. The subject of the painting was cut and pasted into the sleeve of the 1983 Electric Light Orchestra album Secret Messages.

0235_T

Comanche Feats of Horsemanship

Explore the abstract of this artwork, Comanche Feats of Horsemanship.

Comanche Feats of Horsemanship is a 1834-35 oil on canvas painting by artist George Catlin. It depicts a young man from the Comanche Nation utilizing a war on horseback technique, where he can flexibly drop his body to the side of the horse while riding it, effectively dodging enemies.Catlin described the technique in his letters and sketches in 1834, while accompanied United States Dragoons in Indian Territory:“Amongst their feats of riding, there is one that has astonished me more than anything of the kind I have ever seen, or expect to see, in my life:---a stratagem of war, learned and practiced by every young man in the tribe; by which he is able to drop his body upon the side of his horse at the instant he is passing, effectually screened from his enemies’ weapons as he lays in a horizontal position behind the body of his horse, with his heel hanging over the horses' back; by which he has the power of throwing himself up again, and changing to the other side of the horse if necessary. In this wonderful condition, he will hang whilst his horse is at fullest speed, carrying with him his bow and his shield, and also his long lance of fourteen feet in length, all or either of which he will wield upon his enemy as he passes; rising and throwing his arrows over the horse's back, or with equal ease and equal success under the horse's neck.”

0235_NT

Comanche Feats of Horsemanship

Explore the abstract of this artwork.

Comanche Feats of Horsemanship is a 1834-35 oil on canvas painting by artist George Catlin. It depicts a young man from the Comanche Nation utilizing a war on horseback technique, where he can flexibly drop his body to the side of the horse while riding it, effectively dodging enemies.Catlin described the technique in his letters and sketches in 1834, while accompanied United States Dragoons in Indian Territory:“Amongst their feats of riding, there is one that has astonished me more than anything of the kind I have ever seen, or expect to see, in my life:---a stratagem of war, learned and practiced by every young man in the tribe; by which he is able to drop his body upon the side of his horse at the instant he is passing, effectually screened from his enemies’ weapons as he lays in a horizontal position behind the body of his horse, with his heel hanging over the horses' back; by which he has the power of throwing himself up again, and changing to the other side of the horse if necessary. In this wonderful condition, he will hang whilst his horse is at fullest speed, carrying with him his bow and his shield, and also his long lance of fourteen feet in length, all or either of which he will wield upon his enemy as he passes; rising and throwing his arrows over the horse's back, or with equal ease and equal success under the horse's neck.”

0236_T

Comanche Feats of Horsemanship

Focus on Comanche Feats of Horsemanship and discuss the In popular culture.

The painting is prominently featured in the second episode of 2019 HBO show Watchmen, the sequel to the 1987 graphic novel of the same name. The episode, "Martial Feats of Comanche Horsemanship", derives its name from the painting. In the show, it hangs prominently in the house of Tulsa chief of police Judd Crawford (played by Don Johnson). According to the annotated notes of the show, written in-universe by FBI Agent Dale Petey (played by Dustin Ingram), the painting was given to Crawford by Senator Joe Keene, who wrote the Keene Act, which banned costumed vigilantes except when sanctioned by the U.S. government, setting forth the events of the graphic novel.

0236_NT

Comanche Feats of Horsemanship

Focus on this artwork and discuss the In popular culture.

The painting is prominently featured in the second episode of 2019 HBO show Watchmen, the sequel to the 1987 graphic novel of the same name. The episode, "Martial Feats of Comanche Horsemanship", derives its name from the painting. In the show, it hangs prominently in the house of Tulsa chief of police Judd Crawford (played by Don Johnson). According to the annotated notes of the show, written in-universe by FBI Agent Dale Petey (played by Dustin Ingram), the painting was given to Crawford by Senator Joe Keene, who wrote the Keene Act, which banned costumed vigilantes except when sanctioned by the U.S. government, setting forth the events of the graphic novel.

0237_T

País de volcanes

How does País de volcanes elucidate its abstract?

País de volcanes (lit. transl. Country of Volcanoes) is an outdoor fountain and sculpture by the Spanish-born Mexican artist Vicente Rojo Almazán, installed outside Mexico City's Secretariat of Foreign Affairs Building and next to the Memory and Tolerance Museum, in Mexico. It is a 1,000 square meters (11,000 sq ft) artwork that features 1,034 ocher-colored pyramids standing out of the water; the artwork was made with tezontle, a type of reddish volcanic rock. The central body of the fountain contains water that flows subtly down its sides to the area with the pyramids. For Jaime Moreno Villarreal of Letras Libres, the fountain is located slightly below the square level so that the viewer can appreciate the volcanic geography.Rojo got inspired on his travels across the country and by observing the mountain ranges of the country, its volcanoes and its pyramids. Rojo also commented that the fountain honors Lázaro Cárdenas, president of Mexico between 1934 and 1940, whom he called the "Benito Juárez of the 20th century". He also explained that the artwork's pink color was used "to soften the edges and to match the stone of the Corpus Christi temple".

0237_NT

País de volcanes

How does this artwork elucidate its abstract?

País de volcanes (lit. transl. Country of Volcanoes) is an outdoor fountain and sculpture by the Spanish-born Mexican artist Vicente Rojo Almazán, installed outside Mexico City's Secretariat of Foreign Affairs Building and next to the Memory and Tolerance Museum, in Mexico. It is a 1,000 square meters (11,000 sq ft) artwork that features 1,034 ocher-colored pyramids standing out of the water; the artwork was made with tezontle, a type of reddish volcanic rock. The central body of the fountain contains water that flows subtly down its sides to the area with the pyramids. For Jaime Moreno Villarreal of Letras Libres, the fountain is located slightly below the square level so that the viewer can appreciate the volcanic geography.Rojo got inspired on his travels across the country and by observing the mountain ranges of the country, its volcanoes and its pyramids. Rojo also commented that the fountain honors Lázaro Cárdenas, president of Mexico between 1934 and 1940, whom he called the "Benito Juárez of the 20th century". He also explained that the artwork's pink color was used "to soften the edges and to match the stone of the Corpus Christi temple".

0238_T

Open Hand Monument

Focus on Open Hand Monument and analyze the abstract.

The Open Hand Monument is a symbolic structure designed by the architect Le Corbusier and located in the Capitol Complex of the Indian city and union territory of Chandigarh. It is the emblem and symbol of the Government of Chandigarh and symbolizes "the hand to give and the hand to take; peace and prosperity, and the unity of mankind". The largest example of Le Corbusier's many Open Hand sculptures, it stands 26 metres (85 ft) high. The metal structure with vanes is 14 metres (46 ft) high, weighs 50 short tons (100,000 lb), and was designed to rotate in the wind.

0238_NT

Open Hand Monument

Focus on this artwork and analyze the abstract.

The Open Hand Monument is a symbolic structure designed by the architect Le Corbusier and located in the Capitol Complex of the Indian city and union territory of Chandigarh. It is the emblem and symbol of the Government of Chandigarh and symbolizes "the hand to give and the hand to take; peace and prosperity, and the unity of mankind". The largest example of Le Corbusier's many Open Hand sculptures, it stands 26 metres (85 ft) high. The metal structure with vanes is 14 metres (46 ft) high, weighs 50 short tons (100,000 lb), and was designed to rotate in the wind.

0239_T

Open Hand Monument

In Open Hand Monument, how is the Symbolism discussed?

The Open Hand (La Main Ouverte) in Chandigarh is a frequent theme in Le Corbusier's architecture, a symbol for him of "peace and reconciliation. It is open to give and open to receive". Le Corbusier also stated that it was a recurring idea that conveyed the "Second Machine Age".

0239_NT

Open Hand Monument

In this artwork, how is the Symbolism discussed?

The Open Hand (La Main Ouverte) in Chandigarh is a frequent theme in Le Corbusier's architecture, a symbol for him of "peace and reconciliation. It is open to give and open to receive". Le Corbusier also stated that it was a recurring idea that conveyed the "Second Machine Age".

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Open Hand Monument

Focus on Open Hand Monument and explore the Background.

Le Corbusier thought of the Open Hand Monument first in 1948, "spontaneously, or more exactly, as a result of reflections and spiritual struggles arising from feelings of anguish and disharmony which separate mankind and so often create enemies". His passion for the hand had an important role in his career beginning from the age of seventeen-and-a-half when he picked up a brick, a gesture which led to millions of bricks being laid in later years. Jane Drew felt that the symbol of Le Corbusier's philosophy should be made evident to the people of Chandigarh. Le Corbusier then perceived it as a sculptural monument to be erected in Chandigarh, the city he is credited with planning, designing, and implementing. One of his associates, Jerzy Soltan, a member of his atelier, had deliberated with him as to the type of hand to be made – whether an open hand or a fist holding a fighting device.The Open Hand became a public project rather than a private symbol when Le Corbusier planned it for the city of Chandigarh, where his associate and cousin Pierre Jeanneret was then working as chief architect and town planning advisor to the Government of Punjab, and was supervising the construction of Chandigarh. In case his preference for Chandigarh to erect the sculpture was not accepted, he had thought of an alternate location: the top of the Bhakra Dam, the 220 metres (720 ft) high dam in Nangal in Punjab. He had planned to erect the Open Hand against the scenic background of the Himalayas. He called the location he had selected the "Pit of Contemplation" (Fosse de la Consideration). The design was a huge elevated object (a wind vane), which was an "inspirational symbol of humanity unarmed, fearless, and spiritually receptive".Le Corbusier had discussed this project with the then Prime Minister of India Jawaharlal Nehru when he had visited India in 1951. He had also written to Nehru, saying that since 1948 he had been obsessed with this symbol of the Open Hand which he wished to erect at the end of the capital (Chandigarh) in the foreground of the Himalayas. Nehru had concurred with the concept. In his letter to Nehru, Le Corbusier expressed a view that it could also become a symbol of the Non Aligned Movement (NAM), an idea that Nehru mooted although ultimately it was not adopted for NAM. Later, for Le Corbusier, the project had remained linked with Nehru, and on the occasion of the 75th anniversary of Nehru's birth in 1964, he was invited to submit something for a "celebratory volume". Le Corbusier forthwith sketched his concept of the Open Hand, for it was his recurring dream which had obsessed him for six years (prior to 1954). In the sketch, he conceived the Open Hand as a 26 metres (85 ft) high sculpture which would rotate with the wind and would shine with colours such as yellow, red, green, and white in the foreground of the mountain range. Above the sketch he inscribed, "La Fin d'un monde" (The End of a World).In spite of his personal relations with the highest echelons of the Government of India, Le Corbusier faced the problem of finding funds for this "Utopian symbol of peace and reconciliation in a poor and remote though spiritually rich province". He then appealed to André Malraux to get it made as a gift of France. He even appealed to his friends in India to get his project through. In spite of these efforts, it was twenty years after his death in 1965 that the Open Hand, his dream project, was realized in 1985. It was built adjoining the location which had been intended for the governor's residence but which was later replaced by Le Corbusier's Museum of Knowledge.

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Open Hand Monument

Focus on this artwork and explore the Background.

Le Corbusier thought of the Open Hand Monument first in 1948, "spontaneously, or more exactly, as a result of reflections and spiritual struggles arising from feelings of anguish and disharmony which separate mankind and so often create enemies". His passion for the hand had an important role in his career beginning from the age of seventeen-and-a-half when he picked up a brick, a gesture which led to millions of bricks being laid in later years. Jane Drew felt that the symbol of Le Corbusier's philosophy should be made evident to the people of Chandigarh. Le Corbusier then perceived it as a sculptural monument to be erected in Chandigarh, the city he is credited with planning, designing, and implementing. One of his associates, Jerzy Soltan, a member of his atelier, had deliberated with him as to the type of hand to be made – whether an open hand or a fist holding a fighting device.The Open Hand became a public project rather than a private symbol when Le Corbusier planned it for the city of Chandigarh, where his associate and cousin Pierre Jeanneret was then working as chief architect and town planning advisor to the Government of Punjab, and was supervising the construction of Chandigarh. In case his preference for Chandigarh to erect the sculpture was not accepted, he had thought of an alternate location: the top of the Bhakra Dam, the 220 metres (720 ft) high dam in Nangal in Punjab. He had planned to erect the Open Hand against the scenic background of the Himalayas. He called the location he had selected the "Pit of Contemplation" (Fosse de la Consideration). The design was a huge elevated object (a wind vane), which was an "inspirational symbol of humanity unarmed, fearless, and spiritually receptive".Le Corbusier had discussed this project with the then Prime Minister of India Jawaharlal Nehru when he had visited India in 1951. He had also written to Nehru, saying that since 1948 he had been obsessed with this symbol of the Open Hand which he wished to erect at the end of the capital (Chandigarh) in the foreground of the Himalayas. Nehru had concurred with the concept. In his letter to Nehru, Le Corbusier expressed a view that it could also become a symbol of the Non Aligned Movement (NAM), an idea that Nehru mooted although ultimately it was not adopted for NAM. Later, for Le Corbusier, the project had remained linked with Nehru, and on the occasion of the 75th anniversary of Nehru's birth in 1964, he was invited to submit something for a "celebratory volume". Le Corbusier forthwith sketched his concept of the Open Hand, for it was his recurring dream which had obsessed him for six years (prior to 1954). In the sketch, he conceived the Open Hand as a 26 metres (85 ft) high sculpture which would rotate with the wind and would shine with colours such as yellow, red, green, and white in the foreground of the mountain range. Above the sketch he inscribed, "La Fin d'un monde" (The End of a World).In spite of his personal relations with the highest echelons of the Government of India, Le Corbusier faced the problem of finding funds for this "Utopian symbol of peace and reconciliation in a poor and remote though spiritually rich province". He then appealed to André Malraux to get it made as a gift of France. He even appealed to his friends in India to get his project through. In spite of these efforts, it was twenty years after his death in 1965 that the Open Hand, his dream project, was realized in 1985. It was built adjoining the location which had been intended for the governor's residence but which was later replaced by Le Corbusier's Museum of Knowledge.

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Open Hand Monument

Focus on Open Hand Monument and explain the Features.

The Open Hand sculpture is 26 metres (85 ft) high above a trench of 12.5 by 9 metres (41 ft × 30 ft). The metal wind vane, which is erected over a concrete platform, is 14 metres (46 ft) in height and weighs 50 tons; it appears like a flying bird. The sculpture was hand-cast in sheet metal at the Bhakra Nangal Management Board's workshop at Nangal. The surface of the vane is covered with polished steel and is fitted over a steel shaft with ball bearings to facilitate free rotation by the wind.

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Open Hand Monument

Focus on this artwork and explain the Features.

The Open Hand sculpture is 26 metres (85 ft) high above a trench of 12.5 by 9 metres (41 ft × 30 ft). The metal wind vane, which is erected over a concrete platform, is 14 metres (46 ft) in height and weighs 50 tons; it appears like a flying bird. The sculpture was hand-cast in sheet metal at the Bhakra Nangal Management Board's workshop at Nangal. The surface of the vane is covered with polished steel and is fitted over a steel shaft with ball bearings to facilitate free rotation by the wind.

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The Doshan Tappeh Street

Explore the abstract of this artwork, The Doshan Tappeh Street.

The Doshan Tappeh Street is a painting by the Iranian realism painter Kamal-ol-molk with oil on cotton duck. It was painted in 1899 and features ex-street Doshan Tappeh in Tehran. A lady in Qajar-fashion is walking in the middle of work, along the street.

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The Doshan Tappeh Street

Explore the abstract of this artwork.

The Doshan Tappeh Street is a painting by the Iranian realism painter Kamal-ol-molk with oil on cotton duck. It was painted in 1899 and features ex-street Doshan Tappeh in Tehran. A lady in Qajar-fashion is walking in the middle of work, along the street.

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David and Uriah

Focus on David and Uriah and discuss the abstract.

David and Uriah is a late, oil-on-canvas painting by Rembrandt, dated to around 1665 by the Hermitage Museum (which owns it) or c. 1666–1669 in the 2015 Late Rembrandt exhibition at the Rijksmuseum. It shows the moment when David sends Uriah the Hittite to the frontline of the war with the Ammonites so that David can sleep with Uriah's wife Bathsheba. Uriah is identified as the foreground figure, with David and Nathan in the background. It was first given this title by Abraham Bredius in his catalogue of Rembrandt's work – this has been supported by several other scholars from 1950 onwards, including in a 1965 study by Madlyn Kahr.The work has also been identified as Haman Recognises His Fate after Haman from the Book of Esther. It entered the Russian imperial collection in 1773 with that title, which the Hermitage still retains.

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David and Uriah

Focus on this artwork and discuss the abstract.

David and Uriah is a late, oil-on-canvas painting by Rembrandt, dated to around 1665 by the Hermitage Museum (which owns it) or c. 1666–1669 in the 2015 Late Rembrandt exhibition at the Rijksmuseum. It shows the moment when David sends Uriah the Hittite to the frontline of the war with the Ammonites so that David can sleep with Uriah's wife Bathsheba. Uriah is identified as the foreground figure, with David and Nathan in the background. It was first given this title by Abraham Bredius in his catalogue of Rembrandt's work – this has been supported by several other scholars from 1950 onwards, including in a 1965 study by Madlyn Kahr.The work has also been identified as Haman Recognises His Fate after Haman from the Book of Esther. It entered the Russian imperial collection in 1773 with that title, which the Hermitage still retains.

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Golden (sculpture)

How does Golden (sculpture) elucidate its abstract?

Golden is a modern art sculpture installed in the Chatterley Valley, on the outskirts of Tunstall, Stoke-on-Trent in May 2015. The £180,000 artwork is installed on the site of the former Goldendale Ironworks and was designed by the award-winning public art sculptor Wolfgang Buttress, who designed the Rise sculpture in Belfast. It is one of the tallest public art sculptures in Britain. The site was previously occupied by the Potteries Pyramid, which has been erroneously placed there since 2007.

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Golden (sculpture)

How does this artwork elucidate its abstract?

Golden is a modern art sculpture installed in the Chatterley Valley, on the outskirts of Tunstall, Stoke-on-Trent in May 2015. The £180,000 artwork is installed on the site of the former Goldendale Ironworks and was designed by the award-winning public art sculptor Wolfgang Buttress, who designed the Rise sculpture in Belfast. It is one of the tallest public art sculptures in Britain. The site was previously occupied by the Potteries Pyramid, which has been erroneously placed there since 2007.

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Golden (sculpture)

Focus on Golden (sculpture) and analyze the Funding.

The sculpture was privately funded using £180,000 of Section 106 monies set aside to provide new public art or maintain current public art in the area. The money was secured following the construction of the Blue Planet eco-warehouse built by construction firm Glazeley further along the Chatterley Valley, in the neighbouring borough of Newcastle-under-Lyme. Stoke-on-Trent city council put the project out to tender in February 2011 and a number of designs were put forward.

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Golden (sculpture)

Focus on this artwork and analyze the Funding.

The sculpture was privately funded using £180,000 of Section 106 monies set aside to provide new public art or maintain current public art in the area. The money was secured following the construction of the Blue Planet eco-warehouse built by construction firm Glazeley further along the Chatterley Valley, in the neighbouring borough of Newcastle-under-Lyme. Stoke-on-Trent city council put the project out to tender in February 2011 and a number of designs were put forward.

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Golden (sculpture)

In Golden (sculpture), how is the Design discussed?

The 69 ft (21m) sculpture is made from COR-TEN Steel, the same material as the Angel of the North and was fabricated in Nottingham. The tapered lozenge design, shaped to evoke a solitary flame such as lit the Chatterley Valley during the heyday of the Iron Works, features powerful colour changing LED lights that will illuminate 1,500 hand blown glass prisms containing wishes or memories of local residents written on handmade paper. Each prism will be held out from the main body of the sculpture by a short stalk, giving the artwork a bristly appearance. Local arts group Letting In The Light were commissioned by artist Wolfgang Buttress to collect the wishes and memories, although people won't be able to see the actual messages once the sculpture is installed, the not-for-profit organisation plans to publish them in an accompanying book.

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Golden (sculpture)

In this artwork, how is the Design discussed?

The 69 ft (21m) sculpture is made from COR-TEN Steel, the same material as the Angel of the North and was fabricated in Nottingham. The tapered lozenge design, shaped to evoke a solitary flame such as lit the Chatterley Valley during the heyday of the Iron Works, features powerful colour changing LED lights that will illuminate 1,500 hand blown glass prisms containing wishes or memories of local residents written on handmade paper. Each prism will be held out from the main body of the sculpture by a short stalk, giving the artwork a bristly appearance. Local arts group Letting In The Light were commissioned by artist Wolfgang Buttress to collect the wishes and memories, although people won't be able to see the actual messages once the sculpture is installed, the not-for-profit organisation plans to publish them in an accompanying book.

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The Family (Gross)

Focus on The Family (Gross) and explore the Description and history.

Chaim Gross' The Family is installed at West 11th Street and Bleecker Street. The bronze sculpture was cast in 1979 and dedicated on May 27, 1992. Karahan Schwarting Architectural Co. is credited as the architect and Bedi-Makky Art Foundry served as the foundry; Lithos International is credited as the pedestal's fabricator. It depicts a family of five and includes two large and three small figures. According to the New York City Department of Parks & Recreation, "The adults are reaching up, as if towards the sky, as they support three children in their hands. The adult figures float gracefully and symmetrically, portraying a harmonious family unit." The sculpture is 7 feet, 6 inches tall and wide. It rests on a Carnelian red granite pedestal that measures 6 feet tall and 4 feet wide, with a diameter of 3 feet. An inscription reads, "THE FAMILY / 1979 / CHAIM GROSS /---/ DONATED TO THE CITY OF NEW YORK, 1991 / IN HONOR OF / EDWARD I. KOCH / MAYOR 1978–1989".

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The Family (Gross)

Focus on this artwork and explore the Description and history.

Chaim Gross' The Family is installed at West 11th Street and Bleecker Street. The bronze sculpture was cast in 1979 and dedicated on May 27, 1992. Karahan Schwarting Architectural Co. is credited as the architect and Bedi-Makky Art Foundry served as the foundry; Lithos International is credited as the pedestal's fabricator. It depicts a family of five and includes two large and three small figures. According to the New York City Department of Parks & Recreation, "The adults are reaching up, as if towards the sky, as they support three children in their hands. The adult figures float gracefully and symmetrically, portraying a harmonious family unit." The sculpture is 7 feet, 6 inches tall and wide. It rests on a Carnelian red granite pedestal that measures 6 feet tall and 4 feet wide, with a diameter of 3 feet. An inscription reads, "THE FAMILY / 1979 / CHAIM GROSS /---/ DONATED TO THE CITY OF NEW YORK, 1991 / IN HONOR OF / EDWARD I. KOCH / MAYOR 1978–1989".

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Sylvette

Focus on Sylvette and explain the abstract.

Sylvette is a large concrete sculpture created by Pablo Picasso and the Norwegian artist Carl Nesjar, which was erected in the city of Rotterdam in 1970. It is located on the corner of Westersingel next to the Museum Boijmans Van Beuningen. The sculpture portrays a young woman with a ponytail. The model for the sculpture was Sylvette David, whom Picasso met in 1953 when she was 19. The sculpture was produced following the creation of a series of artworks, known as the Sylvette series, that Picasso made of his muse in a variety of artistic styles.

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Sylvette

Focus on this artwork and explain the abstract.

Sylvette is a large concrete sculpture created by Pablo Picasso and the Norwegian artist Carl Nesjar, which was erected in the city of Rotterdam in 1970. It is located on the corner of Westersingel next to the Museum Boijmans Van Beuningen. The sculpture portrays a young woman with a ponytail. The model for the sculpture was Sylvette David, whom Picasso met in 1953 when she was 19. The sculpture was produced following the creation of a series of artworks, known as the Sylvette series, that Picasso made of his muse in a variety of artistic styles.

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Sylvette

Explore the Background of this artwork, Sylvette.

Sylvette David was the daughter of a Parisian art dealer who, during the summer of 1953, met 73-year-old Picasso at his pottery studio located on Rue du Fournas in Vallauris. Finding her appearance appealing, Picasso asked her to be his model and subsequently created 60 works inspired by her over the course of two months (between April and June), including drawings, paintings and small metal sculptures. This was the most concentrated series of works that Picasso produced of a model in his lifetime. Life magazine described this era as Picasso's "Ponytail Period". Sylvette possessed the classic features that Picasso admired with blonde hair tied in a high ponytail. Within this series of artworks, Picasso depicted his model in numerous styles, including both naturalistic and cubist images.In 1957, Picasso met Carl Nesjar and was impressed with a process that he had invented for producing large concrete sculptures. They began to collaborate on producing a series of artworks, which began with Nesjar transferring Picasso's designs onto three murals on a government building in Oslo. The managing director of the Bijenkorf department store, Van der Wal, who was a member of the Urban Embellishment Committee, was impressed and wanted to install a similar artwork in Rotterdam. Initially, the committee proposed the installation of a 12 metre high sculpture by Picasso in Kralingse Hout, a greenbelt area northeast of Rotterdam, but it was withdrawn due to negative public opinion. Another artwork proposed by Picasso was again rejected in 1967, three years before the current sculpture was erected in 1970.

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Sylvette

Explore the Background of this artwork.

Sylvette David was the daughter of a Parisian art dealer who, during the summer of 1953, met 73-year-old Picasso at his pottery studio located on Rue du Fournas in Vallauris. Finding her appearance appealing, Picasso asked her to be his model and subsequently created 60 works inspired by her over the course of two months (between April and June), including drawings, paintings and small metal sculptures. This was the most concentrated series of works that Picasso produced of a model in his lifetime. Life magazine described this era as Picasso's "Ponytail Period". Sylvette possessed the classic features that Picasso admired with blonde hair tied in a high ponytail. Within this series of artworks, Picasso depicted his model in numerous styles, including both naturalistic and cubist images.In 1957, Picasso met Carl Nesjar and was impressed with a process that he had invented for producing large concrete sculptures. They began to collaborate on producing a series of artworks, which began with Nesjar transferring Picasso's designs onto three murals on a government building in Oslo. The managing director of the Bijenkorf department store, Van der Wal, who was a member of the Urban Embellishment Committee, was impressed and wanted to install a similar artwork in Rotterdam. Initially, the committee proposed the installation of a 12 metre high sculpture by Picasso in Kralingse Hout, a greenbelt area northeast of Rotterdam, but it was withdrawn due to negative public opinion. Another artwork proposed by Picasso was again rejected in 1967, three years before the current sculpture was erected in 1970.

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Sylvette

Focus on Sylvette and discuss the Description.

The Sylvette sculpture in Rotterdam is a larger version of several small sculptures that Picasso created using painted sheet metal. It measures nearly 25 ft in height and was erected in May 1970. The sculpture was originally located in front of the Building Centre in Rotterdam, but following renovations in the area, it was moved to its current location on the corner of Westersingel next to the Museum Boijmans Van Beuningen on 24-25 March 2003. It was cast in concrete with black pebbles, using a technique called "concrete sgraffito", which was developed by Picasso's friend, Carl Nesjar. The process involved Picasso painting the original sculpture with lines, which were then copied onto the concrete by Nesjar by sandblasting the surface to reveal the black pebbles. The resulting effect mimicked the hand painted lines on the original sculpture.

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Sylvette

Focus on this artwork and discuss the Description.

The Sylvette sculpture in Rotterdam is a larger version of several small sculptures that Picasso created using painted sheet metal. It measures nearly 25 ft in height and was erected in May 1970. The sculpture was originally located in front of the Building Centre in Rotterdam, but following renovations in the area, it was moved to its current location on the corner of Westersingel next to the Museum Boijmans Van Beuningen on 24-25 March 2003. It was cast in concrete with black pebbles, using a technique called "concrete sgraffito", which was developed by Picasso's friend, Carl Nesjar. The process involved Picasso painting the original sculpture with lines, which were then copied onto the concrete by Nesjar by sandblasting the surface to reveal the black pebbles. The resulting effect mimicked the hand painted lines on the original sculpture.