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0351_T

A Winter Scene with Skaters near a Castle

Explore the abstract of this artwork, A Winter Scene with Skaters near a Castle.

A Winter Scene with Skaters near a Castle is an oil-on-oak painting undertaken between 1608 and 1609 by the Dutch artist Hendrick Avercamp.As with a number of Avercamp's works, the picture is part of the Flemish tradition of painting "the harmony of human activity and the cycle of nature". He was influenced in his subject by the Little Ice Age, particularly the cold winter of 1607–08, and was the first of the Dutch painters to specialise in snow scenes.The painting was acquired by the National Gallery in London in 1891 and remains in its collection, as at 2020. On acquisition it was square in shape, but during cleaning in 1983 it was established that Avercamp's original was circular, and the surrounding pieces were made by another artist. The gallery removed the additions.

0351_NT

A Winter Scene with Skaters near a Castle

Explore the abstract of this artwork.

A Winter Scene with Skaters near a Castle is an oil-on-oak painting undertaken between 1608 and 1609 by the Dutch artist Hendrick Avercamp.As with a number of Avercamp's works, the picture is part of the Flemish tradition of painting "the harmony of human activity and the cycle of nature". He was influenced in his subject by the Little Ice Age, particularly the cold winter of 1607–08, and was the first of the Dutch painters to specialise in snow scenes.The painting was acquired by the National Gallery in London in 1891 and remains in its collection, as at 2020. On acquisition it was square in shape, but during cleaning in 1983 it was established that Avercamp's original was circular, and the surrounding pieces were made by another artist. The gallery removed the additions.

0352_T

Fountain of the Idol

Focus on Fountain of the Idol and discuss the abstract.

The Fountain of the Idol (Portuguese: Fonte do Ídolo) is a Roman fountain located in the civil parish of São José de São Lázaro, in the municipality of Braga, northern Portugal. Located in the former territory of the Callaici Bracari, the granite rock fountain/spring has Latin inscriptions, dedicated to the Gallaecian and Lusitanian gods Tongoenabiagus and Nabia (built during the era of Roman Emperor Augustus).

0352_NT

Fountain of the Idol

Focus on this artwork and discuss the abstract.

The Fountain of the Idol (Portuguese: Fonte do Ídolo) is a Roman fountain located in the civil parish of São José de São Lázaro, in the municipality of Braga, northern Portugal. Located in the former territory of the Callaici Bracari, the granite rock fountain/spring has Latin inscriptions, dedicated to the Gallaecian and Lusitanian gods Tongoenabiagus and Nabia (built during the era of Roman Emperor Augustus).

0353_T

Fountain of the Idol

How does Fountain of the Idol elucidate its History?

The construction of the fountain probably began in the 1st century, associated with a water cult, dedicated to the Lusitanian divinity Tongoenbiagus, and ordered constructed by Celicus Fronto.

0353_NT

Fountain of the Idol

How does this artwork elucidate its History?

The construction of the fountain probably began in the 1st century, associated with a water cult, dedicated to the Lusitanian divinity Tongoenbiagus, and ordered constructed by Celicus Fronto.

0354_T

Fountain of the Idol

In the context of Fountain of the Idol, analyze the Kingdom of the History.

First identified by Georg Braun in his map of Braga in 1594, the document indicated the location of the spring (marked by a channel of water).By 1695, the land on which the fountain is located was owned by Father Santos Rodrigues, vicar of São João de Castelões, in Guimarães. On his death, his property passed to his niece, D. Angélica de Barros, who later bequeathed it to her brother-in-law Vicente Gomes do Couto.In the 18th century, the accountant D. Jerónimo Contador de Argote, noted in his records: "behind the church of São João Marcos is a garden, that is called "Idol", in which is located a deep spring, which has a rock, which appears to be living rock, with a figure in long robes, that is five palms [in size]: it looks like [the figure] has a long beard, and part of his body is missing; his right hand is broken and on the left the form of a envolotório, and above the head there are letters..." Jerónimo recounts with this detailed description, a design of the fountain of the Idol that was first created by the Bishop of Urianópolis, Alves de Figueire.Domingos Fernandes da Silva attempted to acquire the lands judicially, under the pretext that the lands were part of his property in 1816.On 6 August 1861, Emílio Hübner visited the garden of the Idol, informed that name of the divinity was obscured by lime, and attempted to correct the inscription, following the notes of D. Jerónimo.A year later, King Pedro V and the marquess of Sousa examine the fountain, then offered to the monarch as a gift by its owner João de Abreu Guedes do Couto. The King wanted to remove it and install it on the grounds of Quinta dos Falcões, as a base of a lapidary museum, but desisted.Around the 1870s, the fountain was sold to Luís do Amaral Ferreira, then known as o Alemão (the German), but later passed into the hands of Maria do Carmo Sousa, wife of Luís do Amaral Ferreira (in 1875). By the 1890s, the fountain was the property of José Joaquim de Oliveira, who married Maria do Carmo Sousa.By 1894, José Leite de Vasconcelos visited the Idol's garden, and completed a study of the structure (in a letter date 27 March 1894 to Martins Sarmento). Martins Sarmento, for his part, was interested in creating a mould of the fountain for the Museum of the Sociedade Martins Sarmento, in Guimarães. Leite de Vasconcelos returned a year later to Braga, in order to examine the inscriptions, which had by then become covered in lime: he rectified the obscurity of some of the inscription, re-reading TONGOE rather than PONGOE. Leite de Vasconcelos made return visits in 1903 and 1905 to study the fountain further, hypothesizing that the human figure on the left was the religious practitioner and the image within the structure the divinity.

0354_NT

Fountain of the Idol

In the context of this artwork, analyze the Kingdom of the History.

First identified by Georg Braun in his map of Braga in 1594, the document indicated the location of the spring (marked by a channel of water).By 1695, the land on which the fountain is located was owned by Father Santos Rodrigues, vicar of São João de Castelões, in Guimarães. On his death, his property passed to his niece, D. Angélica de Barros, who later bequeathed it to her brother-in-law Vicente Gomes do Couto.In the 18th century, the accountant D. Jerónimo Contador de Argote, noted in his records: "behind the church of São João Marcos is a garden, that is called "Idol", in which is located a deep spring, which has a rock, which appears to be living rock, with a figure in long robes, that is five palms [in size]: it looks like [the figure] has a long beard, and part of his body is missing; his right hand is broken and on the left the form of a envolotório, and above the head there are letters..." Jerónimo recounts with this detailed description, a design of the fountain of the Idol that was first created by the Bishop of Urianópolis, Alves de Figueire.Domingos Fernandes da Silva attempted to acquire the lands judicially, under the pretext that the lands were part of his property in 1816.On 6 August 1861, Emílio Hübner visited the garden of the Idol, informed that name of the divinity was obscured by lime, and attempted to correct the inscription, following the notes of D. Jerónimo.A year later, King Pedro V and the marquess of Sousa examine the fountain, then offered to the monarch as a gift by its owner João de Abreu Guedes do Couto. The King wanted to remove it and install it on the grounds of Quinta dos Falcões, as a base of a lapidary museum, but desisted.Around the 1870s, the fountain was sold to Luís do Amaral Ferreira, then known as o Alemão (the German), but later passed into the hands of Maria do Carmo Sousa, wife of Luís do Amaral Ferreira (in 1875). By the 1890s, the fountain was the property of José Joaquim de Oliveira, who married Maria do Carmo Sousa.By 1894, José Leite de Vasconcelos visited the Idol's garden, and completed a study of the structure (in a letter date 27 March 1894 to Martins Sarmento). Martins Sarmento, for his part, was interested in creating a mould of the fountain for the Museum of the Sociedade Martins Sarmento, in Guimarães. Leite de Vasconcelos returned a year later to Braga, in order to examine the inscriptions, which had by then become covered in lime: he rectified the obscurity of some of the inscription, re-reading TONGOE rather than PONGOE. Leite de Vasconcelos made return visits in 1903 and 1905 to study the fountain further, hypothesizing that the human figure on the left was the religious practitioner and the image within the structure the divinity.

0355_T

Fountain of the Idol

Describe the characteristics of the Republic in Fountain of the Idol's History.

In 1936, the municipal government of Braga, under its president Francisco Araújo Malheiro, acquired the land surrounding the fountain. But, they transferred this title to the State the following year, including the fountain, the surrounding lands and access along Rua do Raio: the Direcção Geral dos Edifícios e Monumentos Nacionais (DGMEN) then demolished the public tank, water pipes, encountered an imbrex and tegula and votive inscription. Subsequent repairs occurred in 1952, while access to the space was developed in 1967.In 1980-1981, Alain Tranoy, reassessing Leite de Vasconcelos' original hypothesis, suggested that the left figure on the idol was the divinity, while the enclosed figure the practitioner/devotee. Later, António Rodríguez Colmenero defended that the fountain was part of plural sanctuary, and the figures represented the figures of Nabia and Tongo Nabiago.In 1995, a conservation study of the fountain was undertaken by professors Maria Amélia Sequeiro Braga and Luís Aires de Barros. It was followed in 1999 by an archaeological investigation of the surrounding area, and a 2000-2001, project by architect Paula Silva, in collaboration with Carla Pestana and João Ferreira, to construct a building to preserve the site and act as interpretative centre.In September 2002, a public tender process offered the project to Casimiro Ribeiro e Filhos, Lda. and CARI-Guimarães. It was followed in 2003 by a formal excavation by the Archaeology department of the Universidade do Minho, coordinated by Francisco Sande Lemos and José Manuel Freitas Leite, with the collaboration of Liliana Sampaio, Sandra Nogueira, Ricardo Silva and Artur Jaime Duarte, who were responsible for the discovering drainage canals and Roman wall structures. At the same time, in 2003, the Universidade do Minho was responsible for cleaning of the rocks and clearing the vegetation, developing a humidity-controlled environment with reception area. On the conclusion of the construction project, in 2004, the site fell under the authority of the DGEMN, the municipal government of Braga, the Universidade do Minho and the D. Diogo de Sousa Regional Museum, through a protocol between the identified parties. In 2005, the municipality of Braga was conceded the operational control of the site for a period of 25 years, and on 11 January 2006 the interpretative pavilion was inaugurated.

0355_NT

Fountain of the Idol

Describe the characteristics of the Republic in this artwork's History.

In 1936, the municipal government of Braga, under its president Francisco Araújo Malheiro, acquired the land surrounding the fountain. But, they transferred this title to the State the following year, including the fountain, the surrounding lands and access along Rua do Raio: the Direcção Geral dos Edifícios e Monumentos Nacionais (DGMEN) then demolished the public tank, water pipes, encountered an imbrex and tegula and votive inscription. Subsequent repairs occurred in 1952, while access to the space was developed in 1967.In 1980-1981, Alain Tranoy, reassessing Leite de Vasconcelos' original hypothesis, suggested that the left figure on the idol was the divinity, while the enclosed figure the practitioner/devotee. Later, António Rodríguez Colmenero defended that the fountain was part of plural sanctuary, and the figures represented the figures of Nabia and Tongo Nabiago.In 1995, a conservation study of the fountain was undertaken by professors Maria Amélia Sequeiro Braga and Luís Aires de Barros. It was followed in 1999 by an archaeological investigation of the surrounding area, and a 2000-2001, project by architect Paula Silva, in collaboration with Carla Pestana and João Ferreira, to construct a building to preserve the site and act as interpretative centre.In September 2002, a public tender process offered the project to Casimiro Ribeiro e Filhos, Lda. and CARI-Guimarães. It was followed in 2003 by a formal excavation by the Archaeology department of the Universidade do Minho, coordinated by Francisco Sande Lemos and José Manuel Freitas Leite, with the collaboration of Liliana Sampaio, Sandra Nogueira, Ricardo Silva and Artur Jaime Duarte, who were responsible for the discovering drainage canals and Roman wall structures. At the same time, in 2003, the Universidade do Minho was responsible for cleaning of the rocks and clearing the vegetation, developing a humidity-controlled environment with reception area. On the conclusion of the construction project, in 2004, the site fell under the authority of the DGEMN, the municipal government of Braga, the Universidade do Minho and the D. Diogo de Sousa Regional Museum, through a protocol between the identified parties. In 2005, the municipality of Braga was conceded the operational control of the site for a period of 25 years, and on 11 January 2006 the interpretative pavilion was inaugurated.

0356_T

Statue of Abraham Lincoln (Milwaukee)

Focus on Statue of Abraham Lincoln (Milwaukee) and explore the abstract.

A statue of Abraham Lincoln by American artist Gaetano Cecere is installed along Lincoln Memorial Drive in Milwaukee, Wisconsin, United States. The 10'6" bronze sculpture depicts a young beardless Abraham Lincoln. The former president stands looking down with both hands at his sides.

0356_NT

Statue of Abraham Lincoln (Milwaukee)

Focus on this artwork and explore the abstract.

A statue of Abraham Lincoln by American artist Gaetano Cecere is installed along Lincoln Memorial Drive in Milwaukee, Wisconsin, United States. The 10'6" bronze sculpture depicts a young beardless Abraham Lincoln. The former president stands looking down with both hands at his sides.

0357_T

Statue of Abraham Lincoln (Milwaukee)

Focus on Statue of Abraham Lincoln (Milwaukee) and explain the Description.

Gaetano Cecere's Abraham Lincoln stands tall at 10'6". The full-length portrait shows a young beardless Lincoln looking down. The cast bronze sculpture sits on a Wausau red granite pedestal. There are various inscriptions on the sculpture. The lower left corner of the back of the bronze base reads:Gaetano Cecere, Sculptor 1934. The lower right corner of the back of the bronze base reads:Jno Williams, NY 1934 The front of the base reads:ABRAHAM LINCOLN 1809–1865 PRESIDENT EMANCIPATOR MARTYRThe granite pedestal's west face reads:With malice toward none...and with all nations The pedestal's south face reads:This monument is a gift of the Grand Army of the Republic, the school children, workingmen and citizens in general of the city of Milwaukee as an expression of their love, loyalty of country and reverence for a great emancipator. Abraham Lincoln Memorial Committee, Inc. City of MilwaukeeJanuary 31, 1932. The pedestal's east face has four quotes by different individuals. These are:"One of Nature's Masterful Great Men" Richard Henry Stoddard "A Man Inspired of God" Henry Watterson "The Man of the People" Edwin Markham "The First American" James Russell Lowell.

0357_NT

Statue of Abraham Lincoln (Milwaukee)

Focus on this artwork and explain the Description.

Gaetano Cecere's Abraham Lincoln stands tall at 10'6". The full-length portrait shows a young beardless Lincoln looking down. The cast bronze sculpture sits on a Wausau red granite pedestal. There are various inscriptions on the sculpture. The lower left corner of the back of the bronze base reads:Gaetano Cecere, Sculptor 1934. The lower right corner of the back of the bronze base reads:Jno Williams, NY 1934 The front of the base reads:ABRAHAM LINCOLN 1809–1865 PRESIDENT EMANCIPATOR MARTYRThe granite pedestal's west face reads:With malice toward none...and with all nations The pedestal's south face reads:This monument is a gift of the Grand Army of the Republic, the school children, workingmen and citizens in general of the city of Milwaukee as an expression of their love, loyalty of country and reverence for a great emancipator. Abraham Lincoln Memorial Committee, Inc. City of MilwaukeeJanuary 31, 1932. The pedestal's east face has four quotes by different individuals. These are:"One of Nature's Masterful Great Men" Richard Henry Stoddard "A Man Inspired of God" Henry Watterson "The Man of the People" Edwin Markham "The First American" James Russell Lowell.

0358_T

Statue of Abraham Lincoln (Milwaukee)

Explore the Historical information of this artwork, Statue of Abraham Lincoln (Milwaukee).

Abraham Lincoln came to Milwaukee on September 30, 1859. He spoke at Wisconsin Agricultural Society, as well as to a group at the Newhall House. In 1916 the Lincoln Memorial Association, a group organized by Mayor Daniel Hoan, decided to commission a sculpture to commemorate the 60th anniversary of this event. A public subscription campaign raised $23,000 for the sculpture. This money was donated by schoolchildren, the business community, and members of the E.B Wolcott Post of the G.A.R.Unfortunately, the sculpture was not able to be built right away as the United States became involved in World War I. In 1932 the Lincoln Memorial Association hosted a national competition for the Abraham Lincoln sculpture's design. Gaetano Cecere, a sculptor from New York City, won. He designed a sculpture that showed a young beardless Lincoln, standing up with his hands at his sides. The sculptor decided to portray the President without his famous beard because Lincoln did not grow a beard until he was 52. Pencil Points, an architecture magazine, asserted that Cecere's depiction of Lincoln represented one of the best of the hundreds that had been sculpted of the Emancipator." The red granite pedestal was designed by Ferdinand Eisman.The sculpture's dedication ceremony took place on September 15, 1934.

0358_NT

Statue of Abraham Lincoln (Milwaukee)

Explore the Historical information of this artwork.

Abraham Lincoln came to Milwaukee on September 30, 1859. He spoke at Wisconsin Agricultural Society, as well as to a group at the Newhall House. In 1916 the Lincoln Memorial Association, a group organized by Mayor Daniel Hoan, decided to commission a sculpture to commemorate the 60th anniversary of this event. A public subscription campaign raised $23,000 for the sculpture. This money was donated by schoolchildren, the business community, and members of the E.B Wolcott Post of the G.A.R.Unfortunately, the sculpture was not able to be built right away as the United States became involved in World War I. In 1932 the Lincoln Memorial Association hosted a national competition for the Abraham Lincoln sculpture's design. Gaetano Cecere, a sculptor from New York City, won. He designed a sculpture that showed a young beardless Lincoln, standing up with his hands at his sides. The sculptor decided to portray the President without his famous beard because Lincoln did not grow a beard until he was 52. Pencil Points, an architecture magazine, asserted that Cecere's depiction of Lincoln represented one of the best of the hundreds that had been sculpted of the Emancipator." The red granite pedestal was designed by Ferdinand Eisman.The sculpture's dedication ceremony took place on September 15, 1934.

0359_T

Statue of Abraham Lincoln (Milwaukee)

In the context of Statue of Abraham Lincoln (Milwaukee), discuss the Location history of the Historical information.

The sculpture was originally placed on Lincoln Memorial Drive looking to the west. It was placed in storage in 1954 when the War Memorial Center construction began. It was subsequently placed in front of the Benevolent and Protective Order of Elks Club on East Wisconsin Avenue. It was once again placed on the Lincoln Memorial Drive bridge in 1986, with Lincoln's face directed towards the north within the War Memorial's plaza.

0359_NT

Statue of Abraham Lincoln (Milwaukee)

In the context of this artwork, discuss the Location history of the Historical information.

The sculpture was originally placed on Lincoln Memorial Drive looking to the west. It was placed in storage in 1954 when the War Memorial Center construction began. It was subsequently placed in front of the Benevolent and Protective Order of Elks Club on East Wisconsin Avenue. It was once again placed on the Lincoln Memorial Drive bridge in 1986, with Lincoln's face directed towards the north within the War Memorial's plaza.

0360_T

Statue of Abraham Lincoln (Milwaukee)

How does Statue of Abraham Lincoln (Milwaukee) elucidate its Artist?

Gaetano Cecere was born in New York City. He studied art at the National Academy of Art in New York and at the Beaux-Arts Institute in Paris. He was awarded the Prix de Rome in 1920, and became a Fellow of Sculpture at the American Academy in Rome from 1920–22. Afterwards Cecere moved back to New York and became a professor at Cooper Union. He was subsequently named Director of the Department of Sculpture.In 1938 Cecere was named National Acdemician. He belonged to the National Academy of Design, the National Sculpture Society, and the New York Architectural League. Cecere's work reflected his interest in the beauty and simplicity of early Greek art. In addition to the Abraham Lincoln, he designed the U.S. Army's Soldier Medal for Valor for the United States Mint, as well as the Art in Trade Club Medal for the School of Art League of New York, the John F. Stevens Monument in Montana, and the Columbia Broadcasting Guest Award Medal.

0360_NT

Statue of Abraham Lincoln (Milwaukee)

How does this artwork elucidate its Artist?

Gaetano Cecere was born in New York City. He studied art at the National Academy of Art in New York and at the Beaux-Arts Institute in Paris. He was awarded the Prix de Rome in 1920, and became a Fellow of Sculpture at the American Academy in Rome from 1920–22. Afterwards Cecere moved back to New York and became a professor at Cooper Union. He was subsequently named Director of the Department of Sculpture.In 1938 Cecere was named National Acdemician. He belonged to the National Academy of Design, the National Sculpture Society, and the New York Architectural League. Cecere's work reflected his interest in the beauty and simplicity of early Greek art. In addition to the Abraham Lincoln, he designed the U.S. Army's Soldier Medal for Valor for the United States Mint, as well as the Art in Trade Club Medal for the School of Art League of New York, the John F. Stevens Monument in Montana, and the Columbia Broadcasting Guest Award Medal.

0361_T

The Story of Maths

Focus on The Story of Maths and analyze the abstract.

The Story of Maths is a four-part British television series outlining aspects of the history of mathematics. It was a co-production between the Open University and the BBC and aired in October 2008 on BBC Four. The material was written and presented by University of Oxford professor Marcus du Sautoy. The consultants were the Open University academics Robin Wilson, professor Jeremy Gray and June Barrow-Green. Kim Duke is credited as series producer.The series comprised four programmes respectively titled: The Language of the Universe; The Genius of the East; The Frontiers of Space; and To Infinity and Beyond. Du Sautoy documents the development of mathematics covering subjects such as the invention of zero and the unproven Riemann hypothesis, a 150-year-old problem for whose solution the Clay Mathematics Institute has offered a $1,000,000 prize. He escorts viewers through the subject's history and geography. He examines the development of key mathematical ideas and shows how mathematical ideas underpin the world's science, technology, and culture. He starts his journey in ancient Egypt and finishes it by looking at current mathematics. Between he travels through Babylon, Greece, India, China, and the medieval Middle East. He also looks at mathematics in Europe and then in America and takes the viewers inside the lives of many of the greatest mathematicians.

0361_NT

The Story of Maths

Focus on this artwork and analyze the abstract.

The Story of Maths is a four-part British television series outlining aspects of the history of mathematics. It was a co-production between the Open University and the BBC and aired in October 2008 on BBC Four. The material was written and presented by University of Oxford professor Marcus du Sautoy. The consultants were the Open University academics Robin Wilson, professor Jeremy Gray and June Barrow-Green. Kim Duke is credited as series producer.The series comprised four programmes respectively titled: The Language of the Universe; The Genius of the East; The Frontiers of Space; and To Infinity and Beyond. Du Sautoy documents the development of mathematics covering subjects such as the invention of zero and the unproven Riemann hypothesis, a 150-year-old problem for whose solution the Clay Mathematics Institute has offered a $1,000,000 prize. He escorts viewers through the subject's history and geography. He examines the development of key mathematical ideas and shows how mathematical ideas underpin the world's science, technology, and culture. He starts his journey in ancient Egypt and finishes it by looking at current mathematics. Between he travels through Babylon, Greece, India, China, and the medieval Middle East. He also looks at mathematics in Europe and then in America and takes the viewers inside the lives of many of the greatest mathematicians.

0362_T

The Story of Maths

In The Story of Maths, how is the "The Language of the Universe" discussed?

In this opening programme Marcus du Sautoy looks at how important and fundamental mathematics is to our lives before looking at the mathematics of ancient Egypt, Mesopotamia, and Greece. Du Sautoy commences in Egypt where recording the patterns of the seasons and in particular the flooding of the Nile was essential to their economy. There was a need to solve practical problems such as land area for taxation purposes. Du Sautoy discovers the use of a decimal system based on the fingers on the hands, the unusual method for multiplication and division. He examines the Rhind Papyrus, the Moscow Papyrus and explores their understanding of binary numbers, fractions and solid shapes. He then travels to Babylon and discovered that the way we tell the time today is based on the Babylonian 60 base number system. So because of the Babylonians we have 60 seconds in a minute, and 60 minutes in an hour. He then shows how the Babylonians used quadratic equations to measure their land. He deals briefly with Plimpton 322. In Greece, the home of ancient Greek mathematics, he looks at the contributions of some of its greatest and well known mathematicians including Pythagoras, Plato, Euclid, and Archimedes, who are some of the people who are credited with beginning the transformation of mathematics from a tool for counting into the analytical subject we know today. A controversial figure, Pythagoras' teachings were considered suspect and his followers seen as social outcasts and a little be strange and not in the norm. There is a legend going around that one of his followers, Hippasus, was drowned when he announced his discovery of irrational numbers. As well as his work on the properties of right angled triangles, Pythagoras developed another important theory after observing musical instruments. He discovered that the intervals between harmonious musical notes are always in whole number intervals. It deals briefly with Hypatia of Alexandria.

0362_NT

The Story of Maths

In this artwork, how is the "The Language of the Universe" discussed?

In this opening programme Marcus du Sautoy looks at how important and fundamental mathematics is to our lives before looking at the mathematics of ancient Egypt, Mesopotamia, and Greece. Du Sautoy commences in Egypt where recording the patterns of the seasons and in particular the flooding of the Nile was essential to their economy. There was a need to solve practical problems such as land area for taxation purposes. Du Sautoy discovers the use of a decimal system based on the fingers on the hands, the unusual method for multiplication and division. He examines the Rhind Papyrus, the Moscow Papyrus and explores their understanding of binary numbers, fractions and solid shapes. He then travels to Babylon and discovered that the way we tell the time today is based on the Babylonian 60 base number system. So because of the Babylonians we have 60 seconds in a minute, and 60 minutes in an hour. He then shows how the Babylonians used quadratic equations to measure their land. He deals briefly with Plimpton 322. In Greece, the home of ancient Greek mathematics, he looks at the contributions of some of its greatest and well known mathematicians including Pythagoras, Plato, Euclid, and Archimedes, who are some of the people who are credited with beginning the transformation of mathematics from a tool for counting into the analytical subject we know today. A controversial figure, Pythagoras' teachings were considered suspect and his followers seen as social outcasts and a little be strange and not in the norm. There is a legend going around that one of his followers, Hippasus, was drowned when he announced his discovery of irrational numbers. As well as his work on the properties of right angled triangles, Pythagoras developed another important theory after observing musical instruments. He discovered that the intervals between harmonious musical notes are always in whole number intervals. It deals briefly with Hypatia of Alexandria.

0363_T

The Story of Maths

Focus on The Story of Maths and explore the "The Genius of the East".

With the decline of ancient Greece, the development of maths stagnated in Europe. However the progress of mathematics continued in the East. Du Sautoy describes both the Chinese use of maths in engineering projects and their belief in the mystical powers of numbers. He mentions Qin Jiushao. He describes Indian mathematicians’ invention of trigonometry; their introduction of a symbol for the number zero and their contribution to the new concepts of infinity and negative numbers. It shows Gwalior Fort where zero is inscribed on its walls. It mentions the work of Brahmagupta and Bhāskara II on the subject of zero. He mentions Madhava of Sangamagrama and Aryabhata and illustrates the - historically first exact - formula for calculating the π (pi).Du Sautoy then considers the Middle East: the invention of the new language of algebra and the evolution of a solution to cubic equations. He talks about the House of Wisdom with Muhammad ibn Mūsā al-Khwārizmī and he visits University of Al-Karaouine. He mentions Omar Khayyám. Finally he examines the spread of Eastern knowledge to the West through mathematicians such as Leonardo Fibonacci, famous for the Fibonacci sequence. He mentions Niccolò Fontana Tartaglia.

0363_NT

The Story of Maths

Focus on this artwork and explore the "The Genius of the East".

With the decline of ancient Greece, the development of maths stagnated in Europe. However the progress of mathematics continued in the East. Du Sautoy describes both the Chinese use of maths in engineering projects and their belief in the mystical powers of numbers. He mentions Qin Jiushao. He describes Indian mathematicians’ invention of trigonometry; their introduction of a symbol for the number zero and their contribution to the new concepts of infinity and negative numbers. It shows Gwalior Fort where zero is inscribed on its walls. It mentions the work of Brahmagupta and Bhāskara II on the subject of zero. He mentions Madhava of Sangamagrama and Aryabhata and illustrates the - historically first exact - formula for calculating the π (pi).Du Sautoy then considers the Middle East: the invention of the new language of algebra and the evolution of a solution to cubic equations. He talks about the House of Wisdom with Muhammad ibn Mūsā al-Khwārizmī and he visits University of Al-Karaouine. He mentions Omar Khayyám. Finally he examines the spread of Eastern knowledge to the West through mathematicians such as Leonardo Fibonacci, famous for the Fibonacci sequence. He mentions Niccolò Fontana Tartaglia.

0364_T

The Story of Maths

Focus on The Story of Maths and explain the "The Frontiers of Space".

From the seventeenth century, Europe replaced the Middle East as the engine house of mathematical ideas. Du Sautoy visits Urbino to introduce perspective using mathematician and artist, Piero della Francesca's The Flagellation of Christ.Du Sautoy proceeds to describes René Descartes realisation that it was possible to describe curved lines as equations and thus link algebra and geometry. He talks with Henk J. M. Bos about Descartes. He shows how one of Pierre de Fermat's theorems is now the basis for the codes that protect credit card transactions on the internet. He describes Isaac Newton’s development of math and physics crucial to understanding the behaviour of moving objects in engineering. He covers the Leibniz and Newton calculus controversy and the Bernoulli family. He further covers Leonhard Euler, the father of topology, and Gauss' invention of a new way of handling equations, modular arithmetic. He mentions János Bolyai. The further contribution of Gauss to our understanding of how prime numbers are distributed is covered thus providing the platform for Bernhard Riemann's theories on prime numbers. In addition Riemann worked on the properties of objects, which he saw as manifolds that could exist in multi-dimensional space.

0364_NT

The Story of Maths

Focus on this artwork and explain the "The Frontiers of Space".

From the seventeenth century, Europe replaced the Middle East as the engine house of mathematical ideas. Du Sautoy visits Urbino to introduce perspective using mathematician and artist, Piero della Francesca's The Flagellation of Christ.Du Sautoy proceeds to describes René Descartes realisation that it was possible to describe curved lines as equations and thus link algebra and geometry. He talks with Henk J. M. Bos about Descartes. He shows how one of Pierre de Fermat's theorems is now the basis for the codes that protect credit card transactions on the internet. He describes Isaac Newton’s development of math and physics crucial to understanding the behaviour of moving objects in engineering. He covers the Leibniz and Newton calculus controversy and the Bernoulli family. He further covers Leonhard Euler, the father of topology, and Gauss' invention of a new way of handling equations, modular arithmetic. He mentions János Bolyai. The further contribution of Gauss to our understanding of how prime numbers are distributed is covered thus providing the platform for Bernhard Riemann's theories on prime numbers. In addition Riemann worked on the properties of objects, which he saw as manifolds that could exist in multi-dimensional space.

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The Story of Maths

In the context of The Story of Maths, discuss the Hilbert's first problem of the "To Infinity and Beyond".

The final episode considers the great unsolved problems that confronted mathematicians in the 20th century. On 8 August 1900 David Hilbert gave a historic talk at the International Congress of Mathematicians in Paris. Hilbert posed twenty-three then unsolved problems in mathematics which he believed were of the most immediate importance. Hilbert succeeded in setting the agenda for 20thC mathematics and the programme commenced with Hilbert's first problem. Georg Cantor considered the infinite set of whole numbers 1, 2, 3 ... ∞ which he compared with the smaller set of numbers 10, 20, 30 ... ∞. Cantor showed that these two infinite sets of numbers actually had the same size as it was possible to pair each number up; 1 - 10, 2 - 20, 3 - 30 ... etc. If fractions now are considered there are an infinite number of fractions between any of the two whole numbers, suggesting that the infinity of fractions is bigger than the infinity of whole numbers. Yet Cantor was still able to pair each such fraction to a whole number 1 - 1/1; 2 - 2/1; 3 - 1/2 ... etc. through to ∞; i.e. the infinities of both fractions and whole numbers were shown to have the same size. But when the set of all infinite decimal numbers was considered, Cantor was able to prove that this produced a bigger infinity. This was because, no matter how one tried to construct such a list, Cantor was able to provide a new decimal number that was missing from that list. Thus he showed that there were different infinities, some bigger than others. However, there was a problem that Cantor was unable to solve: Is there an infinity sitting between the smaller infinity of all the fractions and the larger infinity of the decimals? Cantor believed, in what became known as the Continuum Hypothesis, that there is no such set. This would be the first problem listed by Hilbert.

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The Story of Maths

In the context of this artwork, discuss the Hilbert's first problem of the "To Infinity and Beyond".

The final episode considers the great unsolved problems that confronted mathematicians in the 20th century. On 8 August 1900 David Hilbert gave a historic talk at the International Congress of Mathematicians in Paris. Hilbert posed twenty-three then unsolved problems in mathematics which he believed were of the most immediate importance. Hilbert succeeded in setting the agenda for 20thC mathematics and the programme commenced with Hilbert's first problem. Georg Cantor considered the infinite set of whole numbers 1, 2, 3 ... ∞ which he compared with the smaller set of numbers 10, 20, 30 ... ∞. Cantor showed that these two infinite sets of numbers actually had the same size as it was possible to pair each number up; 1 - 10, 2 - 20, 3 - 30 ... etc. If fractions now are considered there are an infinite number of fractions between any of the two whole numbers, suggesting that the infinity of fractions is bigger than the infinity of whole numbers. Yet Cantor was still able to pair each such fraction to a whole number 1 - 1/1; 2 - 2/1; 3 - 1/2 ... etc. through to ∞; i.e. the infinities of both fractions and whole numbers were shown to have the same size. But when the set of all infinite decimal numbers was considered, Cantor was able to prove that this produced a bigger infinity. This was because, no matter how one tried to construct such a list, Cantor was able to provide a new decimal number that was missing from that list. Thus he showed that there were different infinities, some bigger than others. However, there was a problem that Cantor was unable to solve: Is there an infinity sitting between the smaller infinity of all the fractions and the larger infinity of the decimals? Cantor believed, in what became known as the Continuum Hypothesis, that there is no such set. This would be the first problem listed by Hilbert.

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The Story of Maths

In The Story of Maths, how is the Poincaré conjecture of the "To Infinity and Beyond" elucidated?

Next Marcus discusses Henri Poincaré's work on the discipline of 'Bendy geometry'. If two shapes can be moulded or morphed to each other's shape then they have the same topology. Poincaré was able to identify all possible two-dimensional topological surfaces; however in 1904 he came up with a topological problem, the Poincaré conjecture, that he could not solve; namely what are all the possible shapes for a 3D universe.According to the programme, the question was solved in 2002 by Grigori Perelman who linked the problem to a different area of mathematics. Perelman looked at the dynamics of the way things can flow over the shape. This enabled him to find all the ways that 3D space could be wrapped up in higher dimensions.

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The Story of Maths

In this artwork, how is the Poincaré conjecture of the "To Infinity and Beyond" elucidated?

Next Marcus discusses Henri Poincaré's work on the discipline of 'Bendy geometry'. If two shapes can be moulded or morphed to each other's shape then they have the same topology. Poincaré was able to identify all possible two-dimensional topological surfaces; however in 1904 he came up with a topological problem, the Poincaré conjecture, that he could not solve; namely what are all the possible shapes for a 3D universe.According to the programme, the question was solved in 2002 by Grigori Perelman who linked the problem to a different area of mathematics. Perelman looked at the dynamics of the way things can flow over the shape. This enabled him to find all the ways that 3D space could be wrapped up in higher dimensions.

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The Story of Maths

In the context of The Story of Maths, analyze the David Hilbert of the "To Infinity and Beyond".

The achievements of David Hilbert were now considered. In addition to Hilbert's problems, Hilbert space, Hilbert Classification and the Hilbert Inequality, du Sautoy highlights Hilbert's early work on equations as marking him out as a mathematician able to think in new ways. Hilbert showed that, while there were an infinity of equations, these equations could be constructed from a finite number of building block like sets. Hilbert could not construct that list of sets; he simply proved that it existed. In effect Hilbert had created a new more abstract style of Mathematics.

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The Story of Maths

In the context of this artwork, analyze the David Hilbert of the "To Infinity and Beyond".

The achievements of David Hilbert were now considered. In addition to Hilbert's problems, Hilbert space, Hilbert Classification and the Hilbert Inequality, du Sautoy highlights Hilbert's early work on equations as marking him out as a mathematician able to think in new ways. Hilbert showed that, while there were an infinity of equations, these equations could be constructed from a finite number of building block like sets. Hilbert could not construct that list of sets; he simply proved that it existed. In effect Hilbert had created a new more abstract style of Mathematics.

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The Story of Maths

Describe the characteristics of the Hilbert's second problem in The Story of Maths's "To Infinity and Beyond".

For 30 years Hilbert believed that mathematics was a universal language powerful enough to unlock all the truths and solve each of his 23 Problems. Yet, even as Hilbert was stating We must know, we will know, Kurt Gödel had shattered this belief; he had formulated the Incompleteness Theorem based on his study of Hilbert's second problem:This statement cannot be provedUsing a code based on prime numbers, Gödel was able to transform the above into a pure statement of arithmetic. Logically, the above cannot be false and hence Gödel had discovered the existence of mathematical statements that were true but were incapable of being proved.

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The Story of Maths

Describe the characteristics of the Hilbert's second problem in this artwork's "To Infinity and Beyond".

For 30 years Hilbert believed that mathematics was a universal language powerful enough to unlock all the truths and solve each of his 23 Problems. Yet, even as Hilbert was stating We must know, we will know, Kurt Gödel had shattered this belief; he had formulated the Incompleteness Theorem based on his study of Hilbert's second problem:This statement cannot be provedUsing a code based on prime numbers, Gödel was able to transform the above into a pure statement of arithmetic. Logically, the above cannot be false and hence Gödel had discovered the existence of mathematical statements that were true but were incapable of being proved.

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The Story of Maths

In the context of The Story of Maths, explore the Hilbert's first problem revisited of the "To Infinity and Beyond".

In 1950s American mathematician Paul Cohen took up the challenge of Cantor's Continuum Hypothesis which asks "is there is or isn't there an infinite set of number bigger than the set of whole numbers but smaller than the set of all decimals". Cohen found that there existed two equally consistent mathematical worlds. In one world the Hypothesis was true and there did not exist such a set. Yet there existed a mutually exclusive but equally consistent mathematical proof that Hypothesis was false and there was such a set. Cohen would subsequently work on Hilbert's eighth problem, the Riemann hypothesis, although without the success of his earlier work.

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The Story of Maths

In the context of this artwork, explore the Hilbert's first problem revisited of the "To Infinity and Beyond".

In 1950s American mathematician Paul Cohen took up the challenge of Cantor's Continuum Hypothesis which asks "is there is or isn't there an infinite set of number bigger than the set of whole numbers but smaller than the set of all decimals". Cohen found that there existed two equally consistent mathematical worlds. In one world the Hypothesis was true and there did not exist such a set. Yet there existed a mutually exclusive but equally consistent mathematical proof that Hypothesis was false and there was such a set. Cohen would subsequently work on Hilbert's eighth problem, the Riemann hypothesis, although without the success of his earlier work.

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The Story of Maths

In the context of The Story of Maths, explain the Hilbert's tenth problem of the "To Infinity and Beyond".

Hilbert's tenth problem asked if there was some universal method that could tell whether any equation had whole number solutions or not. The growing belief was that no so such method was possible yet the question remained, how could you prove that, no matter how ingenious you were, you would never come up with such a method. He mentions Paul Cohen. To answer this Julia Robinson, who created the Robinson Hypothesis which stated that to show that there was no such method all you had to do was cook up one equation whose solutions were a very specific set of numbers: The set of numbers needed to grow exponentially yet still be captured by the equations at the heart of Hilbert's problem. Robinson was unable to find this set. This part of the solution fell to Yuri Matiyasevich who saw how to capture the Fibonacci sequence using the equations at the heart of Hilbert's tenth.

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The Story of Maths

In the context of this artwork, explain the Hilbert's tenth problem of the "To Infinity and Beyond".

Hilbert's tenth problem asked if there was some universal method that could tell whether any equation had whole number solutions or not. The growing belief was that no so such method was possible yet the question remained, how could you prove that, no matter how ingenious you were, you would never come up with such a method. He mentions Paul Cohen. To answer this Julia Robinson, who created the Robinson Hypothesis which stated that to show that there was no such method all you had to do was cook up one equation whose solutions were a very specific set of numbers: The set of numbers needed to grow exponentially yet still be captured by the equations at the heart of Hilbert's problem. Robinson was unable to find this set. This part of the solution fell to Yuri Matiyasevich who saw how to capture the Fibonacci sequence using the equations at the heart of Hilbert's tenth.

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The Story of Maths

Explore the Algebraic geometry about the "To Infinity and Beyond" of this artwork, The Story of Maths.

The final section briefly covers algebraic geometry. Évariste Galois had refined a new language for mathematics. Galois believed mathematics should be the study of structure as opposed to number and shape. Galois had discovered new techniques to tell whether certain equations could have solutions or not. The symmetry of certain geometric objects was the key. Galois' work was picked up by André Weil who built algebraic geometry, a whole new language. Weil's work connected number theory, algebra, topology and geometry. Finally du Sautoy mentions Weil's part in the creation of the fictional mathematician Nicolas Bourbaki and another contributor to Bourbaki's output - Alexander Grothendieck.

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The Story of Maths

Explore the Algebraic geometry about the "To Infinity and Beyond" of this artwork.

The final section briefly covers algebraic geometry. Évariste Galois had refined a new language for mathematics. Galois believed mathematics should be the study of structure as opposed to number and shape. Galois had discovered new techniques to tell whether certain equations could have solutions or not. The symmetry of certain geometric objects was the key. Galois' work was picked up by André Weil who built algebraic geometry, a whole new language. Weil's work connected number theory, algebra, topology and geometry. Finally du Sautoy mentions Weil's part in the creation of the fictional mathematician Nicolas Bourbaki and another contributor to Bourbaki's output - Alexander Grothendieck.

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Veiled Rebecca

Focus on Veiled Rebecca and discuss the abstract.

The Veiled Rebecca or The Veiled Rebekah is a 19th century sculpture carved out of marble in Italian neoclassical style by the sculptor Giovanni Maria Benzoni.The sculpture is also referred as The Veiled Lady in several records. It depicts a biblical figure of Rebecca placed on a marble pedestal.Originally several copies of the sculpture were made by Benzoni in two different sizes. Presently, location of five sculptures are identified - High Museum of Art in Atlanta, Georgia, listed in the catalog as The Veiled Rebekah and dated 1864, Berkshire Museum, Pittsfield, Massachusetts Dated c. 1866,Detroit Institute of Arts, Detroit, Michigan (This smaller version (113 cm tall) is listed in the catalog as The Veiled Lady and dated 1872),Salar Jung Museum, Hyderabad, India. Dated 1876 (three years after Benzoni's death). Cedarhurst Center for the Arts, Mount Vernon, Illinois.) The one located in Detroit Institute of Arts, is the smaller version. The same is noted in 19th-century English art journal :Benzoni, the fashionable Roman sculptor, whose studio has been visited by a number of crowned heads, exhibits in his suite of showrooms, several replicas in different sizes of his Diana, his veiled Rebecca before her meeting with Isaac, the 'Four Seasons,' &c.

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Veiled Rebecca

Focus on this artwork and discuss the abstract.

The Veiled Rebecca or The Veiled Rebekah is a 19th century sculpture carved out of marble in Italian neoclassical style by the sculptor Giovanni Maria Benzoni.The sculpture is also referred as The Veiled Lady in several records. It depicts a biblical figure of Rebecca placed on a marble pedestal.Originally several copies of the sculpture were made by Benzoni in two different sizes. Presently, location of five sculptures are identified - High Museum of Art in Atlanta, Georgia, listed in the catalog as The Veiled Rebekah and dated 1864, Berkshire Museum, Pittsfield, Massachusetts Dated c. 1866,Detroit Institute of Arts, Detroit, Michigan (This smaller version (113 cm tall) is listed in the catalog as The Veiled Lady and dated 1872),Salar Jung Museum, Hyderabad, India. Dated 1876 (three years after Benzoni's death). Cedarhurst Center for the Arts, Mount Vernon, Illinois.) The one located in Detroit Institute of Arts, is the smaller version. The same is noted in 19th-century English art journal :Benzoni, the fashionable Roman sculptor, whose studio has been visited by a number of crowned heads, exhibits in his suite of showrooms, several replicas in different sizes of his Diana, his veiled Rebecca before her meeting with Isaac, the 'Four Seasons,' &c.

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Veiled Rebecca

How does Veiled Rebecca elucidate its Description?

Benzoni executed principal version of the work in 1863 for Robert Henry Winttie of London.The sculpture depicts an Old Testament scene, where Rebecca lays eyes on her husband Isaac for the first time. Rebecca's head is bowed and her gaze is lowered as she secures her veil indicating demure modesty, although her other hand partially opens up in a welcoming gesture.The fringed veil drapes over her face, head and shoulder, and dangled unevenly above her feet. Her translucent attire further highlights the contour of her body.The illusion of a diaphanous veil and clinging dress created by the craftsmanship of Benzoni are the most noteworthy and skillful aspects of the sculpture.

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Veiled Rebecca

How does this artwork elucidate its Description?

Benzoni executed principal version of the work in 1863 for Robert Henry Winttie of London.The sculpture depicts an Old Testament scene, where Rebecca lays eyes on her husband Isaac for the first time. Rebecca's head is bowed and her gaze is lowered as she secures her veil indicating demure modesty, although her other hand partially opens up in a welcoming gesture.The fringed veil drapes over her face, head and shoulder, and dangled unevenly above her feet. Her translucent attire further highlights the contour of her body.The illusion of a diaphanous veil and clinging dress created by the craftsmanship of Benzoni are the most noteworthy and skillful aspects of the sculpture.

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Veiled Rebecca

Focus on Veiled Rebecca and analyze the Style.

The Veiled Rebecca is an example of the neoclassical naturalist style, popular during the 19th century. The Veiled Lady, or Rebecca shows how Antonio Canova's and other Neoclassical sculptors' work had an influence on Benzoni as well as how well-versed he was in earlier eighteenth-century sculptural style. As Boström noted, veiled figures first appeared in post-classical art in the eighteenth century. Canova produced various female figures with translucent attire and drapes in the nineteenth century, including Hebe. Later Milanese sculptor Raffaelle Monti created Seated Veiled Woman displayed at London's Great Exhibition of 1851 and then Veiled Woman in 1854 to continued to explore this veiled female form. Benzoni was acquainted with Monti and was present in London in 1851.Veiled women were a popular sculptural motif among Benzoni and his peers in 19th-century Italy for a number of reasons. The first was that these works highlighted the artistry of the sculptor since achieving the illusion that stone is fabric clinging to a body requires a high level of skill. Secondly, a veiled woman had become an allegory for Italian unification.

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Veiled Rebecca

Focus on this artwork and analyze the Style.

The Veiled Rebecca is an example of the neoclassical naturalist style, popular during the 19th century. The Veiled Lady, or Rebecca shows how Antonio Canova's and other Neoclassical sculptors' work had an influence on Benzoni as well as how well-versed he was in earlier eighteenth-century sculptural style. As Boström noted, veiled figures first appeared in post-classical art in the eighteenth century. Canova produced various female figures with translucent attire and drapes in the nineteenth century, including Hebe. Later Milanese sculptor Raffaelle Monti created Seated Veiled Woman displayed at London's Great Exhibition of 1851 and then Veiled Woman in 1854 to continued to explore this veiled female form. Benzoni was acquainted with Monti and was present in London in 1851.Veiled women were a popular sculptural motif among Benzoni and his peers in 19th-century Italy for a number of reasons. The first was that these works highlighted the artistry of the sculptor since achieving the illusion that stone is fabric clinging to a body requires a high level of skill. Secondly, a veiled woman had become an allegory for Italian unification.

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Statue of Harvey W. Scott

In Statue of Harvey W. Scott, how is the abstract discussed?

A bronze sculpture of American pioneer, newspaper editor and historian Harvey W. Scott (1838–1910) by Gutzon Borglum, sometimes called Harvey Scott or Harvey W. Scott, was installed on Mount Tabor in Portland, Oregon, United States, until being toppled in October 2020. Modeled in 1930 and sculpted in 1933, the statue is among Borglum's final works and was donated by Scott's family. The memorial's dedication ceremony was attended by 3,000 people, including Governor Julius Meier, Portland mayor Joseph K. Carson, and Chester Harvey Rowell, as well as members of Scott's family, who created a maintenance fund during the 1940s. The statue has been administered by the City of Portland's Bureau of Parks and Recreation, and later the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. The sculpture has been vandalized multiple times and has been featured in many Portland guides as a feature of Mount Tabor.

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Statue of Harvey W. Scott

In this artwork, how is the abstract discussed?

A bronze sculpture of American pioneer, newspaper editor and historian Harvey W. Scott (1838–1910) by Gutzon Borglum, sometimes called Harvey Scott or Harvey W. Scott, was installed on Mount Tabor in Portland, Oregon, United States, until being toppled in October 2020. Modeled in 1930 and sculpted in 1933, the statue is among Borglum's final works and was donated by Scott's family. The memorial's dedication ceremony was attended by 3,000 people, including Governor Julius Meier, Portland mayor Joseph K. Carson, and Chester Harvey Rowell, as well as members of Scott's family, who created a maintenance fund during the 1940s. The statue has been administered by the City of Portland's Bureau of Parks and Recreation, and later the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. The sculpture has been vandalized multiple times and has been featured in many Portland guides as a feature of Mount Tabor.

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Statue of Harvey W. Scott

Focus on Statue of Harvey W. Scott and explore the Description.

Gutzon Borglum's two-ton bronze statue depicts a "scowling" Harvey W. Scott (1838–1910), an American pioneer and long-time editor of The Oregonian newspaper, wearing a knee-length coat and pointing his extended right arm westward toward Downtown Portland and the future. The memorial was installed in Mount Tabor Park, a city park on Mount Tabor, a dormant volcano in southeast Portland's eponymous neighborhood.The statue of Scott was displayed on the summit's southern side and faces southeast, toward Mount Scott; the "towering" statue sat on a basalt terrace with two concrete benches and steps. It measures approximately 132 by 44 by 47 inches (3.4 m × 1.1 m × 1.2 m), and has a granite base measuring approximately 102 by 68 by 73 inches (2.6 m × 1.7 m × 1.9 m). An inscription of the plinth's side edge reads; GUTZON – BORGLUM – SCULPTOR and its back edge bears the inscription; KUNST – FDRY NEW YORK. The front of the base reads: HARVEY W. SCOTT / 1838–1910 / PIONEER / EDITOR / PUBLISHER / MOLDER OF OPINION / IN OREGON / AND THE NATION.

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Statue of Harvey W. Scott

Focus on this artwork and explore the Description.

Gutzon Borglum's two-ton bronze statue depicts a "scowling" Harvey W. Scott (1838–1910), an American pioneer and long-time editor of The Oregonian newspaper, wearing a knee-length coat and pointing his extended right arm westward toward Downtown Portland and the future. The memorial was installed in Mount Tabor Park, a city park on Mount Tabor, a dormant volcano in southeast Portland's eponymous neighborhood.The statue of Scott was displayed on the summit's southern side and faces southeast, toward Mount Scott; the "towering" statue sat on a basalt terrace with two concrete benches and steps. It measures approximately 132 by 44 by 47 inches (3.4 m × 1.1 m × 1.2 m), and has a granite base measuring approximately 102 by 68 by 73 inches (2.6 m × 1.7 m × 1.9 m). An inscription of the plinth's side edge reads; GUTZON – BORGLUM – SCULPTOR and its back edge bears the inscription; KUNST – FDRY NEW YORK. The front of the base reads: HARVEY W. SCOTT / 1838–1910 / PIONEER / EDITOR / PUBLISHER / MOLDER OF OPINION / IN OREGON / AND THE NATION.

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Statue of Harvey W. Scott

Focus on Statue of Harvey W. Scott and explain the History.

The statue of Scott is among Borglum's final works; it was modeled in Borglum's studio in 1930 while he was also working on Mount Rushmore, South Dakota, and sculpted in 1933. It was gifted by Scott's wife Margaret, who left a $20,000 bequest upon her death in 1925, and other family members.In 1928, a resolution accepting a statue was presented to city council, and Leslie M. Scott confirmed six installation sites were being considered, including Mount Scott Park, the North and South Park Blocks, Terwilliger Boulevard, and Washington Park. On August 31, The Oregonian said Borglum planned to complete and install the work "within a year"; once finished, the design or a model would be inspected by the council, who would help determine an appropriate site. Leslie Scott and Ambrose B. Scott served as executors of the estate, and were tasked with presenting the statue to Portland.

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Statue of Harvey W. Scott

Focus on this artwork and explain the History.

The statue of Scott is among Borglum's final works; it was modeled in Borglum's studio in 1930 while he was also working on Mount Rushmore, South Dakota, and sculpted in 1933. It was gifted by Scott's wife Margaret, who left a $20,000 bequest upon her death in 1925, and other family members.In 1928, a resolution accepting a statue was presented to city council, and Leslie M. Scott confirmed six installation sites were being considered, including Mount Scott Park, the North and South Park Blocks, Terwilliger Boulevard, and Washington Park. On August 31, The Oregonian said Borglum planned to complete and install the work "within a year"; once finished, the design or a model would be inspected by the council, who would help determine an appropriate site. Leslie Scott and Ambrose B. Scott served as executors of the estate, and were tasked with presenting the statue to Portland.

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Statue of Harvey W. Scott

Explore the Construction and site selection about the History of this artwork, Statue of Harvey W. Scott.

The Scott family selected Borglum to complete the memorial, and the monument's site was chosen by the sculptor and the city's arts commission. Borglum selected the location in 1928 during a visit to Portland with his son Lincoln as guests of Leslie Scott and Colonel A. E. Clark; Borglum believed the city had many suitable sites for the monument and selected Mount Tabor as "... the most poetic, the most beautiful of all". During his visit, he told The Oregonian:Of course, this country is littered with statues of angels and blindfolded women holding balances aloft, but what of the glorious history of this great nation, the greatest nation ever on earth? Our statues should be of the men who made our history. Scott, out here in Oregon, was one of them. The newly-formed arts commission approved the dormant volcano's south slope as the installation site in May 1930. In October, Leslie Scott confirmed the statue would be larger than the original seven-foot (2.1 m) design and The Oregonian reported May 1931 as the planned unveiling date. By then, Borglum had spent three months creating the clay model from which casts in plaster were made, following a series of 30-inch (76 cm) clay models. The molds were shipped to Chicago to be filled with bronze. Borglum was assisted by Ivan Houser, and the sculpture was cast by New York's Kunst Foundry. The Oregonian also described plans for the monument's pedestal and base: The pedestal of granite will be eight feet high and four feet square and will weigh 20 tons. It will have the general lines of the Doric column, expressing strength; with a slight bulge and with fluting on the corners. The pedestal will have a base slightly larger than its dimensions. The inscription will be placed on the granite block. It has not been selected yet. When the statue arrived in Portland on April 10, 1931, work on the construction of a temporary wooden base had already started. Several days later, the sculpture was displayed on the wooden structure at Mount Tabor's summit to allow arts commission members to finalize the design for the permanent granite base. The statue's exact placement and orientation were determined in February 1932 by the arts commission, members of Oregon's American Institute of Architects chapter, and Leslie Scott, who spent hours testing options. Two temporary bases were used while final placement decisions were made.

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Statue of Harvey W. Scott

Explore the Construction and site selection about the History of this artwork.

The Scott family selected Borglum to complete the memorial, and the monument's site was chosen by the sculptor and the city's arts commission. Borglum selected the location in 1928 during a visit to Portland with his son Lincoln as guests of Leslie Scott and Colonel A. E. Clark; Borglum believed the city had many suitable sites for the monument and selected Mount Tabor as "... the most poetic, the most beautiful of all". During his visit, he told The Oregonian:Of course, this country is littered with statues of angels and blindfolded women holding balances aloft, but what of the glorious history of this great nation, the greatest nation ever on earth? Our statues should be of the men who made our history. Scott, out here in Oregon, was one of them. The newly-formed arts commission approved the dormant volcano's south slope as the installation site in May 1930. In October, Leslie Scott confirmed the statue would be larger than the original seven-foot (2.1 m) design and The Oregonian reported May 1931 as the planned unveiling date. By then, Borglum had spent three months creating the clay model from which casts in plaster were made, following a series of 30-inch (76 cm) clay models. The molds were shipped to Chicago to be filled with bronze. Borglum was assisted by Ivan Houser, and the sculpture was cast by New York's Kunst Foundry. The Oregonian also described plans for the monument's pedestal and base: The pedestal of granite will be eight feet high and four feet square and will weigh 20 tons. It will have the general lines of the Doric column, expressing strength; with a slight bulge and with fluting on the corners. The pedestal will have a base slightly larger than its dimensions. The inscription will be placed on the granite block. It has not been selected yet. When the statue arrived in Portland on April 10, 1931, work on the construction of a temporary wooden base had already started. Several days later, the sculpture was displayed on the wooden structure at Mount Tabor's summit to allow arts commission members to finalize the design for the permanent granite base. The statue's exact placement and orientation were determined in February 1932 by the arts commission, members of Oregon's American Institute of Architects chapter, and Leslie Scott, who spent hours testing options. Two temporary bases were used while final placement decisions were made.

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Statue of Harvey W. Scott

In the context of Statue of Harvey W. Scott, discuss the Dedication and subsequent maintenance of the History.

The monument arrived in July 1933 and was dedicated at an "impressive" ceremony that was attended by 3,000 people, including "numerous out-of-town notables". Speakers included Governor Julius Meier, San Francisco Chronicle editor Chester Harvey Rowell, and Joseph Schafer, the superintendent of the Wisconsin Historical Society, who described Scott's impact on the Pacific Northwest. Leslie Scott formally presented the statue, which was unveiled by Scott's granddaughter Elizabeth and received by mayor Joseph K. Carson. Clark served as the program's general chairman and an invocation was delivered by J. Whitcomb Brougher, pastor of Boston's Tremont Temple Baptist church. Also in attendance were members of Scott's family, who in the 1940s created the Scott Statue Memorial Fund with $5,000 to be used for future maintenance.In 1953, the statue was placed into temporary storage while the original pedestal, which had developed a crack, was replaced with a new bronze one. The work was surveyed and deemed "well maintained" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993, when the statue was administered by the City of Portland's Bureau of Parks and Recreation. The sculpture was later administered by the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council (RACC). In 2010, RACC oversaw an $8,000 restoration of the monument that was partly funded by the Oregon Cultural Trust.

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Statue of Harvey W. Scott

In the context of this artwork, discuss the Dedication and subsequent maintenance of the History.

The monument arrived in July 1933 and was dedicated at an "impressive" ceremony that was attended by 3,000 people, including "numerous out-of-town notables". Speakers included Governor Julius Meier, San Francisco Chronicle editor Chester Harvey Rowell, and Joseph Schafer, the superintendent of the Wisconsin Historical Society, who described Scott's impact on the Pacific Northwest. Leslie Scott formally presented the statue, which was unveiled by Scott's granddaughter Elizabeth and received by mayor Joseph K. Carson. Clark served as the program's general chairman and an invocation was delivered by J. Whitcomb Brougher, pastor of Boston's Tremont Temple Baptist church. Also in attendance were members of Scott's family, who in the 1940s created the Scott Statue Memorial Fund with $5,000 to be used for future maintenance.In 1953, the statue was placed into temporary storage while the original pedestal, which had developed a crack, was replaced with a new bronze one. The work was surveyed and deemed "well maintained" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993, when the statue was administered by the City of Portland's Bureau of Parks and Recreation. The sculpture was later administered by the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council (RACC). In 2010, RACC oversaw an $8,000 restoration of the monument that was partly funded by the Oregon Cultural Trust.

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Statue of Harvey W. Scott

In Statue of Harvey W. Scott, how is the Vandalism and replacement of the History elucidated?

The statue was vandalized in May 2019 and graffiti removal was required. In November the same year, the artwork was again vandalized by an unknown perpetrator, who wrote "No Thanks Land" and "Chinook Land" in red paint.The statue was toppled in October 2020, following a series of statue removals in Portland during the George Floyd protests. Earlier in the year, demonstrators toppled statues of Thomas Jefferson and George Washington, and the statue of Abraham Lincoln and Theodore Roosevelt, Rough Rider were toppled during the Indigenous Peoples Day of Rage (October 11).In February 2021, a bust of York by an unknown artist appeared on the pedestal. He was depicted as bald and a plaque read, "The first African American to cross North America and reach the Pacific Coast". Parks commissioner Carmen Rubio said, "We should regard this installation for both the important piece that it is, as well as a much-needed reminder to city leaders to hasten our work of rooting out white supremacy in our institutions—particularly our city government, where many processes exclude community participation and discourage engagement." As of February 20, the city planned to keep the bust on display, according to Rubio, to "ensure our city policies regarding monuments, recognitions, and parks-affiliated names reflect our commitment to a fuller, more racially inclusive history of contributions to Portland". Adena Long, director of Portland Parks & Recreation, said the bureau was surprised by the installation. The bust was toppled in July 2021.

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Statue of Harvey W. Scott

In this artwork, how is the Vandalism and replacement of the History elucidated?

The statue was vandalized in May 2019 and graffiti removal was required. In November the same year, the artwork was again vandalized by an unknown perpetrator, who wrote "No Thanks Land" and "Chinook Land" in red paint.The statue was toppled in October 2020, following a series of statue removals in Portland during the George Floyd protests. Earlier in the year, demonstrators toppled statues of Thomas Jefferson and George Washington, and the statue of Abraham Lincoln and Theodore Roosevelt, Rough Rider were toppled during the Indigenous Peoples Day of Rage (October 11).In February 2021, a bust of York by an unknown artist appeared on the pedestal. He was depicted as bald and a plaque read, "The first African American to cross North America and reach the Pacific Coast". Parks commissioner Carmen Rubio said, "We should regard this installation for both the important piece that it is, as well as a much-needed reminder to city leaders to hasten our work of rooting out white supremacy in our institutions—particularly our city government, where many processes exclude community participation and discourage engagement." As of February 20, the city planned to keep the bust on display, according to Rubio, to "ensure our city policies regarding monuments, recognitions, and parks-affiliated names reflect our commitment to a fuller, more racially inclusive history of contributions to Portland". Adena Long, director of Portland Parks & Recreation, said the bureau was surprised by the installation. The bust was toppled in July 2021.

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Statue of Harvey W. Scott

Focus on Statue of Harvey W. Scott and analyze the Reception.

In 1931, The Oregonian said Scott is depicted with a "powerful pose, symbolizing the idea of the man of vision", and Leslie Scott was quoted as saying, "Borglum has done a fine piece of modeling, and I think our people here will value it both as a work of art and as a good standing portrait". The newspaper's Janet Moore described the statue as "heroic" in 1951 and wrote, "Portland is fortunate to possess this excellent specimen of Borglum's work".In 1965, John Painter Jr. of The Oregonian called the statue "dramatic" and said most Portland residents were unfamiliar with the "dilemma" over the artwork's installation site. In his "fascinating history of 25 Portland public-art gems" (2017), the newspaper's Douglas Perry said the sculpture "is further proof that Borglum liked to think big", with Scott "[having] the stance and look of a radical politician".The statue has been included in published walking, hiking, biking, and other exploratory guides of Portland, as well as road trips of the Pacific Northwest, as a feature of Mount Tabor.

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Statue of Harvey W. Scott

Focus on this artwork and analyze the Reception.

In 1931, The Oregonian said Scott is depicted with a "powerful pose, symbolizing the idea of the man of vision", and Leslie Scott was quoted as saying, "Borglum has done a fine piece of modeling, and I think our people here will value it both as a work of art and as a good standing portrait". The newspaper's Janet Moore described the statue as "heroic" in 1951 and wrote, "Portland is fortunate to possess this excellent specimen of Borglum's work".In 1965, John Painter Jr. of The Oregonian called the statue "dramatic" and said most Portland residents were unfamiliar with the "dilemma" over the artwork's installation site. In his "fascinating history of 25 Portland public-art gems" (2017), the newspaper's Douglas Perry said the sculpture "is further proof that Borglum liked to think big", with Scott "[having] the stance and look of a radical politician".The statue has been included in published walking, hiking, biking, and other exploratory guides of Portland, as well as road trips of the Pacific Northwest, as a feature of Mount Tabor.

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A Sculpture for Mary Wollstonecraft

In A Sculpture for Mary Wollstonecraft, how is the abstract discussed?

A Sculpture for Mary Wollstonecraft is a public sculpture commemorating the 18th-century feminist writer and advocate Mary Wollstonecraft in Newington Green, London. A work of the British artist Maggi Hambling, it was unveiled on 10 November 2020.

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A Sculpture for Mary Wollstonecraft

In this artwork, how is the abstract discussed?

A Sculpture for Mary Wollstonecraft is a public sculpture commemorating the 18th-century feminist writer and advocate Mary Wollstonecraft in Newington Green, London. A work of the British artist Maggi Hambling, it was unveiled on 10 November 2020.

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A Sculpture for Mary Wollstonecraft

Focus on A Sculpture for Mary Wollstonecraft and explore the Description.

The work is a representation of a naked female figure, emerging out of organic matter which the BBC described as "a swirling mingle of female forms". Wollstonecraft's most famous quotation, "I do not wish women to have power over men but over themselves", is inscribed on the plinth. The sculpture is inspired by Wollstonecraft's claim to be "the first of a new genus". The sculpture is sited opposite the Newington Green Unitarian Church that Wollstonecraft attended.

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A Sculpture for Mary Wollstonecraft

Focus on this artwork and explore the Description.

The work is a representation of a naked female figure, emerging out of organic matter which the BBC described as "a swirling mingle of female forms". Wollstonecraft's most famous quotation, "I do not wish women to have power over men but over themselves", is inscribed on the plinth. The sculpture is inspired by Wollstonecraft's claim to be "the first of a new genus". The sculpture is sited opposite the Newington Green Unitarian Church that Wollstonecraft attended.

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A Sculpture for Mary Wollstonecraft

Focus on A Sculpture for Mary Wollstonecraft and explain the Campaign for the sculpture.

The "Mary on the Green" group was founded in 2010 to campaign and raise money for a statue of Wollstonecraft on Newington Green. The group reached its target of £143,300 in 2019. The campaign was chaired by Bee Rowlatt who is a writer and journalist. Rowlatt is also the founding trustee of the Wollstonecraft Society, a human rights education charity. Hambling was commissioned to create the work in 2018.Hambling's design for the sculpture was selected unanimously by a panel of curators and the public, and chosen over the design of artist Martin Jennings.

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A Sculpture for Mary Wollstonecraft

Focus on this artwork and explain the Campaign for the sculpture.

The "Mary on the Green" group was founded in 2010 to campaign and raise money for a statue of Wollstonecraft on Newington Green. The group reached its target of £143,300 in 2019. The campaign was chaired by Bee Rowlatt who is a writer and journalist. Rowlatt is also the founding trustee of the Wollstonecraft Society, a human rights education charity. Hambling was commissioned to create the work in 2018.Hambling's design for the sculpture was selected unanimously by a panel of curators and the public, and chosen over the design of artist Martin Jennings.

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A Sculpture for Mary Wollstonecraft

Explore the Reaction and commentary of this artwork, A Sculpture for Mary Wollstonecraft.

Some critics perceived the figure as a depiction of Mary Wollstonecraft, however the campaign behind it describes it as "a sculpture of an idea". Hambling intended the figure to represent an everywoman, signifying the birth of the feminist movement, rather than Wollstonecraft herself. The campaign describes the sculpture's form as a deliberate opposition to "traditional male heroic statuary" of the Victorian era, instead showing a small figure who "has evolved organically from, is supported by, and does not forget, all her predecessors".The sculpture was criticised for its depiction of nudity and objectification of the female form, with some considering it inappropriate to represent a feminist figure in such a light. Hambling defended her work by saying that the figure was not created in the historical likeness of Wollstonecraft, and that she felt as though "clothes would have restricted her. Statues in historic costume look like they belong to history because of their clothes. It's crucial that she is 'now'." Other hostile responses wrote that many personifications of pure womanhood already existed in classic statuary in various nameless angels or characters like Marianne, and that a new sculpture directly of a successful female figure such as Wollstonecraft would have been preferred rather than yet another abstract woman. Other criticisms simply thought that the sculpture was ugly and generic, making the figure come across as a blank robot.A crowd-funded campaign was launched shortly following the reveal of Hambling's sculpture to create a statue based on Martin Jennings' alternate design.

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A Sculpture for Mary Wollstonecraft

Explore the Reaction and commentary of this artwork.

Some critics perceived the figure as a depiction of Mary Wollstonecraft, however the campaign behind it describes it as "a sculpture of an idea". Hambling intended the figure to represent an everywoman, signifying the birth of the feminist movement, rather than Wollstonecraft herself. The campaign describes the sculpture's form as a deliberate opposition to "traditional male heroic statuary" of the Victorian era, instead showing a small figure who "has evolved organically from, is supported by, and does not forget, all her predecessors".The sculpture was criticised for its depiction of nudity and objectification of the female form, with some considering it inappropriate to represent a feminist figure in such a light. Hambling defended her work by saying that the figure was not created in the historical likeness of Wollstonecraft, and that she felt as though "clothes would have restricted her. Statues in historic costume look like they belong to history because of their clothes. It's crucial that she is 'now'." Other hostile responses wrote that many personifications of pure womanhood already existed in classic statuary in various nameless angels or characters like Marianne, and that a new sculpture directly of a successful female figure such as Wollstonecraft would have been preferred rather than yet another abstract woman. Other criticisms simply thought that the sculpture was ugly and generic, making the figure come across as a blank robot.A crowd-funded campaign was launched shortly following the reveal of Hambling's sculpture to create a statue based on Martin Jennings' alternate design.

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Woman with a Parrot (Courbet)

Focus on Woman with a Parrot (Courbet) and discuss the abstract.

La Femme au perroquet (Woman with a Parrot) is an oil painting on canvas by French artist Gustave Courbet. It was the first nude by the artist to be accepted by the Paris Salon in 1866 after a previous entry in 1864 was rejected as indecent. It is in the collection of the Metropolitan Museum of Art in New York city.

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Woman with a Parrot (Courbet)

Focus on this artwork and discuss the abstract.

La Femme au perroquet (Woman with a Parrot) is an oil painting on canvas by French artist Gustave Courbet. It was the first nude by the artist to be accepted by the Paris Salon in 1866 after a previous entry in 1864 was rejected as indecent. It is in the collection of the Metropolitan Museum of Art in New York city.

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Woman with a Parrot (Courbet)

How does Woman with a Parrot (Courbet) elucidate its Description?

The painting shows a woman reclining on her back, with a pet parrot alighting on an outstretched hand. While painted in a style to gain Academy acceptance in its pose and smooth flesh tones, the model's discarded clothes and disheveled hair were controversial, although less so than Le Sommeil, painted the same year. Joanna Hiffernan likely posed for both paintings, as she did for others by Courbet. The work is on view in the Metropolitan Museum's Gallery 811.

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Woman with a Parrot (Courbet)

How does this artwork elucidate its Description?

The painting shows a woman reclining on her back, with a pet parrot alighting on an outstretched hand. While painted in a style to gain Academy acceptance in its pose and smooth flesh tones, the model's discarded clothes and disheveled hair were controversial, although less so than Le Sommeil, painted the same year. Joanna Hiffernan likely posed for both paintings, as she did for others by Courbet. The work is on view in the Metropolitan Museum's Gallery 811.

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Lux Mundi (statue)

Focus on Lux Mundi (statue) and analyze the abstract.

Lux Mundi (Latin for "Light of the World") is a 52-foot (15.8 m) tall statue of Jesus at Solid Rock Church, a Christian nondenominational church near Monroe, Ohio, in the United States. Designed by Tom Tsuchiya, Lux Mundi replaced the statue King of Kings which was struck by lightning and destroyed by fire in 2010.

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Lux Mundi (statue)

Focus on this artwork and analyze the abstract.

Lux Mundi (Latin for "Light of the World") is a 52-foot (15.8 m) tall statue of Jesus at Solid Rock Church, a Christian nondenominational church near Monroe, Ohio, in the United States. Designed by Tom Tsuchiya, Lux Mundi replaced the statue King of Kings which was struck by lightning and destroyed by fire in 2010.

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Lux Mundi (statue)

In Lux Mundi (statue), how is the Design discussed?

The statue shows Jesus stepping forward with a welcoming gesture, a pose inspired by the Gospels of St. Matthew and St. John. Facing I-75, the statue stands on a foundation decorated by rocks with a cascading water feature.Because of its pose and inviting quality (and in reference to its predecessor's nickname "Touchdown Jesus"), Lux Mundi has earned the nickname “Hug Me Jesus”.

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Lux Mundi (statue)

In this artwork, how is the Design discussed?

The statue shows Jesus stepping forward with a welcoming gesture, a pose inspired by the Gospels of St. Matthew and St. John. Facing I-75, the statue stands on a foundation decorated by rocks with a cascading water feature.Because of its pose and inviting quality (and in reference to its predecessor's nickname "Touchdown Jesus"), Lux Mundi has earned the nickname “Hug Me Jesus”.

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Washington at Verplanck's Point

Focus on Washington at Verplanck's Point and explore the abstract.

Washington at Verplanck's Point is a full-length portrait in oil painted in 1790 by the American artist John Trumbull of General George Washington at Verplanck's Point on the North River in New York during the American Revolutionary War. The background depicts the September 14, 1782 review of Continental Army troops Washington staged there as an honor for the departing French commander Comte de Rochambeau and his army.The painting was a gift from Trumbull to the president's wife, Martha Washington, and is now owned by the Winterthur Museum. Trumbull next received a commission from the City of New York and painted a much larger version, George Washington, with a new background, Evacuation Day of New York City, November 25, 1783, the return of Washington and the departure of British forces. It is on display in the Governor's Room of New York City Hall.

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Washington at Verplanck's Point

Focus on this artwork and explore the abstract.

Washington at Verplanck's Point is a full-length portrait in oil painted in 1790 by the American artist John Trumbull of General George Washington at Verplanck's Point on the North River in New York during the American Revolutionary War. The background depicts the September 14, 1782 review of Continental Army troops Washington staged there as an honor for the departing French commander Comte de Rochambeau and his army.The painting was a gift from Trumbull to the president's wife, Martha Washington, and is now owned by the Winterthur Museum. Trumbull next received a commission from the City of New York and painted a much larger version, George Washington, with a new background, Evacuation Day of New York City, November 25, 1783, the return of Washington and the departure of British forces. It is on display in the Governor's Room of New York City Hall.

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Washington at Verplanck's Point

Focus on Washington at Verplanck's Point and explain the History.

The painting was a gift to Martha Washington by Trumbull. After her death, the portrait was bequeathed to her granddaughter, Elizabeth Parke Custis Law. It remained in the family until sold in 1961 to Henry Francis du Pont who then donated it to his museum in 1964. In 1982, the Mount Vernon Ladies' Association purchased a modern copy of the painting by Adrian Lamb for display at Mount Vernon.

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Washington at Verplanck's Point

Focus on this artwork and explain the History.

The painting was a gift to Martha Washington by Trumbull. After her death, the portrait was bequeathed to her granddaughter, Elizabeth Parke Custis Law. It remained in the family until sold in 1961 to Henry Francis du Pont who then donated it to his museum in 1964. In 1982, the Mount Vernon Ladies' Association purchased a modern copy of the painting by Adrian Lamb for display at Mount Vernon.

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Washington at Verplanck's Point

Explore the Legacy of this artwork, Washington at Verplanck's Point.

In 1889, for the centennial celebration of the inauguration of Washington as the first president of the United States, the original portrait, then owned by Edmund Law Rogers, grandson of Elizabeth Parke Custis Law, and the second, the city hall version, were on display together at the Metropolitan Opera House, New York City.In 1982, a silver coin with a 30 dollar value was issued for Antigua & Barbuda commemorating the 250th anniversary of Washington's birth with this image of him at Verplanck's Point on the reverse side.In 2017, Philip Mead, chief historian at the Museum of the American Revolution in Philadelphia, and museum curators found that a watercolor panorama by Pierre Charles L'Enfant was of this 1782 encampment at Verplanck's Point and included Washington's canvas marquee tent. R. Scott Stephenson, director of curatorial affairs at the museum, has stated that although the tent is not seen in Trumbull's painting, "because of this new watercolor and the research we've done, we can tell it shows Washington standing right in front of the tent."

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Washington at Verplanck's Point

Explore the Legacy of this artwork.

In 1889, for the centennial celebration of the inauguration of Washington as the first president of the United States, the original portrait, then owned by Edmund Law Rogers, grandson of Elizabeth Parke Custis Law, and the second, the city hall version, were on display together at the Metropolitan Opera House, New York City.In 1982, a silver coin with a 30 dollar value was issued for Antigua & Barbuda commemorating the 250th anniversary of Washington's birth with this image of him at Verplanck's Point on the reverse side.In 2017, Philip Mead, chief historian at the Museum of the American Revolution in Philadelphia, and museum curators found that a watercolor panorama by Pierre Charles L'Enfant was of this 1782 encampment at Verplanck's Point and included Washington's canvas marquee tent. R. Scott Stephenson, director of curatorial affairs at the museum, has stated that although the tent is not seen in Trumbull's painting, "because of this new watercolor and the research we've done, we can tell it shows Washington standing right in front of the tent."

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Washington at Verplanck's Point

Focus on Washington at Verplanck's Point and discuss the George Washington.

In July, 1790, Trumbull received a commission from the corporation for the City of New York, led by Mayor Richard Varick, to paint the president's portrait.The result, George Washington, was a scaling-up of Washington at Verplanck's Point to nearly four times its size. Also known as Washington and the Departure of the British Garrison from New York City, it is a (108 inches (270 cm) x 72 inches (180 cm)) full-length portrait in oil, generally similar in composition and character to its source but for its backdrop, which has been switched from Rochambeau's September 1782 review of the Continental Army to Evacuation Day, Washington's return to New York City upon the British forces' November 25, 1783 departure.This painting is located in the historic Governor's Room of New York City Hall.

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Washington at Verplanck's Point

Focus on this artwork and discuss the George Washington.

In July, 1790, Trumbull received a commission from the corporation for the City of New York, led by Mayor Richard Varick, to paint the president's portrait.The result, George Washington, was a scaling-up of Washington at Verplanck's Point to nearly four times its size. Also known as Washington and the Departure of the British Garrison from New York City, it is a (108 inches (270 cm) x 72 inches (180 cm)) full-length portrait in oil, generally similar in composition and character to its source but for its backdrop, which has been switched from Rochambeau's September 1782 review of the Continental Army to Evacuation Day, Washington's return to New York City upon the British forces' November 25, 1783 departure.This painting is located in the historic Governor's Room of New York City Hall.

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Expulsion from Paradise (Pontormo)

How does Expulsion from Paradise (Pontormo) elucidate its abstract?

Expulsion from Paradise or the Expulsion of Adam and Eve is an oil on panel painting by Pontormo, now in the Uffizi in Florence, whose Gabinetto Disegni e Stampe also has a preparatory drawing for it. Its dating is also uncertain and varies between c.1519 and c.1543, but is held to be c.1535 by the Uffizi.It is heavily influenced by Masaccio, such as the serpent wrapped round a tree in his Brancacci Chapel frescos. It is mentioned in the inventory of cardinal Leopoldo de' Medici's collection with its correct attribution, but by the time it was mentioned in the Gallerie fiorentine inventory of 1796 it had been misattributed to Francesco Salviati, a misattribution which lasted until 1825. The attribution to Pontormo is accepted by all modern critics except Berti and Clapp. La Forlanini theorises that it originally formed part of a series.

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Expulsion from Paradise (Pontormo)

How does this artwork elucidate its abstract?

Expulsion from Paradise or the Expulsion of Adam and Eve is an oil on panel painting by Pontormo, now in the Uffizi in Florence, whose Gabinetto Disegni e Stampe also has a preparatory drawing for it. Its dating is also uncertain and varies between c.1519 and c.1543, but is held to be c.1535 by the Uffizi.It is heavily influenced by Masaccio, such as the serpent wrapped round a tree in his Brancacci Chapel frescos. It is mentioned in the inventory of cardinal Leopoldo de' Medici's collection with its correct attribution, but by the time it was mentioned in the Gallerie fiorentine inventory of 1796 it had been misattributed to Francesco Salviati, a misattribution which lasted until 1825. The attribution to Pontormo is accepted by all modern critics except Berti and Clapp. La Forlanini theorises that it originally formed part of a series.

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Susanna and the Elders (Gentileschi, Stamford)

Focus on Susanna and the Elders (Gentileschi, Stamford) and analyze the abstract.

Susanna and the Elders is a painting by the Italian artist Artemisia Gentileschi. It is signed with Gentileschi's name and the date of 1622. The painting is in the collection at Burghley House near Stamford, Lincolnshire, England. Gentileschi depicted the story of Susanna from the Book of Daniel in several paintings. Similar compositions of Susanna and the Elders are at Pommersfelden from 1610, at Brno dated 1649, and Bologna from 1652. A copy of the Burghley version is in the Nottingham Castle Museum collection.

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Susanna and the Elders (Gentileschi, Stamford)

Focus on this artwork and analyze the abstract.

Susanna and the Elders is a painting by the Italian artist Artemisia Gentileschi. It is signed with Gentileschi's name and the date of 1622. The painting is in the collection at Burghley House near Stamford, Lincolnshire, England. Gentileschi depicted the story of Susanna from the Book of Daniel in several paintings. Similar compositions of Susanna and the Elders are at Pommersfelden from 1610, at Brno dated 1649, and Bologna from 1652. A copy of the Burghley version is in the Nottingham Castle Museum collection.

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Susanna and the Elders (Gentileschi, Stamford)

In Susanna and the Elders (Gentileschi, Stamford), how is the Description discussed?

A realistically proportioned nude woman is shown sitting at the edge of a pool, beside a small fountain. Leaning over the wall behind her are two older men leering at her; her distress at this invasion is evident by her upward-cast eyes and an attempt to cover herself with her arms and her chemise. The painting is signed "ARTEMITIA GENTILESCHI LOMI" on the stone wall above her knees.

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Susanna and the Elders (Gentileschi, Stamford)

In this artwork, how is the Description discussed?

A realistically proportioned nude woman is shown sitting at the edge of a pool, beside a small fountain. Leaning over the wall behind her are two older men leering at her; her distress at this invasion is evident by her upward-cast eyes and an attempt to cover herself with her arms and her chemise. The painting is signed "ARTEMITIA GENTILESCHI LOMI" on the stone wall above her knees.

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Susanna and the Elders (Gentileschi, Stamford)

Focus on Susanna and the Elders (Gentileschi, Stamford) and explore the Gentileschi's interpretation.

The figure's arms are arranged in the pose known as Venus pudica, best illustrated by the classical figure of the Crouching Venus. The rendering is more traditional than her 1610 Susannah, given both her artistic development as well as the influence of an etching of the same subject by Annibale Carracci. The addition of more landscape features as compared to that earlier version further signals the influence of Bolognese artists such as Guercino, who had arrived in Rome in the wake of the newly elected Bolognese pope.

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Susanna and the Elders (Gentileschi, Stamford)

Focus on this artwork and explore the Gentileschi's interpretation.

The figure's arms are arranged in the pose known as Venus pudica, best illustrated by the classical figure of the Crouching Venus. The rendering is more traditional than her 1610 Susannah, given both her artistic development as well as the influence of an etching of the same subject by Annibale Carracci. The addition of more landscape features as compared to that earlier version further signals the influence of Bolognese artists such as Guercino, who had arrived in Rome in the wake of the newly elected Bolognese pope.

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Susanna and the Elders (Gentileschi, Stamford)

Focus on Susanna and the Elders (Gentileschi, Stamford) and explain the History.

The work was painted in 1622, two years after Gentileschi returned to Rome after having started her career as an independent artist in Florence. The stylistic differences from her 1610 version of the same subject had led this 1622 work to initially be attributed to Caravaggio.The painting was loaned to the Gentileschi exhibition that was held at the National Gallery in London in 2020, but had been postponed because of the COVID-19 pandemic.

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Susanna and the Elders (Gentileschi, Stamford)

Focus on this artwork and explain the History.

The work was painted in 1622, two years after Gentileschi returned to Rome after having started her career as an independent artist in Florence. The stylistic differences from her 1610 version of the same subject had led this 1622 work to initially be attributed to Caravaggio.The painting was loaned to the Gentileschi exhibition that was held at the National Gallery in London in 2020, but had been postponed because of the COVID-19 pandemic.

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Susanna and the Elders (Gentileschi, Stamford)

Explore the Provenance of this artwork, Susanna and the Elders (Gentileschi, Stamford).

The work may have been commissioned by papal nephew Cardinal Ludovico Ludovisi, which may explain the Bolognese style of the depiction. The painting has been listed as being in the Marquess of Exeter's family collection since at least the 1700s. It was listed in the 1763 Burghley inventory and was presumably acquired by Brownlow Cecil, 9th Earl of Exeter (1725 – 1793) while on the Grand Tour.

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Susanna and the Elders (Gentileschi, Stamford)

Explore the Provenance of this artwork.

The work may have been commissioned by papal nephew Cardinal Ludovico Ludovisi, which may explain the Bolognese style of the depiction. The painting has been listed as being in the Marquess of Exeter's family collection since at least the 1700s. It was listed in the 1763 Burghley inventory and was presumably acquired by Brownlow Cecil, 9th Earl of Exeter (1725 – 1793) while on the Grand Tour.

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Cupid's Span

Focus on Cupid's Span and discuss the abstract.

Cupid's Span is an outdoor sculpture by married artists Claes Oldenburg and Coosje van Bruggen, installed along the Embarcadero in San Francisco, California, in the United States. The 70-foot (21 m) sculpture, commissioned by Gap Inc. founders Donald and Doris F. Fisher, depicts a partial bow and piece of an arrow.

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Cupid's Span

Focus on this artwork and discuss the abstract.

Cupid's Span is an outdoor sculpture by married artists Claes Oldenburg and Coosje van Bruggen, installed along the Embarcadero in San Francisco, California, in the United States. The 70-foot (21 m) sculpture, commissioned by Gap Inc. founders Donald and Doris F. Fisher, depicts a partial bow and piece of an arrow.