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|---|---|---|---|---|---|
13051_T
|
Death on the Pale Horse
|
Focus on Death on the Pale Horse and discuss the Critics.
|
The first version received little response from critics at the exhibition in the Royal Arts Academy.The second version was widely praised and admired by critics at the time. It received a particularly positive response in Paris, where a favorable review appeared in the Journal des arts. Jacques-Louis David dismissed it as "a caricature of Rubens," but Napoleon Bonaparte was said to admire it. King George III, however, reportedly called the painting a "Bedlamite scene," perhaps in reference to his personal experience with mental illness.The final version had mixed critical opinions as well. A writer in Mirror Art admired the "mysterious gloom" of the painting, describing it as "a picture that strikes at first sight." New York and Boston audiences were less enthusiastic.
|
[
"King George III",
"George III"
] |
|
13051_NT
|
Death on the Pale Horse
|
Focus on this artwork and discuss the Critics.
|
The first version received little response from critics at the exhibition in the Royal Arts Academy.The second version was widely praised and admired by critics at the time. It received a particularly positive response in Paris, where a favorable review appeared in the Journal des arts. Jacques-Louis David dismissed it as "a caricature of Rubens," but Napoleon Bonaparte was said to admire it. King George III, however, reportedly called the painting a "Bedlamite scene," perhaps in reference to his personal experience with mental illness.The final version had mixed critical opinions as well. A writer in Mirror Art admired the "mysterious gloom" of the painting, describing it as "a picture that strikes at first sight." New York and Boston audiences were less enthusiastic.
|
[
"King George III",
"George III"
] |
|
13052_T
|
Death on the Pale Horse
|
How does Death on the Pale Horse elucidate its Effect?
|
Scholars have suggested that Death on the Pale Horse contributed to the rise of French Romanticism following its exhibition in Paris. Others argue that the painting merely affirmed what French artists were already starting to do.The painting influenced William Beckford's interest in paintings depicting scenes from the Book of Revelation, which he commissioned for Font-hill Abbey, an enormous monument of Gothic Revival architecture. Years later, Beckford continued buying apocalyptic pictures, including Francis Danby's An Attempt to Illustrate the Opening of the Sixth Seal, currently at the National Gallery of Ireland, Dublin. Much later, this would be the inspiration for the painting titled The Great Day on His Wrath (Tate Gallery, London), painted by John Martin, on the same chapter of the Revelation.Other English artists took inspiration from West's work. One was Phillip James de Loutherbourg, who painted The Opening of the Second Seal (Tate Gallery, London), using the pale white horse in The Death of the Pale Horse as a clear model. West's apocalyptic subjects also resemble William Blake's watercolors based on the Book of Revelation.After West's death in 1820, the Annual Register commented that the third version (1817) could "justly be considered as one of the finest productions of modern art." When the painting arrived in New York in 1836, the Weekly Register took note, saying: ""[T]his picture has long been regarded as the chef d'oeuvre of our distinguished countryman. As Americans we feel proud that this great work of art is permanently to remain in this country, and as Philadelphians we are gratified that such a treasure has been added to the already large and valuable collection of works of arts belonging to one of our public institutions."
|
[
"Font-hill Abbey",
"Annual Register",
"Tate",
"French Romanticism",
"Tate Gallery, London",
"National Gallery of Ireland",
"The Great Day on His Wrath",
"National Gallery of Ireland, Dublin",
"Phillip James de Loutherbourg",
"William Beckford",
"John Martin",
"Francis Danby",
"Philadelphia",
"Book of Revelation",
"Gothic Revival architecture",
"William Blake"
] |
|
13052_NT
|
Death on the Pale Horse
|
How does this artwork elucidate its Effect?
|
Scholars have suggested that Death on the Pale Horse contributed to the rise of French Romanticism following its exhibition in Paris. Others argue that the painting merely affirmed what French artists were already starting to do.The painting influenced William Beckford's interest in paintings depicting scenes from the Book of Revelation, which he commissioned for Font-hill Abbey, an enormous monument of Gothic Revival architecture. Years later, Beckford continued buying apocalyptic pictures, including Francis Danby's An Attempt to Illustrate the Opening of the Sixth Seal, currently at the National Gallery of Ireland, Dublin. Much later, this would be the inspiration for the painting titled The Great Day on His Wrath (Tate Gallery, London), painted by John Martin, on the same chapter of the Revelation.Other English artists took inspiration from West's work. One was Phillip James de Loutherbourg, who painted The Opening of the Second Seal (Tate Gallery, London), using the pale white horse in The Death of the Pale Horse as a clear model. West's apocalyptic subjects also resemble William Blake's watercolors based on the Book of Revelation.After West's death in 1820, the Annual Register commented that the third version (1817) could "justly be considered as one of the finest productions of modern art." When the painting arrived in New York in 1836, the Weekly Register took note, saying: ""[T]his picture has long been regarded as the chef d'oeuvre of our distinguished countryman. As Americans we feel proud that this great work of art is permanently to remain in this country, and as Philadelphians we are gratified that such a treasure has been added to the already large and valuable collection of works of arts belonging to one of our public institutions."
|
[
"Font-hill Abbey",
"Annual Register",
"Tate",
"French Romanticism",
"Tate Gallery, London",
"National Gallery of Ireland",
"The Great Day on His Wrath",
"National Gallery of Ireland, Dublin",
"Phillip James de Loutherbourg",
"William Beckford",
"John Martin",
"Francis Danby",
"Philadelphia",
"Book of Revelation",
"Gothic Revival architecture",
"William Blake"
] |
|
13053_T
|
Death on the Pale Horse
|
Focus on Death on the Pale Horse and analyze the Symbolism.
|
Allen Staley argues that West's message is that man's fate is "to be impotent and pathetic against the forces over which he has no control." The scene is also seen as an evocation of Edmund Burke's ideas on the sublime.
|
[
"Edmund Burke",
"the sublime"
] |
|
13053_NT
|
Death on the Pale Horse
|
Focus on this artwork and analyze the Symbolism.
|
Allen Staley argues that West's message is that man's fate is "to be impotent and pathetic against the forces over which he has no control." The scene is also seen as an evocation of Edmund Burke's ideas on the sublime.
|
[
"Edmund Burke",
"the sublime"
] |
|
13054_T
|
In You Rejoiceth (Kavertzas)
|
In In You Rejoiceth (Kavertzas), how is the abstract discussed?
|
In You Rejoiceth also known as Epi Si Harri is a tempera and gold leaf painting by Francheskos Kavertzas. The painting is a tribute to the Virgin Mary.
Kavertzas was active on the island of Crete during the first half of the 17th century. He was a member of the late Cretan School. Seven of his works survived, five were signed. His two most notable pieces are The Last Judgment and In You Rejoiceth. The theme and style behind In You Rejoiceth mostly resembles Georgios Klontzas's painting In Thee Rejoiceth. Theodore Poulakis also created his own version of the masterpiece In Thee Rejoiceth towards the second half of the 17th century. Many artists created their own version of the painting. The theme became a prototype in Crete during the 17th century. Leos Moskos also created his own version of the painting. The Klontzas and Poulakis paintings both feature the Hymn to the Virgin. The Kavertzas painting lacks the pictorial representation of the Hymn to the Virgin. The name is used on paintings that are stylistically similar to Klontzas's original work. Francheskos Kavertzas painting is located in Paris at the Musée des beaux-arts de la ville de Paris.
|
[
"Georgios Klontzas",
"Francheskos Kavertzas",
"Musée des beaux-arts de la ville de Paris",
"tempera",
"Poulakis",
"Cretan School",
"Klontzas",
"Leos Moskos",
"Theodore Poulakis",
"In Thee Rejoiceth ",
"Kavertzas",
"In Thee Rejoiceth",
"Moskos"
] |
|
13054_NT
|
In You Rejoiceth (Kavertzas)
|
In this artwork, how is the abstract discussed?
|
In You Rejoiceth also known as Epi Si Harri is a tempera and gold leaf painting by Francheskos Kavertzas. The painting is a tribute to the Virgin Mary.
Kavertzas was active on the island of Crete during the first half of the 17th century. He was a member of the late Cretan School. Seven of his works survived, five were signed. His two most notable pieces are The Last Judgment and In You Rejoiceth. The theme and style behind In You Rejoiceth mostly resembles Georgios Klontzas's painting In Thee Rejoiceth. Theodore Poulakis also created his own version of the masterpiece In Thee Rejoiceth towards the second half of the 17th century. Many artists created their own version of the painting. The theme became a prototype in Crete during the 17th century. Leos Moskos also created his own version of the painting. The Klontzas and Poulakis paintings both feature the Hymn to the Virgin. The Kavertzas painting lacks the pictorial representation of the Hymn to the Virgin. The name is used on paintings that are stylistically similar to Klontzas's original work. Francheskos Kavertzas painting is located in Paris at the Musée des beaux-arts de la ville de Paris.
|
[
"Georgios Klontzas",
"Francheskos Kavertzas",
"Musée des beaux-arts de la ville de Paris",
"tempera",
"Poulakis",
"Cretan School",
"Klontzas",
"Leos Moskos",
"Theodore Poulakis",
"In Thee Rejoiceth ",
"Kavertzas",
"In Thee Rejoiceth",
"Moskos"
] |
|
13055_T
|
In You Rejoiceth (Kavertzas)
|
Focus on In You Rejoiceth (Kavertzas) and explore the Description.
|
The painting follows the lines of the Italian cangiante style. The materials used to create the masterpiece were egg tempera, gold leaf, and wood panel. The size of the work is 58 cm (22.8 in) x 55 cm (21.6 in ), it was completed in the early part of the 17th century in Heraklion Crete.
The work is almost a perfect square. Surrounding the Virgin are 11 crowned figures one of them plays an instrument. There is also a figure immediately at the Virgin's feet. The position of the Madonna and Child is the traditional Our Lady of the Sign also known as Platitera. Eleven angels occupy the otter most circle. Behind the angels in the upper arch are nine buildings. Scenes from Genesis adorn the left and right sides of the icon.
There are twelve scenes. God creates the world in seven days following the Genesis creation narrative. The sunset scene exhibits some impressionist qualities. Adam and Eve are present, the scenes depict their life story. Each frame is painted against a gold background. The painter uses a shadow technique to accentuate his figures. Some of the frames create the illusion of a foreground and a background. The painted figures exhibit some sense of realism. Their facial expressions are clearly defined.
At the bottom of the painting, there is a huge gathering. Their clothing exhibits brilliant striations and folds of fabric. The attire the group is wearing is delicately ornamented with traditional church garb. There is a clear distinction between bright colors, the painter accentuates the cangiante style. The church fathers are present. To our left, standing before the building are two crowned figures, Constantine and Helen. There are more crowned figures beneath them. On the right side of the painting, the Virgin stands next to her mother Anne. Finally in the large crowd, Saint Luke stands out holding an icon of the Virgin and Child.
|
[
"cangiante",
"Our Lady of the Sign",
"tempera",
"Genesis creation narrative",
"Heraklion"
] |
|
13055_NT
|
In You Rejoiceth (Kavertzas)
|
Focus on this artwork and explore the Description.
|
The painting follows the lines of the Italian cangiante style. The materials used to create the masterpiece were egg tempera, gold leaf, and wood panel. The size of the work is 58 cm (22.8 in) x 55 cm (21.6 in ), it was completed in the early part of the 17th century in Heraklion Crete.
The work is almost a perfect square. Surrounding the Virgin are 11 crowned figures one of them plays an instrument. There is also a figure immediately at the Virgin's feet. The position of the Madonna and Child is the traditional Our Lady of the Sign also known as Platitera. Eleven angels occupy the otter most circle. Behind the angels in the upper arch are nine buildings. Scenes from Genesis adorn the left and right sides of the icon.
There are twelve scenes. God creates the world in seven days following the Genesis creation narrative. The sunset scene exhibits some impressionist qualities. Adam and Eve are present, the scenes depict their life story. Each frame is painted against a gold background. The painter uses a shadow technique to accentuate his figures. Some of the frames create the illusion of a foreground and a background. The painted figures exhibit some sense of realism. Their facial expressions are clearly defined.
At the bottom of the painting, there is a huge gathering. Their clothing exhibits brilliant striations and folds of fabric. The attire the group is wearing is delicately ornamented with traditional church garb. There is a clear distinction between bright colors, the painter accentuates the cangiante style. The church fathers are present. To our left, standing before the building are two crowned figures, Constantine and Helen. There are more crowned figures beneath them. On the right side of the painting, the Virgin stands next to her mother Anne. Finally in the large crowd, Saint Luke stands out holding an icon of the Virgin and Child.
|
[
"cangiante",
"Our Lady of the Sign",
"tempera",
"Genesis creation narrative",
"Heraklion"
] |
|
13056_T
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
Focus on Saint Jerome Hears the Trumpet of the Last Judgment and explain the abstract.
|
Saint Jerome Hears the Trumpet of the Last Judgment is a 1779 painting by the French artist Jacques-Louis David.
|
[
"David",
"Jerome",
"Jacques-Louis David"
] |
|
13056_NT
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
Focus on this artwork and explain the abstract.
|
Saint Jerome Hears the Trumpet of the Last Judgment is a 1779 painting by the French artist Jacques-Louis David.
|
[
"David",
"Jerome",
"Jacques-Louis David"
] |
|
13057_T
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
Explore the Description of this artwork, Saint Jerome Hears the Trumpet of the Last Judgment.
|
Jerome, one of the four Doctors of the Church, is depicted as a half-clad anchorite in his cell, with common iconographical attributes, a cross, a skull and bible. He is holding a quill in his right hand, indicating that he is writing the Vulgate. He is wearing the red garb of a cardinal, indicative of his role as secretary to Pope Damasus I. The skull alludes to this intellectual and penitential life.
|
[
"Vulgate",
"Doctors of the Church",
"Pope Damasus I",
"Jerome",
"anchorite",
"quill"
] |
|
13057_NT
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
Explore the Description of this artwork.
|
Jerome, one of the four Doctors of the Church, is depicted as a half-clad anchorite in his cell, with common iconographical attributes, a cross, a skull and bible. He is holding a quill in his right hand, indicating that he is writing the Vulgate. He is wearing the red garb of a cardinal, indicative of his role as secretary to Pope Damasus I. The skull alludes to this intellectual and penitential life.
|
[
"Vulgate",
"Doctors of the Church",
"Pope Damasus I",
"Jerome",
"anchorite",
"quill"
] |
|
13058_T
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
Focus on Saint Jerome Hears the Trumpet of the Last Judgment and discuss the Provenance.
|
The painting came to Quebec City between 1901 and 1908, owned by Henriette and Geneviève Cramail. After David's death in 1825, the painting entered the collection of Cardinal Joseph Fesch, and then in the collection of Cramail sisters' grandfather, the history and genre painter Gustave Mailand (1810-1880).It was donated by the sisters to the parish of Notre-Dame de Québec in 1938, to replace works of art that were lost in a fire at the cathedral in 1922. From 1995 to 2013, the painting was on display at the National Gallery of Canada. It was subsequently in storage at the Musée de la civilisation in Quebec City for conservation. It currently hangs in the Montreal Museum of Fine Arts (MMFA).
|
[
"Joseph Fesch",
"Montreal Museum of Fine Arts",
"genre",
"David",
"history",
"Musée de la civilisation",
"National Gallery of Canada",
"Notre-Dame de Québec"
] |
|
13058_NT
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
Focus on this artwork and discuss the Provenance.
|
The painting came to Quebec City between 1901 and 1908, owned by Henriette and Geneviève Cramail. After David's death in 1825, the painting entered the collection of Cardinal Joseph Fesch, and then in the collection of Cramail sisters' grandfather, the history and genre painter Gustave Mailand (1810-1880).It was donated by the sisters to the parish of Notre-Dame de Québec in 1938, to replace works of art that were lost in a fire at the cathedral in 1922. From 1995 to 2013, the painting was on display at the National Gallery of Canada. It was subsequently in storage at the Musée de la civilisation in Quebec City for conservation. It currently hangs in the Montreal Museum of Fine Arts (MMFA).
|
[
"Joseph Fesch",
"Montreal Museum of Fine Arts",
"genre",
"David",
"history",
"Musée de la civilisation",
"National Gallery of Canada",
"Notre-Dame de Québec"
] |
|
13059_T
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
How does Saint Jerome Hears the Trumpet of the Last Judgment elucidate its Sale?
|
The parish of Notre-Dame de Québec, looking to raise operating funds, approached the Musée de la civilisation, the Montreal Museum of Fine Arts and the National Gallery of Canada in 2016. The cost of the painting nearly equalled the entire acquisition budget of the National Gallery (8-million). The National Gallery of Canada has valued the painting at US$5 million. The asking price was CA$6.3 million. The gallery made an initial offer of CA$3 million that the parish refused. When it did not find a buyer it started to approach international institutions. The National Gallery made in bid in December 2017 that was conditional on the sale of a Chagall painting at auction on May 15, 2018. The Musée de la civilisation and Montreal Museum of Fine Arts have made attempts to raise funds to buy the painting together.Nathalie Bondil, director of the Montreal Museum of Fine Arts has claimed that St. Jerome was not in danger of being sold to foreign buyers because that wouldn't be allowed under Quebec's Cultural Heritage Act. Marie Montpetit, Quebec's Minister of Culture and Communications announced on April 23, 2018, that the province of Quebec issued a notice of intent to have Saint Jerome classified as a heritage document. On the same day, Françoise Lyon, chair of the board, and Marc Mayer, director of the National Gallery said the gallery would halt its efforts to obtain the painting.Saint Jerome is one of only two paintings by David in a Canadian collection, the other one a small portrait of Pierre Sériziat from 1790, in the collection of the National Gallery.
|
[
"Montreal Museum of Fine Arts",
"Nathalie Bondil",
"Marc Mayer",
"David",
"Jerome",
"Musée de la civilisation",
"National Gallery of Canada",
"Marie Montpetit",
"Notre-Dame de Québec"
] |
|
13059_NT
|
Saint Jerome Hears the Trumpet of the Last Judgment
|
How does this artwork elucidate its Sale?
|
The parish of Notre-Dame de Québec, looking to raise operating funds, approached the Musée de la civilisation, the Montreal Museum of Fine Arts and the National Gallery of Canada in 2016. The cost of the painting nearly equalled the entire acquisition budget of the National Gallery (8-million). The National Gallery of Canada has valued the painting at US$5 million. The asking price was CA$6.3 million. The gallery made an initial offer of CA$3 million that the parish refused. When it did not find a buyer it started to approach international institutions. The National Gallery made in bid in December 2017 that was conditional on the sale of a Chagall painting at auction on May 15, 2018. The Musée de la civilisation and Montreal Museum of Fine Arts have made attempts to raise funds to buy the painting together.Nathalie Bondil, director of the Montreal Museum of Fine Arts has claimed that St. Jerome was not in danger of being sold to foreign buyers because that wouldn't be allowed under Quebec's Cultural Heritage Act. Marie Montpetit, Quebec's Minister of Culture and Communications announced on April 23, 2018, that the province of Quebec issued a notice of intent to have Saint Jerome classified as a heritage document. On the same day, Françoise Lyon, chair of the board, and Marc Mayer, director of the National Gallery said the gallery would halt its efforts to obtain the painting.Saint Jerome is one of only two paintings by David in a Canadian collection, the other one a small portrait of Pierre Sériziat from 1790, in the collection of the National Gallery.
|
[
"Montreal Museum of Fine Arts",
"Nathalie Bondil",
"Marc Mayer",
"David",
"Jerome",
"Musée de la civilisation",
"National Gallery of Canada",
"Marie Montpetit",
"Notre-Dame de Québec"
] |
|
13060_T
|
Portrait of History
|
Focus on Portrait of History and analyze the abstract.
|
Portrait of History, a public sculpture by Chinese American artists Zhou Brothers, is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture is located at the Blackford Street entrance to the Herron School of Art and Design. This piece is one of four public artworks on loan from the Indianapolis Museum of Art to IUPUI. The artworks were moved to the campus on March 22, 2009. Portrait of History is a bronze sculpture measuring 100 x 24 x 30 in and is mounted on an oval cement base.
|
[
"bronze",
"Indianapolis",
"Indianapolis, Indiana",
"Indianapolis Museum of Art",
"Indiana",
"Herron School of Art and Design",
"Zhou Brothers",
"Indiana University-Purdue University Indianapolis"
] |
|
13060_NT
|
Portrait of History
|
Focus on this artwork and analyze the abstract.
|
Portrait of History, a public sculpture by Chinese American artists Zhou Brothers, is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture is located at the Blackford Street entrance to the Herron School of Art and Design. This piece is one of four public artworks on loan from the Indianapolis Museum of Art to IUPUI. The artworks were moved to the campus on March 22, 2009. Portrait of History is a bronze sculpture measuring 100 x 24 x 30 in and is mounted on an oval cement base.
|
[
"bronze",
"Indianapolis",
"Indianapolis, Indiana",
"Indianapolis Museum of Art",
"Indiana",
"Herron School of Art and Design",
"Zhou Brothers",
"Indiana University-Purdue University Indianapolis"
] |
|
13061_T
|
Portrait of History
|
In Portrait of History, how is the Description discussed?
|
Portrait of History is a tall, narrow bronze sculpture measuring 100 x 24 x 30 in. Its surface is uneven, imitating mud or gauze wrappings. "For Portrait of History Zhou Brothers used bronze, a prehistoric material, to create a primitive figure that recalls myths and legends across cultures.” Portrait of History is a highly simplified humanoid sculpture. The lower portion of the sculpture starts out as a cylindrical shape that tapers up to a relatively consistent diameter. Slightly more than halfway up the sculpture are two abstracted wing-like appendages jetting out of the proper right and proper left of the piece. The cylindrical shape continues up from the “wings” into an abstract bulbous head that is arched slightly forward. The sculpture is similar in shape and texture to other sculptures in bronze and beech wood by the Zhou brothers.
|
[
"bronze",
"Zhou Brothers"
] |
|
13061_NT
|
Portrait of History
|
In this artwork, how is the Description discussed?
|
Portrait of History is a tall, narrow bronze sculpture measuring 100 x 24 x 30 in. Its surface is uneven, imitating mud or gauze wrappings. "For Portrait of History Zhou Brothers used bronze, a prehistoric material, to create a primitive figure that recalls myths and legends across cultures.” Portrait of History is a highly simplified humanoid sculpture. The lower portion of the sculpture starts out as a cylindrical shape that tapers up to a relatively consistent diameter. Slightly more than halfway up the sculpture are two abstracted wing-like appendages jetting out of the proper right and proper left of the piece. The cylindrical shape continues up from the “wings” into an abstract bulbous head that is arched slightly forward. The sculpture is similar in shape and texture to other sculptures in bronze and beech wood by the Zhou brothers.
|
[
"bronze",
"Zhou Brothers"
] |
|
13062_T
|
Portrait of History
|
Focus on Portrait of History and explore the Information.
|
Portrait of History was a gift to the Indianapolis Museum of Art from Dr. and Mrs. Eugene Van Hove. It was given in memory of their son, Jeffrey Van Hove, in 2001. This piece shares its name with a series of four oil on paper paintings by the Zhou Brothers that were painted in 1975; these paintings are much less abstract than the Zhou Brothers’ sculptural work and show heavily texturized images of traditional Asian portraits.
|
[
"Indianapolis",
"Indianapolis Museum of Art",
"Indiana",
"Zhou Brothers"
] |
|
13062_NT
|
Portrait of History
|
Focus on this artwork and explore the Information.
|
Portrait of History was a gift to the Indianapolis Museum of Art from Dr. and Mrs. Eugene Van Hove. It was given in memory of their son, Jeffrey Van Hove, in 2001. This piece shares its name with a series of four oil on paper paintings by the Zhou Brothers that were painted in 1975; these paintings are much less abstract than the Zhou Brothers’ sculptural work and show heavily texturized images of traditional Asian portraits.
|
[
"Indianapolis",
"Indianapolis Museum of Art",
"Indiana",
"Zhou Brothers"
] |
|
13063_T
|
Portrait of History
|
Focus on Portrait of History and explain the Artist.
|
The Zhou Brothers, Shan Zuo and Da Huang Zhou, were born in China in 1952 and 1957 respectively. They have been living in Chicago since 1986. Their work attempts to capture an image of the collective unconscious beyond cultural boundaries, inspired by a combination of Eastern and Western philosophy, literature, myth and history. Shan Zuo and Da Huang Zhou received a BFA in drama and painting at the University of Shanghai in 1982 and received an MFA from the National Academy for Arts and Crafts in Beijing in 1984. In 1986 the Zhou brothers came to a hard realization that they would not be able to progress artistically if they stayed in China. After an invitation to exhibit in Chicago Illinois the brothers set up a permanent studio there. Based out of Chicago, the brothers exhibit their work nationally and internationally. Their work has been collected by private and public institutions. In 2004 a retrospective exhibition “Zhou Brothers: 30 Years of Collaboration” was organized in Chicago. The retrospective was divided into three major periods of the brothers life: China (1973–1985), America (1986–1993) and Europe and America (1994–2003) The brothers have exhibited throughout the United States, Germany, Switzerland, Taiwan, Japan, France, Netherlands and Hungry. Zhou Brothers: A Retrospective. Feingarten Galleries and East West Contemporary Company: 1989. Currently, Shan Zuo Zhou works closely with his brother Da Huang Zhou, together forming an internationally known and exhibited artistic team called The Zhou Brothers.
|
[
"United States",
"Zhou Brothers"
] |
|
13063_NT
|
Portrait of History
|
Focus on this artwork and explain the Artist.
|
The Zhou Brothers, Shan Zuo and Da Huang Zhou, were born in China in 1952 and 1957 respectively. They have been living in Chicago since 1986. Their work attempts to capture an image of the collective unconscious beyond cultural boundaries, inspired by a combination of Eastern and Western philosophy, literature, myth and history. Shan Zuo and Da Huang Zhou received a BFA in drama and painting at the University of Shanghai in 1982 and received an MFA from the National Academy for Arts and Crafts in Beijing in 1984. In 1986 the Zhou brothers came to a hard realization that they would not be able to progress artistically if they stayed in China. After an invitation to exhibit in Chicago Illinois the brothers set up a permanent studio there. Based out of Chicago, the brothers exhibit their work nationally and internationally. Their work has been collected by private and public institutions. In 2004 a retrospective exhibition “Zhou Brothers: 30 Years of Collaboration” was organized in Chicago. The retrospective was divided into three major periods of the brothers life: China (1973–1985), America (1986–1993) and Europe and America (1994–2003) The brothers have exhibited throughout the United States, Germany, Switzerland, Taiwan, Japan, France, Netherlands and Hungry. Zhou Brothers: A Retrospective. Feingarten Galleries and East West Contemporary Company: 1989. Currently, Shan Zuo Zhou works closely with his brother Da Huang Zhou, together forming an internationally known and exhibited artistic team called The Zhou Brothers.
|
[
"United States",
"Zhou Brothers"
] |
|
13064_T
|
Portrait of History
|
Explore the Location history of this artwork, Portrait of History.
|
Prior to moving to the Indianapolis Museum of Art Portrait of History was privately owned. Portrait of History was located on the south east grounds of the Indianapolis Museum of Art near the Better than New House. The sculpture is currently located on the IUPUI campus at the Blackford Street entrance to the Herron building.
|
[
"Indianapolis",
"Indianapolis Museum of Art",
"Indiana"
] |
|
13064_NT
|
Portrait of History
|
Explore the Location history of this artwork.
|
Prior to moving to the Indianapolis Museum of Art Portrait of History was privately owned. Portrait of History was located on the south east grounds of the Indianapolis Museum of Art near the Better than New House. The sculpture is currently located on the IUPUI campus at the Blackford Street entrance to the Herron building.
|
[
"Indianapolis",
"Indianapolis Museum of Art",
"Indiana"
] |
|
13065_T
|
Portrait of History
|
Focus on Portrait of History and discuss the Documentation.
|
A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. Portrait of History was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States.
|
[
"Museum Studies",
"Smithsonian American Art Museum",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
13065_NT
|
Portrait of History
|
Focus on this artwork and discuss the Documentation.
|
A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. Portrait of History was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States.
|
[
"Museum Studies",
"Smithsonian American Art Museum",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
13066_T
|
I AM THE BEST ARTIST Rene
|
How does I AM THE BEST ARTIST Rene elucidate its abstract?
|
Beginning in the late 1970s, and continuing into the 1990s in New York City, several prominently located murals of impressive size proclaimed I AM THE BEST ARTIST to all who walked or drove past them along the streets of SoHo. The murals were the creations of artist René Moncada, who lived in the neighborhood.
René Moncada's I AM THE BEST ARTIST murals became icons not only of the neighborhood's art world associations but of the era in general, when art became a profitable commodity and SoHo became its Wall Street.
The murals have been likened to effective advertising slogans and recognized as an early act of "art provocation". The murals placed René at the forefront of street artists of the era and helped transform the streets of the art district into an alternative exhibition venue.
|
[
"New York City",
"murals",
"René Moncada",
"street art",
"SoHo"
] |
|
13066_NT
|
I AM THE BEST ARTIST Rene
|
How does this artwork elucidate its abstract?
|
Beginning in the late 1970s, and continuing into the 1990s in New York City, several prominently located murals of impressive size proclaimed I AM THE BEST ARTIST to all who walked or drove past them along the streets of SoHo. The murals were the creations of artist René Moncada, who lived in the neighborhood.
René Moncada's I AM THE BEST ARTIST murals became icons not only of the neighborhood's art world associations but of the era in general, when art became a profitable commodity and SoHo became its Wall Street.
The murals have been likened to effective advertising slogans and recognized as an early act of "art provocation". The murals placed René at the forefront of street artists of the era and helped transform the streets of the art district into an alternative exhibition venue.
|
[
"New York City",
"murals",
"René Moncada",
"street art",
"SoHo"
] |
|
13067_T
|
I AM THE BEST ARTIST Rene
|
Focus on I AM THE BEST ARTIST Rene and analyze the Background.
|
If you have not seen that sign, you have nothing to do with art or you've never been to SoHo.
René has described the murals as a thumb in the nose to the art community he helped pioneer but by which he later felt ignored.
The artist — a very vocal opponent of censorship, hypocrisy and oppression — explains some of his activities as stemming from a desire to liberate not only the art world but also the world at large.
It is attributes such as that, he has reflected in hindsight, which may qualify him as "the best artist", having nothing to do with artistic skills.René's ubiquitous declarations, spelled out in large, capital letters punctuated by his signature "René" written in a flowing font, were a topic of conversation and debate at the time, and provided a backdrop to photographs taken by a multitude of tourists, art students and advertising layouts in magazines worldwide.
|
[
"murals",
"SoHo"
] |
|
13067_NT
|
I AM THE BEST ARTIST Rene
|
Focus on this artwork and analyze the Background.
|
If you have not seen that sign, you have nothing to do with art or you've never been to SoHo.
René has described the murals as a thumb in the nose to the art community he helped pioneer but by which he later felt ignored.
The artist — a very vocal opponent of censorship, hypocrisy and oppression — explains some of his activities as stemming from a desire to liberate not only the art world but also the world at large.
It is attributes such as that, he has reflected in hindsight, which may qualify him as "the best artist", having nothing to do with artistic skills.René's ubiquitous declarations, spelled out in large, capital letters punctuated by his signature "René" written in a flowing font, were a topic of conversation and debate at the time, and provided a backdrop to photographs taken by a multitude of tourists, art students and advertising layouts in magazines worldwide.
|
[
"murals",
"SoHo"
] |
|
13068_T
|
I AM THE BEST ARTIST Rene
|
In I AM THE BEST ARTIST Rene, how is the Locations discussed?
|
Mural locations were centered along the stretch of West Broadway between Houston Street and Canal Street.
The most prominent mural, near the corner of Broome Street and West Broadway (pictured above), measured 10 by 50 ft (3.0 by 15.2 m).
The largest of the murals was located on a wall along the southwest corner of West Broadway where Grand Street intersects.
This location appears in a montage sequence of the 1987 movie The Secret of My Success, in which a young Cindy Crawford makes an un-credited appearance walking past the mural, catching the eye of the lead character played by Michael J. Fox. The mural was featured prominently among other iconic images of 1980s New York City in general, and SoHo in particular.
Another prominent mural spanning the length of a parking lot wall on Wooster Street was painted at a height so that it would be visible above parked cars.
René's gallery space and home was across the street from this lot.
|
[
"New York City",
"murals",
"West Broadway",
"The Secret of My Success",
"Cindy Crawford",
"Mural",
"Michael J. Fox",
"SoHo"
] |
|
13068_NT
|
I AM THE BEST ARTIST Rene
|
In this artwork, how is the Locations discussed?
|
Mural locations were centered along the stretch of West Broadway between Houston Street and Canal Street.
The most prominent mural, near the corner of Broome Street and West Broadway (pictured above), measured 10 by 50 ft (3.0 by 15.2 m).
The largest of the murals was located on a wall along the southwest corner of West Broadway where Grand Street intersects.
This location appears in a montage sequence of the 1987 movie The Secret of My Success, in which a young Cindy Crawford makes an un-credited appearance walking past the mural, catching the eye of the lead character played by Michael J. Fox. The mural was featured prominently among other iconic images of 1980s New York City in general, and SoHo in particular.
Another prominent mural spanning the length of a parking lot wall on Wooster Street was painted at a height so that it would be visible above parked cars.
René's gallery space and home was across the street from this lot.
|
[
"New York City",
"murals",
"West Broadway",
"The Secret of My Success",
"Cindy Crawford",
"Mural",
"Michael J. Fox",
"SoHo"
] |
|
13069_T
|
I AM THE BEST ARTIST Rene
|
Focus on I AM THE BEST ARTIST Rene and explore the Conflicts and criticism.
|
René always insisted he obtained permission from landlords to paint the murals, but requests were also sometimes refused, with some SoHo residents commenting that although a mural would be welcome on their property, an I AM THE BEST ARTIST mural would not be welcome.
In the case of one refusal, René painted the attendants' stand of the parking lot facing the declined property, getting permission from its owner instead.
Another dispute involved a French artist named Le Pointre who tried to claim use of a wall for which René insisted he'd already obtained permission to paint a mural.Vandals often defaced these walls with sarcastic embellishment such as "I Am The Best Fartist" and "I Am The Best Anus", or added simplistic commentary such as "No No No" or "I hate you".
Graffiti artists of the era also occasionally obscured the murals with their own work.
IATBA murals which may have been defaced would be faithfully repainted by René.René claims the art critic Robert Hughes once assured him directly that he was not, in fact, the best artist. An Artforum writer used an unrelated art review to shine a negative light on The Best Artist, calling René "untalented" and "unchic". Loss of long-time artist friends was another unfortunate consequence.
|
[
"Artforum",
"murals",
"Graffiti",
"Robert Hughes",
"SoHo"
] |
|
13069_NT
|
I AM THE BEST ARTIST Rene
|
Focus on this artwork and explore the Conflicts and criticism.
|
René always insisted he obtained permission from landlords to paint the murals, but requests were also sometimes refused, with some SoHo residents commenting that although a mural would be welcome on their property, an I AM THE BEST ARTIST mural would not be welcome.
In the case of one refusal, René painted the attendants' stand of the parking lot facing the declined property, getting permission from its owner instead.
Another dispute involved a French artist named Le Pointre who tried to claim use of a wall for which René insisted he'd already obtained permission to paint a mural.Vandals often defaced these walls with sarcastic embellishment such as "I Am The Best Fartist" and "I Am The Best Anus", or added simplistic commentary such as "No No No" or "I hate you".
Graffiti artists of the era also occasionally obscured the murals with their own work.
IATBA murals which may have been defaced would be faithfully repainted by René.René claims the art critic Robert Hughes once assured him directly that he was not, in fact, the best artist. An Artforum writer used an unrelated art review to shine a negative light on The Best Artist, calling René "untalented" and "unchic". Loss of long-time artist friends was another unfortunate consequence.
|
[
"Artforum",
"murals",
"Graffiti",
"Robert Hughes",
"SoHo"
] |
|
13070_T
|
I AM THE BEST ARTIST Rene
|
In the context of I AM THE BEST ARTIST Rene, explain the Legal case of the Conflicts and criticism.
|
One of the murals located along West Broadway was across the street from a gallery owned by Lynn Rubin. René claimed to have obtained permission from the owner of the building to paint the mural at that location. When it came to his attention that Rubin was having her staff paint over the mural, René arrived to videotape them. Rubin tried to stop him from recording, and it was then, René alleges in a lawsuit filed against her, that she assaulted him by pushing the camcorder into his face, causing him hardship and suffering. The outcome of the lawsuit was not published, but René's murals, and the related legal proceedings, raised discussion about intellectual property, artist's rights, and the First Amendment.
|
[
"murals",
"First Amendment",
"West Broadway"
] |
|
13070_NT
|
I AM THE BEST ARTIST Rene
|
In the context of this artwork, explain the Legal case of the Conflicts and criticism.
|
One of the murals located along West Broadway was across the street from a gallery owned by Lynn Rubin. René claimed to have obtained permission from the owner of the building to paint the mural at that location. When it came to his attention that Rubin was having her staff paint over the mural, René arrived to videotape them. Rubin tried to stop him from recording, and it was then, René alleges in a lawsuit filed against her, that she assaulted him by pushing the camcorder into his face, causing him hardship and suffering. The outcome of the lawsuit was not published, but René's murals, and the related legal proceedings, raised discussion about intellectual property, artist's rights, and the First Amendment.
|
[
"murals",
"First Amendment",
"West Broadway"
] |
|
13071_T
|
I AM THE BEST ARTIST Rene
|
Explore the IATBA Gallery of this artwork, I AM THE BEST ARTIST Rene.
|
René opened his storefront space at 147 Wooster Street, SoHo, as "René's Gallery" in 1977. He opened it to showcase his own artwork — a "monument to himself", as described by John Strausbaugh in a New York Press article of the era — and also used the space to the rear of the gallery as his studio. As René's signature murals gained notoriety, his gallery was also called "I AM THE BEST ARTIST gallery". The gallery was also the site of fashion shows, events by performance artists such as Annie Sprinkle, and exhibitions of artwork by, among others, ballpoint pen artist Lennie Mace, whose exhibition publicity listed the gallery indistinctly as 147 Wooster Gallery. René naively thought opening his own gallery would earn entry into the burgeoning SoHo art set, and went about inviting neighboring gallery owners to come for studio visits or private viewings, but his invitations — and presence in general — went largely ignored.
|
[
"murals",
"Lennie Mace",
"John Strausbaugh",
"Annie Sprinkle",
"New York Press",
"SoHo"
] |
|
13071_NT
|
I AM THE BEST ARTIST Rene
|
Explore the IATBA Gallery of this artwork.
|
René opened his storefront space at 147 Wooster Street, SoHo, as "René's Gallery" in 1977. He opened it to showcase his own artwork — a "monument to himself", as described by John Strausbaugh in a New York Press article of the era — and also used the space to the rear of the gallery as his studio. As René's signature murals gained notoriety, his gallery was also called "I AM THE BEST ARTIST gallery". The gallery was also the site of fashion shows, events by performance artists such as Annie Sprinkle, and exhibitions of artwork by, among others, ballpoint pen artist Lennie Mace, whose exhibition publicity listed the gallery indistinctly as 147 Wooster Gallery. René naively thought opening his own gallery would earn entry into the burgeoning SoHo art set, and went about inviting neighboring gallery owners to come for studio visits or private viewings, but his invitations — and presence in general — went largely ignored.
|
[
"murals",
"Lennie Mace",
"John Strausbaugh",
"Annie Sprinkle",
"New York Press",
"SoHo"
] |
|
13072_T
|
I AM THE BEST ARTIST Rene
|
Focus on I AM THE BEST ARTIST Rene and discuss the End of the murals.
|
As the neighborhood went upscale and the value of blank wall space rose with property values, I AM THE BEST ARTIST murals were one-by-one covered by billboards or otherwise destroyed in the 1990s. One was removed after the landlord demanded $500 per month to allow René's mural to remain. René later adapted the phrase's abbreviation (IATBA) into his signature - and a surname of sorts. René no longer occupies his long-time Wooster Street space.
|
[
"murals"
] |
|
13072_NT
|
I AM THE BEST ARTIST Rene
|
Focus on this artwork and discuss the End of the murals.
|
As the neighborhood went upscale and the value of blank wall space rose with property values, I AM THE BEST ARTIST murals were one-by-one covered by billboards or otherwise destroyed in the 1990s. One was removed after the landlord demanded $500 per month to allow René's mural to remain. René later adapted the phrase's abbreviation (IATBA) into his signature - and a surname of sorts. René no longer occupies his long-time Wooster Street space.
|
[
"murals"
] |
|
13073_T
|
Portrait of Giacomo di Andrea Dolfin
|
How does Portrait of Giacomo di Andrea Dolfin elucidate its abstract?
|
Portrait of Giacomo di Andrea Dolfin, formerly known only as Portrait of a Man, is an oil painting by the Venetian master Titian, made about 1531. It is part of the collection of the Los Angeles County Museum of Art, though not currently on display.
|
[
"Los Angeles County Museum of Art",
"Titian",
"oil painting"
] |
|
13073_NT
|
Portrait of Giacomo di Andrea Dolfin
|
How does this artwork elucidate its abstract?
|
Portrait of Giacomo di Andrea Dolfin, formerly known only as Portrait of a Man, is an oil painting by the Venetian master Titian, made about 1531. It is part of the collection of the Los Angeles County Museum of Art, though not currently on display.
|
[
"Los Angeles County Museum of Art",
"Titian",
"oil painting"
] |
|
13074_T
|
Portrait of Giacomo di Andrea Dolfin
|
Focus on Portrait of Giacomo di Andrea Dolfin and analyze the Subject.
|
The sitter was identified as Giacomo di Andrea Dolfin by Charles Hope in 1982, based on the partially legible inscription on the letter held in the subject's right hand, which is addressed to himself. Philip Conisbee, in 1991, gave the following decipherment: "Al Cl … mo Giacomo delfin / M ... co D ... Prvi / a Vrcinovi [or Venezia]". Dolfin is probably being referred to as provveditore at Orzinuovi, which position he is known to have occupied in 1531 and 1532. Titian shows him garbed in the costly burgundy robes of a Venetian magistrate.
|
[
"Philip Conisbee",
"burgundy",
"provveditore",
"Orzinuovi",
"Titian"
] |
|
13074_NT
|
Portrait of Giacomo di Andrea Dolfin
|
Focus on this artwork and analyze the Subject.
|
The sitter was identified as Giacomo di Andrea Dolfin by Charles Hope in 1982, based on the partially legible inscription on the letter held in the subject's right hand, which is addressed to himself. Philip Conisbee, in 1991, gave the following decipherment: "Al Cl … mo Giacomo delfin / M ... co D ... Prvi / a Vrcinovi [or Venezia]". Dolfin is probably being referred to as provveditore at Orzinuovi, which position he is known to have occupied in 1531 and 1532. Titian shows him garbed in the costly burgundy robes of a Venetian magistrate.
|
[
"Philip Conisbee",
"burgundy",
"provveditore",
"Orzinuovi",
"Titian"
] |
|
13075_T
|
Portrait of Giacomo di Andrea Dolfin
|
In Portrait of Giacomo di Andrea Dolfin, how is the Copy discussed?
|
There is an old copy of the painting in the collection of the Norton Simon Museum, Pasadena, entitled Portrait of a Venetian Nobleman, which is thought to be either a studio version or a later copy by Titian himself. As revealed by x-ray analysis, the copy was painted over another fully finished and cut-down portrait of a bearded, seated figure which was probably by another hand (perhaps Leandro Bassano).The painting was acquired by Joseph Duveen in 1928 and published in a German catalogue by Wilhelm Suida in 1939. It includes a type of cloth hanging or unfolded curtain behind the figure of Dolfin. The same type of cloth hanging was once in the original portrait but proved to be a later addition and was removed during a conservation effort in 1980.
|
[
"Leandro Bassano",
"Joseph Duveen",
"Titian",
"Norton Simon Museum",
"Pasadena",
"Wilhelm Suida"
] |
|
13075_NT
|
Portrait of Giacomo di Andrea Dolfin
|
In this artwork, how is the Copy discussed?
|
There is an old copy of the painting in the collection of the Norton Simon Museum, Pasadena, entitled Portrait of a Venetian Nobleman, which is thought to be either a studio version or a later copy by Titian himself. As revealed by x-ray analysis, the copy was painted over another fully finished and cut-down portrait of a bearded, seated figure which was probably by another hand (perhaps Leandro Bassano).The painting was acquired by Joseph Duveen in 1928 and published in a German catalogue by Wilhelm Suida in 1939. It includes a type of cloth hanging or unfolded curtain behind the figure of Dolfin. The same type of cloth hanging was once in the original portrait but proved to be a later addition and was removed during a conservation effort in 1980.
|
[
"Leandro Bassano",
"Joseph Duveen",
"Titian",
"Norton Simon Museum",
"Pasadena",
"Wilhelm Suida"
] |
|
13076_T
|
Portrait of Giacomo di Andrea Dolfin
|
In the context of Portrait of Giacomo di Andrea Dolfin, explore the Provenance of the Copy.
|
Leo Blumenreich, Berlin; sold October 1928 to:
Duveen Brothers, London and New York; sold 1965 to:
The Norton Simon Foundation.
|
[
"Leo Blumenreich"
] |
|
13076_NT
|
Portrait of Giacomo di Andrea Dolfin
|
In the context of this artwork, explore the Provenance of the Copy.
|
Leo Blumenreich, Berlin; sold October 1928 to:
Duveen Brothers, London and New York; sold 1965 to:
The Norton Simon Foundation.
|
[
"Leo Blumenreich"
] |
|
13077_T
|
Portrait of a Man (Van Heemskerck)
|
Focus on Portrait of a Man (Van Heemskerck) and explain the abstract.
|
Portrait of a Man is an oil painting attributed to the Dutch painter Maarten van Heemskerck. The painting is kept in the Royal Museum of Fine Arts, Antwerp.
|
[
"Royal Museum of Fine Arts",
"Dutch",
"Maarten van Heemskerck",
"oil painting"
] |
|
13077_NT
|
Portrait of a Man (Van Heemskerck)
|
Focus on this artwork and explain the abstract.
|
Portrait of a Man is an oil painting attributed to the Dutch painter Maarten van Heemskerck. The painting is kept in the Royal Museum of Fine Arts, Antwerp.
|
[
"Royal Museum of Fine Arts",
"Dutch",
"Maarten van Heemskerck",
"oil painting"
] |
|
13078_T
|
Portrait of a Man (Van Heemskerck)
|
Explore the Painting of this artwork, Portrait of a Man (Van Heemskerck).
|
The man is depicted half-length, with his arms resting on a table edge, looking at the viewer head-on.He is dressed in a sober black cloth suit. The man wears a close-fitting jerkin and a high, closed collar. Underneath, a white shirt with a frown collar is visible. The man also wears a beret.His expression seems serious, but not quite so. The fact that the man is holding, not wearing, his gloves, which are worn when meeting important people and taken off as a gesture of courtesy and respect, enhance the man's friendliness. By holding his gloves, the man shows both respect and that he wants to be respected.
|
[] |
|
13078_NT
|
Portrait of a Man (Van Heemskerck)
|
Explore the Painting of this artwork.
|
The man is depicted half-length, with his arms resting on a table edge, looking at the viewer head-on.He is dressed in a sober black cloth suit. The man wears a close-fitting jerkin and a high, closed collar. Underneath, a white shirt with a frown collar is visible. The man also wears a beret.His expression seems serious, but not quite so. The fact that the man is holding, not wearing, his gloves, which are worn when meeting important people and taken off as a gesture of courtesy and respect, enhance the man's friendliness. By holding his gloves, the man shows both respect and that he wants to be respected.
|
[] |
|
13079_T
|
The Sleep of Reason Produces Monsters
|
Focus on The Sleep of Reason Produces Monsters and discuss the Subject.
|
Los Caprichos is a series of 80 etchings published in 1799 wherein Goya criticized the rampant political, social, and religious abuses of the time period. In this series of etchings, Goya heavily utilized the popular technique of caricature, which he enriched with artistic innovation. Goya’s usage of the recently-developed technique of aquatint (i.e., a method of etching a printing plate so that tones similar to watercolor washes can be reproduced) gave Los Caprichos pronounced tonal effects and spirited contrast that made them a major achievement in the history of engraving.
Of the 80 aquatints, number 43, "The Sleep of Reason Produces Monsters", can be viewed as Goya’s personal manifesto; many observers believe that Goya intended to depict himself asleep amidst his drawing tools, his reason dulled by slumber, bedeviled by creatures that prowl in the dark. Such creatures that appear in this work are often associated in Spanish folk tradition with mystery and evil; the owls surrounding Goya may be symbols of folly, and the swarming bats may symbolize ignorance. The title of the print, as marked on the front of the desk, is typically read as a proclamation of Goya’s adherence to the values of the Enlightenment: without reason, evil and corruption prevail. Goya also included a caption for this print that may suggest a slightly different interpretation: "Imagination abandoned by reason produces impossible monsters; united with her, she is the mother of the arts and source of their wonders". This implies that Goya believed that imagination should never be completely renounced in favor of the strictly rational, as imagination (in combination with reason) is what produces works of artistic innovation.Implied in Goya's preparatory inscription, the artist's nightmare reflects his view of Spanish society, which he portrayed in the Caprichos as demented, corrupt, and ripe for ridicule.
The full epigraph for Capricho No. 43 reads; "Fantasy abandoned by reason produces impossible monsters: united with her [reason], she [fantasy] is the mother of the arts and the origin of their marvels."
|
[
"history of engraving",
"aquatint",
"Enlightenment"
] |
|
13079_NT
|
The Sleep of Reason Produces Monsters
|
Focus on this artwork and discuss the Subject.
|
Los Caprichos is a series of 80 etchings published in 1799 wherein Goya criticized the rampant political, social, and religious abuses of the time period. In this series of etchings, Goya heavily utilized the popular technique of caricature, which he enriched with artistic innovation. Goya’s usage of the recently-developed technique of aquatint (i.e., a method of etching a printing plate so that tones similar to watercolor washes can be reproduced) gave Los Caprichos pronounced tonal effects and spirited contrast that made them a major achievement in the history of engraving.
Of the 80 aquatints, number 43, "The Sleep of Reason Produces Monsters", can be viewed as Goya’s personal manifesto; many observers believe that Goya intended to depict himself asleep amidst his drawing tools, his reason dulled by slumber, bedeviled by creatures that prowl in the dark. Such creatures that appear in this work are often associated in Spanish folk tradition with mystery and evil; the owls surrounding Goya may be symbols of folly, and the swarming bats may symbolize ignorance. The title of the print, as marked on the front of the desk, is typically read as a proclamation of Goya’s adherence to the values of the Enlightenment: without reason, evil and corruption prevail. Goya also included a caption for this print that may suggest a slightly different interpretation: "Imagination abandoned by reason produces impossible monsters; united with her, she is the mother of the arts and source of their wonders". This implies that Goya believed that imagination should never be completely renounced in favor of the strictly rational, as imagination (in combination with reason) is what produces works of artistic innovation.Implied in Goya's preparatory inscription, the artist's nightmare reflects his view of Spanish society, which he portrayed in the Caprichos as demented, corrupt, and ripe for ridicule.
The full epigraph for Capricho No. 43 reads; "Fantasy abandoned by reason produces impossible monsters: united with her [reason], she [fantasy] is the mother of the arts and the origin of their marvels."
|
[
"history of engraving",
"aquatint",
"Enlightenment"
] |
|
13080_T
|
The Sleep of Reason Produces Monsters
|
How does The Sleep of Reason Produces Monsters elucidate its Goya and satire?
|
Goya's print has sometimes been interpreted in the context of satire. During the late eighteenth and early nineteenth century in Spain, Goya's paintings and etchings combined artistic innovation with social criticism to create visually-satirical works. Goya created numerous portraits of Spanish royalty that were quite realistic, and completed these portraits with jarring social commentary that marked a departure from the practice of painting royal figures with sensational opulence and splendor.Los Caprichos, Goya's set of 80 aquatints that were published in the year 1799, revealed and emphasized the innumerable flaws that human beings inherently possess. The series of works as a whole deals with the uniquely-human vices of "...vanity, greed, superstition, promiscuity and delusion". Particularly, 'The Sleep of Reason Produces Monsters' exhibits (quite literally) the treacherous lengths of human irrationality, and the implications of excessive illogicality without the counterbalance of reason. The remainder of the aquatints featured in Los Caprichos incorporated contentious subjects including marriage, prostitution, the law, and the Church; some of these works featured specific and targeted political satire, implying Goya's dismay at the developments of Spanish political life. Goya supplemented these works with caustic and sardonic captions, augmenting the overall satirical effect.
|
[
"satire",
"aquatint"
] |
|
13080_NT
|
The Sleep of Reason Produces Monsters
|
How does this artwork elucidate its Goya and satire?
|
Goya's print has sometimes been interpreted in the context of satire. During the late eighteenth and early nineteenth century in Spain, Goya's paintings and etchings combined artistic innovation with social criticism to create visually-satirical works. Goya created numerous portraits of Spanish royalty that were quite realistic, and completed these portraits with jarring social commentary that marked a departure from the practice of painting royal figures with sensational opulence and splendor.Los Caprichos, Goya's set of 80 aquatints that were published in the year 1799, revealed and emphasized the innumerable flaws that human beings inherently possess. The series of works as a whole deals with the uniquely-human vices of "...vanity, greed, superstition, promiscuity and delusion". Particularly, 'The Sleep of Reason Produces Monsters' exhibits (quite literally) the treacherous lengths of human irrationality, and the implications of excessive illogicality without the counterbalance of reason. The remainder of the aquatints featured in Los Caprichos incorporated contentious subjects including marriage, prostitution, the law, and the Church; some of these works featured specific and targeted political satire, implying Goya's dismay at the developments of Spanish political life. Goya supplemented these works with caustic and sardonic captions, augmenting the overall satirical effect.
|
[
"satire",
"aquatint"
] |
|
13081_T
|
The Sleep of Reason Produces Monsters
|
Focus on The Sleep of Reason Produces Monsters and analyze the Goya's stylistic progression up to Los Caprichos.
|
Goya’s artistic career was initially marked by his creation of artwork for the Spanish royalty; Goya was called to Madrid to produce preliminary paintings in the form of tapestry cartoons for the Royal Tapestry Factory of Santa Barbara (Real Fábrica de Tapices de Santa Bárbara). Goya began to produce oil-on-canvas cartoon paintings from which tapestries for the royal palaces could be made. According to many relevant sources of the time period, Goya displayed extraordinary skill in painting tapestry cartoons, and his talent apparently warranted the attention of the Neoclassical painter Anton Raphael Mengs. Some of the preliminary paintings he completed in Madrid included a series of nine hunting scenes for the dining room at the Royal Monastery of San Lorenzo del Escorial (located in the municipality of San Lorenzo del Escorial near Madrid), as well as a series of ten cartoons for tapestries in the dining room of the Royal Palace of El Pardo.As Goya continued to engage with members of the aristocracy, he was met with an increasing quantity of royal patronage and received commissions at a higher frequency. Between the years of 1785 and 1788, Goya created works that depicted executives and their families from the Bank of San Carlos (el Banco Nacional de San Carlos) in Spain. In 1786, Goya was appointed the official painter to King Charles III, and in 1789 he was promoted to Court Painter under Charles IV (1788–1808) who had recently ascended to the throne.In the year 1792, Goya contracted an illness that left him permanently deaf; historians are unsure what the precise illness was that he suffered from, but it is speculated that Goya contracted either lead poisoning or “colic of Madrid” (a metal poisoning produced by cooking utensils), or some form of palsy. This illness caused him to suffer from an inability to balance on his feet, temporary blindness, and permanent deafness, which profoundly affected his life and his artistic style. In the years following his going deaf, Goya spent much of his time isolated from the outside world, as he asserted that he was unable to resume his work on large tapestry cartoons, and thus he turned to more personal projects. During this time, he studied the events and philosophies of the French Revolution, and created a series of etchings portraying the inherent vices and cruelties of human nature in a more pessimistic and sardonic style for which he would later become known. This series of prints, namely Los Caprichos, were published in 1799 and depicted the confines of human reason, featuring whimsical and fantastical creatures that invade the mind during dreams, as displayed in 'The Sleep of Reason Produces Monsters' (El Sueño de la Razón Produce Monstruos).During the year 1799, Goya was promoted by the Spanish crown to the position of First Court Painter, and spent the next two years working on a portrait of the family of Charles IV. In 1801, Goya published Charles IV of Spain and His Family, an oil painting that displays Charles IV of Spain and his family. Influenced by Diego Velázquez’s Las Meninas, Goya painted the royal family in the foreground and himself in the background at an easel. This painting was shocking as it was very detailed and naturalistic; critics widely believed that the painting was meant as a criticism of the royal family as the members of the family were portrayed in a physically-unflattering manner.
|
[
"San Lorenzo del Escorial",
"lead poisoning",
"Charles IV of Spain",
"Charles IV of Spain and His Family",
"Charles III",
"Las Meninas",
"Royal Palace of El Pardo",
"Anton Raphael Mengs",
"Royal Tapestry Factory of Santa Barbara",
"tapestry cartoon",
"Charles IV",
"Royal Tapestry Factory"
] |
|
13081_NT
|
The Sleep of Reason Produces Monsters
|
Focus on this artwork and analyze the Goya's stylistic progression up to Los Caprichos.
|
Goya’s artistic career was initially marked by his creation of artwork for the Spanish royalty; Goya was called to Madrid to produce preliminary paintings in the form of tapestry cartoons for the Royal Tapestry Factory of Santa Barbara (Real Fábrica de Tapices de Santa Bárbara). Goya began to produce oil-on-canvas cartoon paintings from which tapestries for the royal palaces could be made. According to many relevant sources of the time period, Goya displayed extraordinary skill in painting tapestry cartoons, and his talent apparently warranted the attention of the Neoclassical painter Anton Raphael Mengs. Some of the preliminary paintings he completed in Madrid included a series of nine hunting scenes for the dining room at the Royal Monastery of San Lorenzo del Escorial (located in the municipality of San Lorenzo del Escorial near Madrid), as well as a series of ten cartoons for tapestries in the dining room of the Royal Palace of El Pardo.As Goya continued to engage with members of the aristocracy, he was met with an increasing quantity of royal patronage and received commissions at a higher frequency. Between the years of 1785 and 1788, Goya created works that depicted executives and their families from the Bank of San Carlos (el Banco Nacional de San Carlos) in Spain. In 1786, Goya was appointed the official painter to King Charles III, and in 1789 he was promoted to Court Painter under Charles IV (1788–1808) who had recently ascended to the throne.In the year 1792, Goya contracted an illness that left him permanently deaf; historians are unsure what the precise illness was that he suffered from, but it is speculated that Goya contracted either lead poisoning or “colic of Madrid” (a metal poisoning produced by cooking utensils), or some form of palsy. This illness caused him to suffer from an inability to balance on his feet, temporary blindness, and permanent deafness, which profoundly affected his life and his artistic style. In the years following his going deaf, Goya spent much of his time isolated from the outside world, as he asserted that he was unable to resume his work on large tapestry cartoons, and thus he turned to more personal projects. During this time, he studied the events and philosophies of the French Revolution, and created a series of etchings portraying the inherent vices and cruelties of human nature in a more pessimistic and sardonic style for which he would later become known. This series of prints, namely Los Caprichos, were published in 1799 and depicted the confines of human reason, featuring whimsical and fantastical creatures that invade the mind during dreams, as displayed in 'The Sleep of Reason Produces Monsters' (El Sueño de la Razón Produce Monstruos).During the year 1799, Goya was promoted by the Spanish crown to the position of First Court Painter, and spent the next two years working on a portrait of the family of Charles IV. In 1801, Goya published Charles IV of Spain and His Family, an oil painting that displays Charles IV of Spain and his family. Influenced by Diego Velázquez’s Las Meninas, Goya painted the royal family in the foreground and himself in the background at an easel. This painting was shocking as it was very detailed and naturalistic; critics widely believed that the painting was meant as a criticism of the royal family as the members of the family were portrayed in a physically-unflattering manner.
|
[
"San Lorenzo del Escorial",
"lead poisoning",
"Charles IV of Spain",
"Charles IV of Spain and His Family",
"Charles III",
"Las Meninas",
"Royal Palace of El Pardo",
"Anton Raphael Mengs",
"Royal Tapestry Factory of Santa Barbara",
"tapestry cartoon",
"Charles IV",
"Royal Tapestry Factory"
] |
|
13082_T
|
The Sleep of Reason Produces Monsters
|
In The Sleep of Reason Produces Monsters, how is the Goya and the Enlightenment discussed?
|
Goya’s Los Caprichos echo key themes of the Enlightenment, particularly the prioritization of freedom and expression over custom and tradition, and the emphasis on knowledge and intellect over ignorance. Goya’s The Sleep of Reason Produces Monsters presents a similar concept; this work praises reason as a work of imagination, such that it is on the basis of the imagination that reason "sleeps", and the abundance of imagination with an absence of reasoning and logic may produce "monsters". One of the work’s critics writes, "[The animals] symbolize the world’s 'vulgar prejudices' and 'harmful ideas commonly believed'. Goya, borrowing the penetrating vision of the lynx, intended to expose them to light by depicting them so that we can recognize and fight them, perpetuating the solid testimony of the truth... When we are asleep we do not see, nor can we denounce, the monsters of ignorance and vice." This interpretation of The Sleep of Reason Produces Monsters reflects the ideals of the Enlightenment by denouncing ignorance and highlighting the importance of awareness.
This conventional interpretation of this plate--an endorsement of Enlightenment ideology, translating sueño as "sleep" rather than the equally justifiable translation as "dream"--remains for the most part silent about motives for its placement in the center of the series. Interpreted as The Sleep of Reason Produces Monsters, Plate 43 might have made an ideal frontispiece for the plates to follow in the first half, as humans beings do exhibit monstrous behavior without using "reason." This would then be a usual Enlightenment criticism of society. By placing Plate 43 in the middle, as it is, what follows in the second half is also an Enlightenment criticism of society--but a very dark satire of the first half. It is the Enlightenment gone mad, run amok; it begins with The Dream of Reason Produces Monsters. John J. Ciofalo has written: "Truly, however, placing it in the middle made its meaning unmistakable and unleashed in Los Caprichos a potent, even explosive, narrative power...the gateway from the "dream" of reason into the nightmare of reason, indeed, of madness." Goya turns the light of the Enlightenment back on itself and here are where the monsters are found.
|
[
"satire",
"Enlightenment"
] |
|
13082_NT
|
The Sleep of Reason Produces Monsters
|
In this artwork, how is the Goya and the Enlightenment discussed?
|
Goya’s Los Caprichos echo key themes of the Enlightenment, particularly the prioritization of freedom and expression over custom and tradition, and the emphasis on knowledge and intellect over ignorance. Goya’s The Sleep of Reason Produces Monsters presents a similar concept; this work praises reason as a work of imagination, such that it is on the basis of the imagination that reason "sleeps", and the abundance of imagination with an absence of reasoning and logic may produce "monsters". One of the work’s critics writes, "[The animals] symbolize the world’s 'vulgar prejudices' and 'harmful ideas commonly believed'. Goya, borrowing the penetrating vision of the lynx, intended to expose them to light by depicting them so that we can recognize and fight them, perpetuating the solid testimony of the truth... When we are asleep we do not see, nor can we denounce, the monsters of ignorance and vice." This interpretation of The Sleep of Reason Produces Monsters reflects the ideals of the Enlightenment by denouncing ignorance and highlighting the importance of awareness.
This conventional interpretation of this plate--an endorsement of Enlightenment ideology, translating sueño as "sleep" rather than the equally justifiable translation as "dream"--remains for the most part silent about motives for its placement in the center of the series. Interpreted as The Sleep of Reason Produces Monsters, Plate 43 might have made an ideal frontispiece for the plates to follow in the first half, as humans beings do exhibit monstrous behavior without using "reason." This would then be a usual Enlightenment criticism of society. By placing Plate 43 in the middle, as it is, what follows in the second half is also an Enlightenment criticism of society--but a very dark satire of the first half. It is the Enlightenment gone mad, run amok; it begins with The Dream of Reason Produces Monsters. John J. Ciofalo has written: "Truly, however, placing it in the middle made its meaning unmistakable and unleashed in Los Caprichos a potent, even explosive, narrative power...the gateway from the "dream" of reason into the nightmare of reason, indeed, of madness." Goya turns the light of the Enlightenment back on itself and here are where the monsters are found.
|
[
"satire",
"Enlightenment"
] |
|
13083_T
|
The Sleep of Reason Produces Monsters
|
Focus on The Sleep of Reason Produces Monsters and explore the Technical aspects.
|
Los Caprichos is notable for its use of aquatint, a printing technique that falls under the category of intaglio printing. Intaglio printing is characterized by the artist applying ink to the grooves of the matrix (i.e., the surface from which a print is made), allowing for intricate lines and refined tonality. According to William M. Ivins Jr., the first official Curator of Prints at the Metropolitan Museum of Art, "every intaglio print in which the lines are laid in a formal manner is an engraving, and every one in which they are laid freely is an etching," thus clarifying that the series Los Caprichos falls under the broad category of "etchings". To produce an aquatint, the image itself is formed by applying a layer of resin (or a substitute of asphalt or bitumen) using one of two technical methods. An artist may allow the resin to settle on the plate as a dry dust by inserting the printing plate at the bottom of a box wherein the dust has been distributed. The printing plate is then heated so that each grain of resin dust melts and adheres to the metal. The alternative method is to dissolve the resin or asphalt in alcohol, and then pour this solution over the printing plate. The alcohol will then evaporate, leaving a thin film of resin which will dry on the plate. The plate is then immersed in acid, which etches the metal in the gaps around the grains of resin. The dust is then cleaned off the plate, to which ink is applied; the ink penetrates the etched depressions, and when the plate is printed, it creates a network of thin etched lines. This process produces a single tone, but the density of the tone varies depending on how finely the dust was ground and how thickly it covered the plate.
|
[
"aquatint",
"bitumen",
"Metropolitan Museum of Art"
] |
|
13083_NT
|
The Sleep of Reason Produces Monsters
|
Focus on this artwork and explore the Technical aspects.
|
Los Caprichos is notable for its use of aquatint, a printing technique that falls under the category of intaglio printing. Intaglio printing is characterized by the artist applying ink to the grooves of the matrix (i.e., the surface from which a print is made), allowing for intricate lines and refined tonality. According to William M. Ivins Jr., the first official Curator of Prints at the Metropolitan Museum of Art, "every intaglio print in which the lines are laid in a formal manner is an engraving, and every one in which they are laid freely is an etching," thus clarifying that the series Los Caprichos falls under the broad category of "etchings". To produce an aquatint, the image itself is formed by applying a layer of resin (or a substitute of asphalt or bitumen) using one of two technical methods. An artist may allow the resin to settle on the plate as a dry dust by inserting the printing plate at the bottom of a box wherein the dust has been distributed. The printing plate is then heated so that each grain of resin dust melts and adheres to the metal. The alternative method is to dissolve the resin or asphalt in alcohol, and then pour this solution over the printing plate. The alcohol will then evaporate, leaving a thin film of resin which will dry on the plate. The plate is then immersed in acid, which etches the metal in the gaps around the grains of resin. The dust is then cleaned off the plate, to which ink is applied; the ink penetrates the etched depressions, and when the plate is printed, it creates a network of thin etched lines. This process produces a single tone, but the density of the tone varies depending on how finely the dust was ground and how thickly it covered the plate.
|
[
"aquatint",
"bitumen",
"Metropolitan Museum of Art"
] |
|
13084_T
|
Unity (Thomas)
|
Focus on Unity (Thomas) and explain the abstract.
|
Unity is a 22-foot (6.7 m) tall bronze sculpture of an arm, hand, and pointing index finger by Hank Willis Thomas, installed in Brooklyn, New York City. The artwork was unveiled in 2019.
|
[
"bronze sculpture",
"Hank Willis Thomas",
"New York City",
"Brooklyn"
] |
|
13084_NT
|
Unity (Thomas)
|
Focus on this artwork and explain the abstract.
|
Unity is a 22-foot (6.7 m) tall bronze sculpture of an arm, hand, and pointing index finger by Hank Willis Thomas, installed in Brooklyn, New York City. The artwork was unveiled in 2019.
|
[
"bronze sculpture",
"Hank Willis Thomas",
"New York City",
"Brooklyn"
] |
|
13085_T
|
Hiroshima Nagasaki One-Minute
|
Explore the abstract of this artwork, Hiroshima Nagasaki One-Minute.
|
Hiroshima Nagasaki One-Minute is the subject of two mural-scale paintings made by Nabil Kanso in 1978–79. One is titled 49-Second (Hiroshima) done in oil on canvas measuring 3 X 5.50 meters (10 X 18 feet), the other 11-Seconds (Nagasaki) oil-on-canvas triptych measuring 3 X 4.60 meters (10 X 14 feet) center, and 2.75 X 1.32 meters (9 X 6 feet) each side.
|
[
"canvas",
"mural",
"painting",
"Nabil Kanso",
"oil",
"triptych"
] |
|
13085_NT
|
Hiroshima Nagasaki One-Minute
|
Explore the abstract of this artwork.
|
Hiroshima Nagasaki One-Minute is the subject of two mural-scale paintings made by Nabil Kanso in 1978–79. One is titled 49-Second (Hiroshima) done in oil on canvas measuring 3 X 5.50 meters (10 X 18 feet), the other 11-Seconds (Nagasaki) oil-on-canvas triptych measuring 3 X 4.60 meters (10 X 14 feet) center, and 2.75 X 1.32 meters (9 X 6 feet) each side.
|
[
"canvas",
"mural",
"painting",
"Nabil Kanso",
"oil",
"triptych"
] |
|
13086_T
|
The Infanta Isabel Clara Eugenia in the Mariemont Park
|
Focus on The Infanta Isabel Clara Eugenia in the Mariemont Park and discuss the abstract.
|
The Infanta Isabel Clara Eugenia in the Mariemont Park (Spanish: La infanta Isabel Clara Eugenia en el parque de Mariemont) is a large oil on canvas painting by Flemish artists Jan Brueghel the Elder and Joos de Momper. It was painted in the first quarter of the 17th century. The painting is kept in the Museum of Prado in Madrid.
|
[
"Jan Brueghel the Elder",
"Mariemont",
"Joos de Momper",
"Spanish",
"Flemish",
"oil on canvas",
"Museum of Prado",
"Isabel Clara Eugenia",
"Madrid"
] |
|
13086_NT
|
The Infanta Isabel Clara Eugenia in the Mariemont Park
|
Focus on this artwork and discuss the abstract.
|
The Infanta Isabel Clara Eugenia in the Mariemont Park (Spanish: La infanta Isabel Clara Eugenia en el parque de Mariemont) is a large oil on canvas painting by Flemish artists Jan Brueghel the Elder and Joos de Momper. It was painted in the first quarter of the 17th century. The painting is kept in the Museum of Prado in Madrid.
|
[
"Jan Brueghel the Elder",
"Mariemont",
"Joos de Momper",
"Spanish",
"Flemish",
"oil on canvas",
"Museum of Prado",
"Isabel Clara Eugenia",
"Madrid"
] |
|
13087_T
|
The Infanta Isabel Clara Eugenia in the Mariemont Park
|
How does The Infanta Isabel Clara Eugenia in the Mariemont Park elucidate its Painting?
|
The oeuvre was part of a collection of 26 paintings which arrived in Madrid in the early 17th century. Some of the paintings, hung in the Torre de la Reina at the Alcázar de Madrid, showed everyday activities of the people of Flanders; other portrayed the archdukes in their landed estates. There were four paintings in the latter group.To the left there stand the dukes, surrounded by courtladies, children and small sized dogs. To the right there is a group of deer, chased by small sized dogs. The painting seems to represent hunting; however, it does so in a placid, unrealistic way: some deers are resting, and the small sized dogs are not of the breed generally used for hunting.Differently from the Excursion in the Countryside of Infanta Isabel Clara Eugenia, also by Brueghel and de Momper, dating to the same period, part of the same set, and showing the same gardens in the archdukes' residence of Mariemont, the latter's palace is not visible in the background of this painting. A collection of letters between Isabel Clara Eugenia and the Duke of Lerma shows the former's passion for the life in the countryside. This painting was commissioned by the archduke out of her enthusiasm for such places.
|
[
"Excursion in the Countryside of Infanta Isabel Clara Eugenia",
"Mariemont",
"Flanders",
"Isabel Clara Eugenia",
"Alcázar de Madrid",
"hunting",
"Madrid"
] |
|
13087_NT
|
The Infanta Isabel Clara Eugenia in the Mariemont Park
|
How does this artwork elucidate its Painting?
|
The oeuvre was part of a collection of 26 paintings which arrived in Madrid in the early 17th century. Some of the paintings, hung in the Torre de la Reina at the Alcázar de Madrid, showed everyday activities of the people of Flanders; other portrayed the archdukes in their landed estates. There were four paintings in the latter group.To the left there stand the dukes, surrounded by courtladies, children and small sized dogs. To the right there is a group of deer, chased by small sized dogs. The painting seems to represent hunting; however, it does so in a placid, unrealistic way: some deers are resting, and the small sized dogs are not of the breed generally used for hunting.Differently from the Excursion in the Countryside of Infanta Isabel Clara Eugenia, also by Brueghel and de Momper, dating to the same period, part of the same set, and showing the same gardens in the archdukes' residence of Mariemont, the latter's palace is not visible in the background of this painting. A collection of letters between Isabel Clara Eugenia and the Duke of Lerma shows the former's passion for the life in the countryside. This painting was commissioned by the archduke out of her enthusiasm for such places.
|
[
"Excursion in the Countryside of Infanta Isabel Clara Eugenia",
"Mariemont",
"Flanders",
"Isabel Clara Eugenia",
"Alcázar de Madrid",
"hunting",
"Madrid"
] |
|
13088_T
|
Three-Piece No. 3: Vertebrae (Working Model)
|
Focus on Three-Piece No. 3: Vertebrae (Working Model) and analyze the abstract.
|
Three-Piece No. 3: Vertebrae (Working Model) is a bronze sculpture by Henry Moore. It was cast in 1968 as in edition of 8, along with an artist's copy which is now part of the Tate collection.
|
[
"Henry Moore",
"Tate"
] |
|
13088_NT
|
Three-Piece No. 3: Vertebrae (Working Model)
|
Focus on this artwork and analyze the abstract.
|
Three-Piece No. 3: Vertebrae (Working Model) is a bronze sculpture by Henry Moore. It was cast in 1968 as in edition of 8, along with an artist's copy which is now part of the Tate collection.
|
[
"Henry Moore",
"Tate"
] |
|
13089_T
|
Three-Piece No. 3: Vertebrae (Working Model)
|
In Three-Piece No. 3: Vertebrae (Working Model), how is the Description discussed?
|
It is in the Nasher Sculpture Center.
The sculpture refers to bones, which Moore collected.
Each of the forms, although different, has the same basic shape. Just as in a backbone which may be made up of twenty segments where each one is roughly like the others but not exactly the same…This is why I call these sculptures Vertebrae. The two or three forms are basically alike but are arranged to go with each other in different positions. The sculptor’s life is one of thinking, reacting, or making, expressing himself through form, through shape – for me the three-dimensional world is unending.
|
[
"Nasher Sculpture Center"
] |
|
13089_NT
|
Three-Piece No. 3: Vertebrae (Working Model)
|
In this artwork, how is the Description discussed?
|
It is in the Nasher Sculpture Center.
The sculpture refers to bones, which Moore collected.
Each of the forms, although different, has the same basic shape. Just as in a backbone which may be made up of twenty segments where each one is roughly like the others but not exactly the same…This is why I call these sculptures Vertebrae. The two or three forms are basically alike but are arranged to go with each other in different positions. The sculptor’s life is one of thinking, reacting, or making, expressing himself through form, through shape – for me the three-dimensional world is unending.
|
[
"Nasher Sculpture Center"
] |
|
13090_T
|
The Triumph of Venus
|
Focus on The Triumph of Venus and explore the abstract.
|
The Triumph of Venus is a 1740 oil-on-canvas painting by François Boucher. It inspired The Birth of Venus by Jean-Honoré Fragonard.The painting was one of the large number of drawings and paintings acquired by Carl Gustaf Tessin during his stay in Paris, but he had to sell it off part of his collection to the king of Sweden in 1749 after he experienced financial troubles. The painting is now in the Nationalmuseum in Stockholm.
|
[
"Stockholm",
"Carl Gustaf Tessin",
"François Boucher",
"Jean-Honoré Fragonard",
"The Birth of Venus",
"Nationalmuseum"
] |
|
13090_NT
|
The Triumph of Venus
|
Focus on this artwork and explore the abstract.
|
The Triumph of Venus is a 1740 oil-on-canvas painting by François Boucher. It inspired The Birth of Venus by Jean-Honoré Fragonard.The painting was one of the large number of drawings and paintings acquired by Carl Gustaf Tessin during his stay in Paris, but he had to sell it off part of his collection to the king of Sweden in 1749 after he experienced financial troubles. The painting is now in the Nationalmuseum in Stockholm.
|
[
"Stockholm",
"Carl Gustaf Tessin",
"François Boucher",
"Jean-Honoré Fragonard",
"The Birth of Venus",
"Nationalmuseum"
] |
|
13091_T
|
Rebirth (sculpture)
|
Focus on Rebirth (sculpture) and explain the abstract.
|
Rebirth, nicknamed "Deer Baby" and "Twilight Zone Bambi", was a proposed outdoor sculpture by American artist Seyed Alavi, considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie in Clackamas County, Oregon, in the United States. The design of the unfinished creative work, which featured a 30-foot (9.1 m) deer with a child's face, was met with a mixed reception. Unable to meet TriMet's standards and remain under budget, in November 2011 Alavi withdrew his design from the project.
|
[
"Seyed Alavi",
"Oak Grove",
"Clackamas County, Oregon",
"Southeast Park Avenue MAX Station",
"TriMet",
"MAX Orange Line",
"unincorporated area",
"Milwaukie",
"unfinished creative work"
] |
|
13091_NT
|
Rebirth (sculpture)
|
Focus on this artwork and explain the abstract.
|
Rebirth, nicknamed "Deer Baby" and "Twilight Zone Bambi", was a proposed outdoor sculpture by American artist Seyed Alavi, considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie in Clackamas County, Oregon, in the United States. The design of the unfinished creative work, which featured a 30-foot (9.1 m) deer with a child's face, was met with a mixed reception. Unable to meet TriMet's standards and remain under budget, in November 2011 Alavi withdrew his design from the project.
|
[
"Seyed Alavi",
"Oak Grove",
"Clackamas County, Oregon",
"Southeast Park Avenue MAX Station",
"TriMet",
"MAX Orange Line",
"unincorporated area",
"Milwaukie",
"unfinished creative work"
] |
|
13092_T
|
Rebirth (sculpture)
|
Explore the History and public reaction of this artwork, Rebirth (sculpture).
|
Upon public release, Rebirth's design became a "target for ridicule". In June 2011, Milwaukie neighborhood association leaders sent a letter to the Public Art Advisory Committee expressing their disappointment with the proposed deer concept, hoping to see changes to its final design. Some residents thought the sculpture should be more accessible and less expensive; conversely, the Oak Lodge Community Council chairwoman, who also served as a member of the art committee, hoped the sculpture could serve as a community space and reach "icon" status. In a formal letter, TriMet's general manager responded to the neighborhood associations by encouraging residents to "communicate directly with the art committee by inviting members to neighborhood association leadership meetings". The agency's spokeswoman also told committee leaders that the public was welcome to share their preferences regarding the work's dimensions, fabrication methods, form, and materials. Oak Grove and Milwaukie residents also disagreed about whether or not those in the latter city had a say about the sculpture, which would have been within the area's boundaries according to the first design.In October 2011, at a public meeting to address TriMet's projected budget gap, one Milwaukie resident asked the agency to abandon its plans to fund Rebirth, saying that "a lot of people think that thing's just ugly. Why are they spending money on something that's an unnecessary add-on at the same time they're talking about cutting bus routes again?" The agency's general manager responded that all possibilities would be considered, though TriMet officials confirmed that cuts to its public art program were not an option and the MAX Orange Line's budget was separate from TriMet's financial problems.In November 2011, TriMet's public art coordinator confirmed Alavi's withdrawal from the project, saying, "The artist for Park (Avenue) did his due diligence. He did everything possible to make that a reality, but sometimes it's not realistic." According to The Oregonian, Alavi was unable to meet the Public Art Advisory Committee's technical requirements and remain under budget. One committee member admitted, "The form itself was something a lot of people out in the community weren't happy with in the first place, so once the mosaic piece was taken away, it kind of devalued it." Alavi released the following statement:In honor of the death of the "Deer Baby/Twilight Zone Bambi", I thought a quote by Rod Serling, might be appropriate...
"For the record, prejudices can kill and suspicion can destroy; and a thoughtless, frightened search for a scapegoat has a fallout all of its own for the children, and the children yet unborn. And the pity of it is, that these things cannot be confined to the Twilight Zone."
From The Twilight Zone episode, "The Monsters Are Due on Maple Street", March 6, 1960
Thanks,Seyed Alavi
The debate over the sculpture's proposed design by TriMet, the art committee, and members of the public reached "near-yelling match" status, resulting in "animosity and general nastiness". Following Alavi's withdrawal, the art committee made plans to reconvene and consider other design proposals for the site.
|
[
"The Oregonian",
"The Twilight Zone",
"right",
"Seyed Alavi",
"Oak Grove",
"TriMet",
"MAX Orange Line",
"Milwaukie",
"Rod Serling",
"The Monsters Are Due on Maple Street"
] |
|
13092_NT
|
Rebirth (sculpture)
|
Explore the History and public reaction of this artwork.
|
Upon public release, Rebirth's design became a "target for ridicule". In June 2011, Milwaukie neighborhood association leaders sent a letter to the Public Art Advisory Committee expressing their disappointment with the proposed deer concept, hoping to see changes to its final design. Some residents thought the sculpture should be more accessible and less expensive; conversely, the Oak Lodge Community Council chairwoman, who also served as a member of the art committee, hoped the sculpture could serve as a community space and reach "icon" status. In a formal letter, TriMet's general manager responded to the neighborhood associations by encouraging residents to "communicate directly with the art committee by inviting members to neighborhood association leadership meetings". The agency's spokeswoman also told committee leaders that the public was welcome to share their preferences regarding the work's dimensions, fabrication methods, form, and materials. Oak Grove and Milwaukie residents also disagreed about whether or not those in the latter city had a say about the sculpture, which would have been within the area's boundaries according to the first design.In October 2011, at a public meeting to address TriMet's projected budget gap, one Milwaukie resident asked the agency to abandon its plans to fund Rebirth, saying that "a lot of people think that thing's just ugly. Why are they spending money on something that's an unnecessary add-on at the same time they're talking about cutting bus routes again?" The agency's general manager responded that all possibilities would be considered, though TriMet officials confirmed that cuts to its public art program were not an option and the MAX Orange Line's budget was separate from TriMet's financial problems.In November 2011, TriMet's public art coordinator confirmed Alavi's withdrawal from the project, saying, "The artist for Park (Avenue) did his due diligence. He did everything possible to make that a reality, but sometimes it's not realistic." According to The Oregonian, Alavi was unable to meet the Public Art Advisory Committee's technical requirements and remain under budget. One committee member admitted, "The form itself was something a lot of people out in the community weren't happy with in the first place, so once the mosaic piece was taken away, it kind of devalued it." Alavi released the following statement:In honor of the death of the "Deer Baby/Twilight Zone Bambi", I thought a quote by Rod Serling, might be appropriate...
"For the record, prejudices can kill and suspicion can destroy; and a thoughtless, frightened search for a scapegoat has a fallout all of its own for the children, and the children yet unborn. And the pity of it is, that these things cannot be confined to the Twilight Zone."
From The Twilight Zone episode, "The Monsters Are Due on Maple Street", March 6, 1960
Thanks,Seyed Alavi
The debate over the sculpture's proposed design by TriMet, the art committee, and members of the public reached "near-yelling match" status, resulting in "animosity and general nastiness". Following Alavi's withdrawal, the art committee made plans to reconvene and consider other design proposals for the site.
|
[
"The Oregonian",
"The Twilight Zone",
"right",
"Seyed Alavi",
"Oak Grove",
"TriMet",
"MAX Orange Line",
"Milwaukie",
"Rod Serling",
"The Monsters Are Due on Maple Street"
] |
|
13093_T
|
Rebirth (sculpture)
|
Focus on Rebirth (sculpture) and discuss the Critical response.
|
In articles providing updates about the sculpture's status, The Oregonian called the work "larger-than-life style highway art" and "Twilight Zone Bambi". Angela Webber of the Daily Journal of Commerce expressed her love for the sculpture and disappointment in the public's reaction. She wrote, "This makes me so sad. [...] Apparently, this giant baby-faced deer statue isn't pretty enough for Milwaukie. [...] I imagine the folks of Milwaukie just don't get it."Following confirmation about the artist's withdrawal, the journal's Aaron Spencer said local residents are being deprived of the sculpture's "disturbing fantastical whimsy". In an article called "Let's save the giant baby-faced deer statue!", he wrote: "As we all know, I love this statue. I love it a lot. And I think we can save it. There are lots of places in Portland that could use some beautification, and a little public art can go a long way." Spencer and a colleague compiled a gallery of images created using Adobe Photoshop to illustrate the sculpture's potential.
|
[
"The Oregonian",
"Daily Journal of Commerce",
"Adobe Photoshop",
"Milwaukie"
] |
|
13093_NT
|
Rebirth (sculpture)
|
Focus on this artwork and discuss the Critical response.
|
In articles providing updates about the sculpture's status, The Oregonian called the work "larger-than-life style highway art" and "Twilight Zone Bambi". Angela Webber of the Daily Journal of Commerce expressed her love for the sculpture and disappointment in the public's reaction. She wrote, "This makes me so sad. [...] Apparently, this giant baby-faced deer statue isn't pretty enough for Milwaukie. [...] I imagine the folks of Milwaukie just don't get it."Following confirmation about the artist's withdrawal, the journal's Aaron Spencer said local residents are being deprived of the sculpture's "disturbing fantastical whimsy". In an article called "Let's save the giant baby-faced deer statue!", he wrote: "As we all know, I love this statue. I love it a lot. And I think we can save it. There are lots of places in Portland that could use some beautification, and a little public art can go a long way." Spencer and a colleague compiled a gallery of images created using Adobe Photoshop to illustrate the sculpture's potential.
|
[
"The Oregonian",
"Daily Journal of Commerce",
"Adobe Photoshop",
"Milwaukie"
] |
|
13094_T
|
The Horse Fair
|
How does The Horse Fair elucidate its Background?
|
Bonheur painted 'The Horse Fair' from a series of sketches of Percherons, and other draft horses, which she had made at the Paris horse market on the tree-lined Boulevard de l'Hôpital, near the Pitié-Salpêtrière Hospital, which is visible in the background to the painting. She attended the market twice weekly for a year and a half from summer of 1850 to the end of 1851. She sought a permission de travestissement from the Paris police to dress as a man, to avoid drawing attention to herself. She had earlier studied at a Paris slaughterhouse in 1845, a typical activity for an animal painter that she was the first woman to engage in, and had experienced harassment as a visible woman.In addition to studies at the Paris horse market, she also modeled her animals on those from the Paris Omnibus Company. She broke from tradition in depicting the horse eye as it is, rather than using anthropomorphism for emotional effect. It has been suggested that one of the human figures is a self-portrait.
Bonheur routinely wore masculine clothes at home and in the country. The Horse Fair is printed as Plate 18 in Germaine Greer's book The Obstacle Race, in which she writes: "There was nothing titillating about the full trousers and painters' smocks that Bonheur wore", and quotes the artist herself as saying:"I am a painter. I have earned my living honestly. My private life is nobody's concern."Among the influences on Bonheur's work are the painters George Stubbs, Théodore Géricault, and Eugène Delacroix, and sculpture from Ancient Greece. She described the painting as her own Parthenon Frieze. It is signed and dated, "Rosa Bonheur 1853.5".
|
[
"draft horse",
"in",
"Paris horse market",
"Germaine Greer",
"Ancient Greece",
"Salpêtrière",
"Paris police",
"x",
"horse eye",
"George Stubbs",
"Rosa Bonheur",
"Paris Omnibus Company",
"Théodore Géricault",
"Boulevard de l'Hôpital",
"anthropomorphism",
"Paris",
"animal painter",
"Parthenon Frieze",
"Percheron",
"slaughterhouse",
"Pitié-Salpêtrière Hospital",
"Eugène Delacroix",
"50"
] |
|
13094_NT
|
The Horse Fair
|
How does this artwork elucidate its Background?
|
Bonheur painted 'The Horse Fair' from a series of sketches of Percherons, and other draft horses, which she had made at the Paris horse market on the tree-lined Boulevard de l'Hôpital, near the Pitié-Salpêtrière Hospital, which is visible in the background to the painting. She attended the market twice weekly for a year and a half from summer of 1850 to the end of 1851. She sought a permission de travestissement from the Paris police to dress as a man, to avoid drawing attention to herself. She had earlier studied at a Paris slaughterhouse in 1845, a typical activity for an animal painter that she was the first woman to engage in, and had experienced harassment as a visible woman.In addition to studies at the Paris horse market, she also modeled her animals on those from the Paris Omnibus Company. She broke from tradition in depicting the horse eye as it is, rather than using anthropomorphism for emotional effect. It has been suggested that one of the human figures is a self-portrait.
Bonheur routinely wore masculine clothes at home and in the country. The Horse Fair is printed as Plate 18 in Germaine Greer's book The Obstacle Race, in which she writes: "There was nothing titillating about the full trousers and painters' smocks that Bonheur wore", and quotes the artist herself as saying:"I am a painter. I have earned my living honestly. My private life is nobody's concern."Among the influences on Bonheur's work are the painters George Stubbs, Théodore Géricault, and Eugène Delacroix, and sculpture from Ancient Greece. She described the painting as her own Parthenon Frieze. It is signed and dated, "Rosa Bonheur 1853.5".
|
[
"draft horse",
"in",
"Paris horse market",
"Germaine Greer",
"Ancient Greece",
"Salpêtrière",
"Paris police",
"x",
"horse eye",
"George Stubbs",
"Rosa Bonheur",
"Paris Omnibus Company",
"Théodore Géricault",
"Boulevard de l'Hôpital",
"anthropomorphism",
"Paris",
"animal painter",
"Parthenon Frieze",
"Percheron",
"slaughterhouse",
"Pitié-Salpêtrière Hospital",
"Eugène Delacroix",
"50"
] |
|
13095_T
|
The Horse Fair
|
Focus on The Horse Fair and analyze the Exhibition.
|
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York.
|
[
"Paris Salon",
"Haymaking in the Auvergne",
"in",
"New York",
"Edwin Henry Landseer",
"Charles de Morny, Duke of Morny",
"Château de Fontainebleau",
"Cornelius Vanderbilt II",
"x",
"Buckingham Palace",
"William Parkinson Wright",
"FF",
"Queen Victoria",
"Paris",
"Alexander Turney Stewart",
"Ernest Gambart",
"Metropolitan Museum of Art"
] |
|
13095_NT
|
The Horse Fair
|
Focus on this artwork and analyze the Exhibition.
|
The painting was praised by the critics when it was first exhibited at the Paris Salon in May 1853. Several commented on the masculine nature of the work. Earlier, Bonheur had offered studies of two paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny, for consideration of a state commission. He selected the other work, Haymaking in the Auvergne, now held by the museum at the Château de Fontainebleau. Bonheur rejected his attempt to change his mind after the 1853 exhibition.
The painting was subsequently shown in Ghent in 1853 and then in Bordeaux in 1854, but the city declined to buy it for FF 15,000. It was sold to the British art dealer Ernest Gambart in 1854 for FF 40,000. Bonheur added finishing touches in 1855.
It was shown at various locations during a tour of Britain in 1855 to 1857. In London, the painting was shown in the home of Edwin Henry Landseer, the artist well known for his works on animals. Queen Victoria requested a private viewing at Buckingham Palace. It was the most acclaimed of Bonheur's works, and is described by the Metropolitan Museum as one of its best-known works of art.
It was sold to cotton trader William Parkinson Wright in 1857 for FF 30,000, and then sold to Alexander Turney Stewart in 1866. After the deaths of Stewart in 1876 and of his widow Cornelia in 1886, the painting was bought at auction by Cornelius Vanderbilt II for $53,000 in March 1887, and immediately donated to the Metropolitan Museum of Art in New York.
|
[
"Paris Salon",
"Haymaking in the Auvergne",
"in",
"New York",
"Edwin Henry Landseer",
"Charles de Morny, Duke of Morny",
"Château de Fontainebleau",
"Cornelius Vanderbilt II",
"x",
"Buckingham Palace",
"William Parkinson Wright",
"FF",
"Queen Victoria",
"Paris",
"Alexander Turney Stewart",
"Ernest Gambart",
"Metropolitan Museum of Art"
] |
|
13096_T
|
The Horse Fair
|
In The Horse Fair, how is the Legacy and influence discussed?
|
The first engraving of the work was made by Jules Jacques Veyrassat during the Paris Salon of 1853, while the often-reproduced engraving by Thomas Landseer helped it achieve a wide popularity. Landseer's engraving was based on a half-size replica, 48 in × 100 in (120 cm × 250 cm), c.1855, by Bonheur and her partner Nathalie Micas, which was donated to the National Gallery in London in 1859 from the estate of Jacob Bell.Bonheur also made a second half-size replica, which she preferred, formerly in the collection of the McConnel family (owners of a cotton mill in Cressbrook, Derbyshire) and in the collection of Jack Wheeler by 1989, when it was exhibited at Meadows Museum in Dallas; and a third half-size replica made for Commander Arthur Hill Ommanney Peter Hill-Lowe RN in Somerset (first husband of Beatrice Hill-Lowe) was sold at Sotheby's in 1978, and is now in a private collection in Baton Rouge. A fourth much smaller version, 19 in × 35 in (48 cm × 89 cm) was in the private collection of Karl Lowenstein. An autograph watercolour version 24 in × 50 in (61 cm × 127 cm) dated 1867 was sold by Sotheby's in New York in 2007. A similar watercolour version was sold by Knoedler in 1982.
Painter Molly Luce claimed that The Horse Fair was the first work which influenced her in her decision to become an artist, and the work also inspired a young Wayne Thiebaud.In the literary world, The Horse Fair inspired a 2000 anthology by poet Robin Becker.The painting, with its large scale, realistic style, and strong sense of movement, can be considered proto-cinematic.Bonheur's brother, Isidore Bonheur, cast a bronze relief plaque based on the painting for her monument at Fontainebleau. The memorial included a large statue of a bull, on a pedestal with four relief plaques reproducing her most popular paintings; it was destroyed in 1941, but a cast of the plaque is held by the Dahesh Museum of Art in New York.
|
[
"Wayne Thiebaud",
"Knoedler",
"Paris Salon",
"Beatrice Hill-Lowe",
"in",
"New York",
"Molly Luce",
"Karl Lowenstein",
"National Gallery",
"x",
"Meadows Museum",
"realistic",
"24",
"Nathalie Micas",
"Robin Becker",
"Thomas Landseer",
"Jacob Bell",
"Jules Jacques Veyrassat",
"Paris",
"Dahesh Museum of Art",
"Isidore Bonheur",
"cm",
"120",
"Cressbrook",
"50",
"Baton Rouge",
"proto-cinematic"
] |
|
13096_NT
|
The Horse Fair
|
In this artwork, how is the Legacy and influence discussed?
|
The first engraving of the work was made by Jules Jacques Veyrassat during the Paris Salon of 1853, while the often-reproduced engraving by Thomas Landseer helped it achieve a wide popularity. Landseer's engraving was based on a half-size replica, 48 in × 100 in (120 cm × 250 cm), c.1855, by Bonheur and her partner Nathalie Micas, which was donated to the National Gallery in London in 1859 from the estate of Jacob Bell.Bonheur also made a second half-size replica, which she preferred, formerly in the collection of the McConnel family (owners of a cotton mill in Cressbrook, Derbyshire) and in the collection of Jack Wheeler by 1989, when it was exhibited at Meadows Museum in Dallas; and a third half-size replica made for Commander Arthur Hill Ommanney Peter Hill-Lowe RN in Somerset (first husband of Beatrice Hill-Lowe) was sold at Sotheby's in 1978, and is now in a private collection in Baton Rouge. A fourth much smaller version, 19 in × 35 in (48 cm × 89 cm) was in the private collection of Karl Lowenstein. An autograph watercolour version 24 in × 50 in (61 cm × 127 cm) dated 1867 was sold by Sotheby's in New York in 2007. A similar watercolour version was sold by Knoedler in 1982.
Painter Molly Luce claimed that The Horse Fair was the first work which influenced her in her decision to become an artist, and the work also inspired a young Wayne Thiebaud.In the literary world, The Horse Fair inspired a 2000 anthology by poet Robin Becker.The painting, with its large scale, realistic style, and strong sense of movement, can be considered proto-cinematic.Bonheur's brother, Isidore Bonheur, cast a bronze relief plaque based on the painting for her monument at Fontainebleau. The memorial included a large statue of a bull, on a pedestal with four relief plaques reproducing her most popular paintings; it was destroyed in 1941, but a cast of the plaque is held by the Dahesh Museum of Art in New York.
|
[
"Wayne Thiebaud",
"Knoedler",
"Paris Salon",
"Beatrice Hill-Lowe",
"in",
"New York",
"Molly Luce",
"Karl Lowenstein",
"National Gallery",
"x",
"Meadows Museum",
"realistic",
"24",
"Nathalie Micas",
"Robin Becker",
"Thomas Landseer",
"Jacob Bell",
"Jules Jacques Veyrassat",
"Paris",
"Dahesh Museum of Art",
"Isidore Bonheur",
"cm",
"120",
"Cressbrook",
"50",
"Baton Rouge",
"proto-cinematic"
] |
|
13097_T
|
Saint Nicholas in Glory
|
Focus on Saint Nicholas in Glory and explore the abstract.
|
Saint Nicholas in Glory is an altarpiece painting by Italian Renaissance artist Lorenzo Lotto, executed in 1527-1529 and located in the church of Santa Maria dei Carmini, Venice.
|
[
"Carmini",
"Santa Maria dei Carmini",
"Lorenzo Lotto",
"Venice"
] |
|
13097_NT
|
Saint Nicholas in Glory
|
Focus on this artwork and explore the abstract.
|
Saint Nicholas in Glory is an altarpiece painting by Italian Renaissance artist Lorenzo Lotto, executed in 1527-1529 and located in the church of Santa Maria dei Carmini, Venice.
|
[
"Carmini",
"Santa Maria dei Carmini",
"Lorenzo Lotto",
"Venice"
] |
|
13098_T
|
Saint Nicholas in Glory
|
Focus on Saint Nicholas in Glory and explain the History.
|
An inscription at the altar's base reports that the canvas was commissioned in 1527 by the guardiano (curator of the church) Giovanni Battista Donati and his vicar Giorgio de' Mundis. They chose Nicholas because of their membership in a merchants' brotherhood, which was dedicated to that saint. A frame in Istrian stone had already been prepared before the work's execution.
This was Lotto's first work after his return to Venice from Bergamo. Despite several innovative elements (such as the nocturnal landscape in the lower part), the canvas was poorly received by contemporaries. According to contemporary historians, the canvas was completed as early as 1529.
|
[
"Bergamo",
"Istrian stone",
"Venice"
] |
|
13098_NT
|
Saint Nicholas in Glory
|
Focus on this artwork and explain the History.
|
An inscription at the altar's base reports that the canvas was commissioned in 1527 by the guardiano (curator of the church) Giovanni Battista Donati and his vicar Giorgio de' Mundis. They chose Nicholas because of their membership in a merchants' brotherhood, which was dedicated to that saint. A frame in Istrian stone had already been prepared before the work's execution.
This was Lotto's first work after his return to Venice from Bergamo. Despite several innovative elements (such as the nocturnal landscape in the lower part), the canvas was poorly received by contemporaries. According to contemporary historians, the canvas was completed as early as 1529.
|
[
"Bergamo",
"Istrian stone",
"Venice"
] |
|
13099_T
|
Saint Nicholas in Glory
|
Explore the Description of this artwork, Saint Nicholas in Glory.
|
According to a pattern inspired by Albrecht Dürer's prints, Lotto placed St. Nicholas in the upper center, with a luminous halo crowning his face. The saint is looking upwards, suggesting that he is ascending, and is surrounded by three angels who keep his mantle open and hold his traditional symbols: the mitre, the episcopal crozier and three golden balls, in memory of the three maidens saved by Nicholas according to the legend.
Below him are St. John the Baptist (patron of one of the donors) and St. Lucy, whose tooth is alleged to have been preserved in the church as a holy relic.
The lower part is occupied by a dark landscape, featuring, amongst other details, a sea harbor and a port struck by a storm. The style of this section shows the influence of the Danube school. The small scene of St. George killing the dragon was added to fulfill one of the donor's wishes.
|
[
"St. Lucy",
"crozier",
"Danube school",
"John the Baptist",
"St. John the Baptist",
"mitre",
"Albrecht Dürer"
] |
|
13099_NT
|
Saint Nicholas in Glory
|
Explore the Description of this artwork.
|
According to a pattern inspired by Albrecht Dürer's prints, Lotto placed St. Nicholas in the upper center, with a luminous halo crowning his face. The saint is looking upwards, suggesting that he is ascending, and is surrounded by three angels who keep his mantle open and hold his traditional symbols: the mitre, the episcopal crozier and three golden balls, in memory of the three maidens saved by Nicholas according to the legend.
Below him are St. John the Baptist (patron of one of the donors) and St. Lucy, whose tooth is alleged to have been preserved in the church as a holy relic.
The lower part is occupied by a dark landscape, featuring, amongst other details, a sea harbor and a port struck by a storm. The style of this section shows the influence of the Danube school. The small scene of St. George killing the dragon was added to fulfill one of the donor's wishes.
|
[
"St. Lucy",
"crozier",
"Danube school",
"John the Baptist",
"St. John the Baptist",
"mitre",
"Albrecht Dürer"
] |
|
13100_T
|
Cloud Gate
|
Focus on Cloud Gate and discuss the abstract.
|
Cloud Gate is a public sculpture by Indian-born British artist Anish Kapoor, that is the centerpiece of AT&T Plaza at Millennium Park in the Loop community area of Chicago, Illinois. The sculpture and AT&T Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its shape, a name Kapoor initially disliked, but later grew fond of. Kapoor himself even uses this title when referring to his work. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It measures 33 by 66 by 42 feet (10 by 20 by 13 m), and weighs 110 short tons (100 t; 98 long tons).
Kapoor's design was inspired by liquid mercury and the sculpture's surface reflects and distorts the city's skyline. Visitors are able to walk around and under Cloud Gate's 12-foot (3.7 m) high arch. On the underside is the "omphalos" (Greek for "navel"), a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, and it is popular with tourists as a photo-taking opportunity for its unique reflective properties.
The sculpture was the result of a design competition. After Kapoor's design was chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture's construction fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed again while it was completed. Cloud Gate was formally dedicated on May 15, 2006, and has since gained considerable popularity, both domestically and internationally.
|
[
"public",
"Chase Promenade",
"Chicago",
"Park Grill",
"mercury",
"Illinois",
"omphalos",
"theme",
"Loop",
"Cloud Gate",
"India",
"Millennium Park",
"stainless steel",
"McCormick Tribune Plaza & Ice Rink",
"Anish Kapoor",
"community area",
"AT&T Plaza",
"weld"
] |
|
13100_NT
|
Cloud Gate
|
Focus on this artwork and discuss the abstract.
|
Cloud Gate is a public sculpture by Indian-born British artist Anish Kapoor, that is the centerpiece of AT&T Plaza at Millennium Park in the Loop community area of Chicago, Illinois. The sculpture and AT&T Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its shape, a name Kapoor initially disliked, but later grew fond of. Kapoor himself even uses this title when referring to his work. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It measures 33 by 66 by 42 feet (10 by 20 by 13 m), and weighs 110 short tons (100 t; 98 long tons).
Kapoor's design was inspired by liquid mercury and the sculpture's surface reflects and distorts the city's skyline. Visitors are able to walk around and under Cloud Gate's 12-foot (3.7 m) high arch. On the underside is the "omphalos" (Greek for "navel"), a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, and it is popular with tourists as a photo-taking opportunity for its unique reflective properties.
The sculpture was the result of a design competition. After Kapoor's design was chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture's construction fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed again while it was completed. Cloud Gate was formally dedicated on May 15, 2006, and has since gained considerable popularity, both domestically and internationally.
|
[
"public",
"Chase Promenade",
"Chicago",
"Park Grill",
"mercury",
"Illinois",
"omphalos",
"theme",
"Loop",
"Cloud Gate",
"India",
"Millennium Park",
"stainless steel",
"McCormick Tribune Plaza & Ice Rink",
"Anish Kapoor",
"community area",
"AT&T Plaza",
"weld"
] |
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