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|---|---|---|---|---|---|
13101_T
|
Cloud Gate
|
How does Cloud Gate elucidate its Design?
|
Lying between Lake Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park. For 2007, the park was Chicago's second largest tourist attraction, trailing only Navy Pier.In 1999, Millennium Park officials and a group of art collectors, curators and architects reviewed the artistic works of 30 different artists and asked two for proposals. American artist Jeff Koons submitted a proposal to erect a permanent 150-foot (46 m) sculpture of a playground slide; his glass and steel design featured an observation deck 90 feet (27 m) above the ground that was accessible via an elevator. The committee chose the second design by internationally acclaimed artist Anish Kapoor. Measuring 33 by 66 by 42 feet (10 by 20 by 13 m) and weighing 110 short tons (100 t; 98 long tons), the proposal featured a seamless, stainless steel surface inspired by liquid mercury. This mirror-like surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected image.
In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of any subject situated beneath it. The apex of the omphalos is 27 feet (8.2 m) above the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure. During the grand opening week in July 2004, press reports described the omphalos as the "spoon-like underbelly". The stainless steel sculpture was originally envisioned as the centerpiece of the Lurie Garden at the southeast corner of the park. However, Park officials believed the piece was too large for the Lurie Garden and decided to locate it at AT&T Plaza, despite Kapoor's objections. Skyscrapers to the north along East Randolph Street, including The Heritage, the Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center are visible, reflected on both the east and west sides of the sculpture.
around the structure, its surface acts like a fun-house mirror as it distorts their reflections.
Although Kapoor does not draw with computers, computer modeling was essential to the process of analyzing the complex form, which created numerous issues. Since the sculpture was expected to be outdoors, concerns arose that it might retain and conduct heat in a way that would make it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure. Graffiti, bird droppings and fingerprints were also potential problems, as they would affect the aesthetics of the surface. The most pressing issue was the need to create a single seamless exterior for the external shell, a feat architect Norman Foster once believed to be nearly impossible.While the sculpture was being constructed, public and media outlets nicknamed it "The Bean" because of its shape, a name that Kapoor described as "completely stupid". Months later, Kapoor officially named the piece Cloud Gate. (Kapoor eventually accepted the nickname of "The Bean".) Critical reviews describe the sculpture as a passage between realms. Three-quarters of the sculpture's external surface reflects the sky and the name refers to it acting as a type of gate that helps bridge the space between the sky and the viewer. The sculpture and plaza are sometimes referred to jointly as "Cloud Gate on the AT&T Plaza". It is Kapoor's first public outdoor work in the United States, and is the work by which he is best known in the country according to the Financial Times.
|
[
"Columbus Drive",
"Lurie Garden",
"Norman Foster",
"public",
"Aon Center",
"Skyscraper",
"Chicago",
"Michigan Avenue",
"playground slide",
"mercury",
"Illinois Central",
"Illinois",
"omphalos",
"Lake Michigan",
"One Prudential Plaza",
"Jeff Koons",
"architect",
"Loop",
"Cloud Gate",
"seamless",
"art collector",
"fingerprint",
"Millennium Park",
"stainless steel",
"Navy Pier",
"Two Prudential Plaza",
"Randolph Street",
"Anish Kapoor",
"Financial Times",
"Graffiti",
"AT&T Plaza",
"Art Institute",
"Monroe Street",
"Time",
"curator",
"The Heritage",
"Smurfit-Stone Building",
"observation deck",
"Grant Park",
"fun-house mirror"
] |
|
13101_NT
|
Cloud Gate
|
How does this artwork elucidate its Design?
|
Lying between Lake Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park. For 2007, the park was Chicago's second largest tourist attraction, trailing only Navy Pier.In 1999, Millennium Park officials and a group of art collectors, curators and architects reviewed the artistic works of 30 different artists and asked two for proposals. American artist Jeff Koons submitted a proposal to erect a permanent 150-foot (46 m) sculpture of a playground slide; his glass and steel design featured an observation deck 90 feet (27 m) above the ground that was accessible via an elevator. The committee chose the second design by internationally acclaimed artist Anish Kapoor. Measuring 33 by 66 by 42 feet (10 by 20 by 13 m) and weighing 110 short tons (100 t; 98 long tons), the proposal featured a seamless, stainless steel surface inspired by liquid mercury. This mirror-like surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected image.
In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of any subject situated beneath it. The apex of the omphalos is 27 feet (8.2 m) above the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure. During the grand opening week in July 2004, press reports described the omphalos as the "spoon-like underbelly". The stainless steel sculpture was originally envisioned as the centerpiece of the Lurie Garden at the southeast corner of the park. However, Park officials believed the piece was too large for the Lurie Garden and decided to locate it at AT&T Plaza, despite Kapoor's objections. Skyscrapers to the north along East Randolph Street, including The Heritage, the Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center are visible, reflected on both the east and west sides of the sculpture.
around the structure, its surface acts like a fun-house mirror as it distorts their reflections.
Although Kapoor does not draw with computers, computer modeling was essential to the process of analyzing the complex form, which created numerous issues. Since the sculpture was expected to be outdoors, concerns arose that it might retain and conduct heat in a way that would make it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure. Graffiti, bird droppings and fingerprints were also potential problems, as they would affect the aesthetics of the surface. The most pressing issue was the need to create a single seamless exterior for the external shell, a feat architect Norman Foster once believed to be nearly impossible.While the sculpture was being constructed, public and media outlets nicknamed it "The Bean" because of its shape, a name that Kapoor described as "completely stupid". Months later, Kapoor officially named the piece Cloud Gate. (Kapoor eventually accepted the nickname of "The Bean".) Critical reviews describe the sculpture as a passage between realms. Three-quarters of the sculpture's external surface reflects the sky and the name refers to it acting as a type of gate that helps bridge the space between the sky and the viewer. The sculpture and plaza are sometimes referred to jointly as "Cloud Gate on the AT&T Plaza". It is Kapoor's first public outdoor work in the United States, and is the work by which he is best known in the country according to the Financial Times.
|
[
"Columbus Drive",
"Lurie Garden",
"Norman Foster",
"public",
"Aon Center",
"Skyscraper",
"Chicago",
"Michigan Avenue",
"playground slide",
"mercury",
"Illinois Central",
"Illinois",
"omphalos",
"Lake Michigan",
"One Prudential Plaza",
"Jeff Koons",
"architect",
"Loop",
"Cloud Gate",
"seamless",
"art collector",
"fingerprint",
"Millennium Park",
"stainless steel",
"Navy Pier",
"Two Prudential Plaza",
"Randolph Street",
"Anish Kapoor",
"Financial Times",
"Graffiti",
"AT&T Plaza",
"Art Institute",
"Monroe Street",
"Time",
"curator",
"The Heritage",
"Smurfit-Stone Building",
"observation deck",
"Grant Park",
"fun-house mirror"
] |
|
13102_T
|
Cloud Gate
|
Focus on Cloud Gate and analyze the Construction and maintenance.
|
The British engineering firm Atelier One provided the sculpture's structural design, and Performance Structures, Inc. (PSI) was chosen to fabricate it because of their ability to produce nearly invisible welds. The project began with PSI attempting to recreate the design in miniature. A high-density polyurethane foam model was selected by Kapoor, which was then used to design the final structure, including the interior structural components. Initially, PSI planned to build and assemble the sculpture in Oakland, California, and ship it to Chicago through the Panama Canal and St. Lawrence Seaway. However, this plan was discarded after park officials deemed it too risky, so the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken by MTH Industries.The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture's desired aesthetics before fabrication was difficult. Cloud Gate was originally estimated to weigh 60 short tons (54 t; 54 long tons) when completed. However, the final figure was almost twice as heavy at 110 short tons (100 t; 98 long tons). This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the Park Grill, upon which Cloud Gate sits, had to be built strong enough to bear the weight. The large retaining wall separating Chicago's Metra train tracks from the North Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected. Cloud Gate is further buttressed by lateral members underneath the plaza that are anchored to the sculpture's interior structure by tie rods.Inside Cloud Gate's polished exterior shell are several steel structures that keep the sculpture standing. PSI contracted Advanced Building and Metal Fabrication of Chico, California to build them. The first structural pieces, two type 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipe trusses were assembled between the two rings. The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing. The supporting structural components were designed and constructed to ensure that no specific point was overloaded, and to avoid producing unwanted indentations on the exterior shell. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings.When Cloud Gate's interior components were completed, construction crews prepared to work on the outer shell; this comprises 168 stainless steel panels, each 3⁄8 inch (10 mm) thick and weighing 1,000 to 2,000 pounds (450 to 910 kg). They were fabricated using three-dimensional modeling software. Computers and robots were essential in the bending and shaping of the plates, which was performed by English wheel and a robotic scanning device. Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of the plates, along with the entire interior structure, were fabricated in Oakland. The plates were polished to 98 percent of their final state and covered with protective white film before being sent to Chicago via trucks. Once in Chicago, the plates were welded together on-site, creating 2,442 linear feet (744 m) of welded seams. Welders used keyhole welding machines rather than traditional welding guns. The plates were fabricated so precisely that no on-site cutting or filing was necessary when lifting and fitting them into position.When construction of the shell began in June 2004, a large tent was erected around the piece to shield it from public view. Construction began with the omphalos, where plates were attached to the supporting internal steel structure, from the inside (underside) of the sculpture downward to the outermost surfaces. This sequence caused the structure to resemble a large sombrero when the bottom was complete.The shell of Cloud Gate was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, although Kapoor was unhappy with this as it allowed the public to see the sculpture in an unfinished state. The original plan was to re-erect the tent around the sculpture for polishing on July 24, but public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 as a 24-person crew from Ironworkers Local 63 polished the seams between each plate. In order to grind, sand and polish the seams, six levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-reach areas. When the upper and side portions of the shell were completed, the tent was once again removed in August 2005. On October 3, the omphalos was closed off as workers polished the final section. Every weld on the Cloud Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish.
Cloud Gate was finally completed on August 28, 2005, and officially unveiled on May 15, 2006. The cost for the piece was first estimated at $6 million; this had escalated to $11.5 million by the time the park opened in 2004, with the final figure standing at $23 million in 2006. No public funds were involved; all funding came from donations from individuals and corporations.Kapoor's contract states that the constructed piece should be expected to survive for 1,000 years. The lower 6 feet (1.8 m) of Cloud Gate is wiped down twice a day by hand, while the entire sculpture is cleaned twice a year with 40 U.S. gallons (33 imp gal; 150 L) of liquid detergent. The daily cleanings use a Windex-like solution, while the semi-annual cleanings use Tide. A notable February 2009 rare incident saw two names etched in letters about 1 inch (25 mm) tall on the northeast side of the curved sculpture. The graffiti was removed by the same firm that did the original polishing.
|
[
"St. Lawrence Seaway",
"scaffolding",
"Chico, California",
"public",
"keyhole welding machines",
"Chicago",
"polyurethane",
"Panama Canal",
"Park Grill",
"Windex",
"type 304 stainless steel",
"harnesses",
"omphalos",
"sombrero",
"buttress",
"welds",
"Ironworkers Local 63",
"Cloud Gate",
"Atelier One",
"Tide",
"Oakland, California",
"Metra",
"fabricate",
"Millennium Park",
"climbing ropes",
"stainless steel",
"welding",
"tie rod",
"truss",
"English wheel",
"weld",
"Grant Park"
] |
|
13102_NT
|
Cloud Gate
|
Focus on this artwork and analyze the Construction and maintenance.
|
The British engineering firm Atelier One provided the sculpture's structural design, and Performance Structures, Inc. (PSI) was chosen to fabricate it because of their ability to produce nearly invisible welds. The project began with PSI attempting to recreate the design in miniature. A high-density polyurethane foam model was selected by Kapoor, which was then used to design the final structure, including the interior structural components. Initially, PSI planned to build and assemble the sculpture in Oakland, California, and ship it to Chicago through the Panama Canal and St. Lawrence Seaway. However, this plan was discarded after park officials deemed it too risky, so the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken by MTH Industries.The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture's desired aesthetics before fabrication was difficult. Cloud Gate was originally estimated to weigh 60 short tons (54 t; 54 long tons) when completed. However, the final figure was almost twice as heavy at 110 short tons (100 t; 98 long tons). This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the Park Grill, upon which Cloud Gate sits, had to be built strong enough to bear the weight. The large retaining wall separating Chicago's Metra train tracks from the North Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected. Cloud Gate is further buttressed by lateral members underneath the plaza that are anchored to the sculpture's interior structure by tie rods.Inside Cloud Gate's polished exterior shell are several steel structures that keep the sculpture standing. PSI contracted Advanced Building and Metal Fabrication of Chico, California to build them. The first structural pieces, two type 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipe trusses were assembled between the two rings. The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing. The supporting structural components were designed and constructed to ensure that no specific point was overloaded, and to avoid producing unwanted indentations on the exterior shell. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings.When Cloud Gate's interior components were completed, construction crews prepared to work on the outer shell; this comprises 168 stainless steel panels, each 3⁄8 inch (10 mm) thick and weighing 1,000 to 2,000 pounds (450 to 910 kg). They were fabricated using three-dimensional modeling software. Computers and robots were essential in the bending and shaping of the plates, which was performed by English wheel and a robotic scanning device. Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of the plates, along with the entire interior structure, were fabricated in Oakland. The plates were polished to 98 percent of their final state and covered with protective white film before being sent to Chicago via trucks. Once in Chicago, the plates were welded together on-site, creating 2,442 linear feet (744 m) of welded seams. Welders used keyhole welding machines rather than traditional welding guns. The plates were fabricated so precisely that no on-site cutting or filing was necessary when lifting and fitting them into position.When construction of the shell began in June 2004, a large tent was erected around the piece to shield it from public view. Construction began with the omphalos, where plates were attached to the supporting internal steel structure, from the inside (underside) of the sculpture downward to the outermost surfaces. This sequence caused the structure to resemble a large sombrero when the bottom was complete.The shell of Cloud Gate was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, although Kapoor was unhappy with this as it allowed the public to see the sculpture in an unfinished state. The original plan was to re-erect the tent around the sculpture for polishing on July 24, but public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 as a 24-person crew from Ironworkers Local 63 polished the seams between each plate. In order to grind, sand and polish the seams, six levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-reach areas. When the upper and side portions of the shell were completed, the tent was once again removed in August 2005. On October 3, the omphalos was closed off as workers polished the final section. Every weld on the Cloud Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish.
Cloud Gate was finally completed on August 28, 2005, and officially unveiled on May 15, 2006. The cost for the piece was first estimated at $6 million; this had escalated to $11.5 million by the time the park opened in 2004, with the final figure standing at $23 million in 2006. No public funds were involved; all funding came from donations from individuals and corporations.Kapoor's contract states that the constructed piece should be expected to survive for 1,000 years. The lower 6 feet (1.8 m) of Cloud Gate is wiped down twice a day by hand, while the entire sculpture is cleaned twice a year with 40 U.S. gallons (33 imp gal; 150 L) of liquid detergent. The daily cleanings use a Windex-like solution, while the semi-annual cleanings use Tide. A notable February 2009 rare incident saw two names etched in letters about 1 inch (25 mm) tall on the northeast side of the curved sculpture. The graffiti was removed by the same firm that did the original polishing.
|
[
"St. Lawrence Seaway",
"scaffolding",
"Chico, California",
"public",
"keyhole welding machines",
"Chicago",
"polyurethane",
"Panama Canal",
"Park Grill",
"Windex",
"type 304 stainless steel",
"harnesses",
"omphalos",
"sombrero",
"buttress",
"welds",
"Ironworkers Local 63",
"Cloud Gate",
"Atelier One",
"Tide",
"Oakland, California",
"Metra",
"fabricate",
"Millennium Park",
"climbing ropes",
"stainless steel",
"welding",
"tie rod",
"truss",
"English wheel",
"weld",
"Grant Park"
] |
|
13103_T
|
Cloud Gate
|
In Cloud Gate, how is the Reception discussed?
|
Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while local jazz trumpeter and bandleader Orbert Davis and the Chicago Jazz Philharmonic played "Fanfare for Cloud Gate", which Davis composed. The public took an instant liking to the sculpture, affectionately referring to it as "The Bean". Cloud Gate has become a popular piece of public art and is now a fixture on many souvenirs such as postcards, sweatshirts, and posters. The sculpture has attracted a large number of locals, tourists, and art aficionados from around the world. The sculpture is now the piece by which Kapoor is most identified in the United States.Time describes the piece as an essential photo opportunity, and more of a destination than a work of art. The New York Times writes that it is both a "tourist magnet" and an "extraordinary art object", while USA Today refers to the sculpture as a monumental abstract work. Chicago art critic Edward Lifson considers Cloud Gate to be among the greatest pieces of public art in the world. The American Welding Society recognized Cloud Gate, MTH Industries and PSI with the group's Extraordinary Welding Award. Time named Millennium Park one of the ten best architectural achievements of 2004, citing Cloud Gate as one of the park's major attractions.When the park first opened in 2004, Metra police stopped a Columbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film because of fears of terrorism. In 2005, the sculpture attracted some controversy when a professional photographer without a paid permit was denied access to the piece. As is the case for all works of art currently covered by United States copyright law, the artist holds the copyright for the sculpture. This allows the public to freely photograph Cloud Gate, but permission from Kapoor or the City of Chicago (which has licensed the art) is required for any commercial reproductions of the photographs. The city first set a policy of collecting permit fees for photographs. These permits were initially set at $350 per day for professional still photographers, $1,200 per day for professional videographers and $50 per hour for wedding photographers. The policy has been changed so permits are only required for large-scale film, video and photography requiring ten-person crews and equipment.In addition to restricting photography of public art, closing a public park for a private event has also been controversial. In 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. On both occasions, as one of the park's primary attractions, Cloud Gate was the focus of controversy. On September 8, 2005, Toyota Motor Sales USA paid $800,000 to rent most venues in the park including Cloud Gate on AT&T Plaza from 6 a.m. to 11 p.m. On August 7, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access to Cloud Gate after 4 p.m. These corporate closures denied tourists access to Kapoor's public sculpture, and commuters who walk through the park were forced to take alternative routes. City officials stated that the money would help finance free public programs in Millennium Park.In 2015, a sculpture similar to Cloud Gate was reported in Karamay, China at the site of an oil discovery, which according to Eduardo Peñalver, the Dean of Cornell Law School, "very probably" is a copyright infringement against Cloud Gate. Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff. Mayor Rahm Emanuel was less concerned and said that it was a flattering imitation.A movement to "Windex the Bean" was started in 2017, with the premise that the sculpture is dirty and needs to be cleaned. Posted as an event on Facebook, over 2000 people marked themselves as "going". The post also spawned a variety of similar joke movements.
|
[
"videographer",
"Welding",
"public",
"Edward Lifson",
"Karamay",
"Chicago",
"Windex",
"abstract",
"right",
"USA Today",
"Orbert Davis",
"architect",
"American Welding Society",
"public art",
"Cloud Gate",
"Columbia College Chicago",
"Metra",
"Millennium Park",
"Rahm Emanuel",
"photographer",
"Chicago Mayor",
"The New York Times",
"copyright",
"Richard M. Daley",
"AT&T Plaza",
"Allstate",
"Time",
"Toyota Motor Sales USA"
] |
|
13103_NT
|
Cloud Gate
|
In this artwork, how is the Reception discussed?
|
Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while local jazz trumpeter and bandleader Orbert Davis and the Chicago Jazz Philharmonic played "Fanfare for Cloud Gate", which Davis composed. The public took an instant liking to the sculpture, affectionately referring to it as "The Bean". Cloud Gate has become a popular piece of public art and is now a fixture on many souvenirs such as postcards, sweatshirts, and posters. The sculpture has attracted a large number of locals, tourists, and art aficionados from around the world. The sculpture is now the piece by which Kapoor is most identified in the United States.Time describes the piece as an essential photo opportunity, and more of a destination than a work of art. The New York Times writes that it is both a "tourist magnet" and an "extraordinary art object", while USA Today refers to the sculpture as a monumental abstract work. Chicago art critic Edward Lifson considers Cloud Gate to be among the greatest pieces of public art in the world. The American Welding Society recognized Cloud Gate, MTH Industries and PSI with the group's Extraordinary Welding Award. Time named Millennium Park one of the ten best architectural achievements of 2004, citing Cloud Gate as one of the park's major attractions.When the park first opened in 2004, Metra police stopped a Columbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film because of fears of terrorism. In 2005, the sculpture attracted some controversy when a professional photographer without a paid permit was denied access to the piece. As is the case for all works of art currently covered by United States copyright law, the artist holds the copyright for the sculpture. This allows the public to freely photograph Cloud Gate, but permission from Kapoor or the City of Chicago (which has licensed the art) is required for any commercial reproductions of the photographs. The city first set a policy of collecting permit fees for photographs. These permits were initially set at $350 per day for professional still photographers, $1,200 per day for professional videographers and $50 per hour for wedding photographers. The policy has been changed so permits are only required for large-scale film, video and photography requiring ten-person crews and equipment.In addition to restricting photography of public art, closing a public park for a private event has also been controversial. In 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. On both occasions, as one of the park's primary attractions, Cloud Gate was the focus of controversy. On September 8, 2005, Toyota Motor Sales USA paid $800,000 to rent most venues in the park including Cloud Gate on AT&T Plaza from 6 a.m. to 11 p.m. On August 7, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access to Cloud Gate after 4 p.m. These corporate closures denied tourists access to Kapoor's public sculpture, and commuters who walk through the park were forced to take alternative routes. City officials stated that the money would help finance free public programs in Millennium Park.In 2015, a sculpture similar to Cloud Gate was reported in Karamay, China at the site of an oil discovery, which according to Eduardo Peñalver, the Dean of Cornell Law School, "very probably" is a copyright infringement against Cloud Gate. Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff. Mayor Rahm Emanuel was less concerned and said that it was a flattering imitation.A movement to "Windex the Bean" was started in 2017, with the premise that the sculpture is dirty and needs to be cleaned. Posted as an event on Facebook, over 2000 people marked themselves as "going". The post also spawned a variety of similar joke movements.
|
[
"videographer",
"Welding",
"public",
"Edward Lifson",
"Karamay",
"Chicago",
"Windex",
"abstract",
"right",
"USA Today",
"Orbert Davis",
"architect",
"American Welding Society",
"public art",
"Cloud Gate",
"Columbia College Chicago",
"Metra",
"Millennium Park",
"Rahm Emanuel",
"photographer",
"Chicago Mayor",
"The New York Times",
"copyright",
"Richard M. Daley",
"AT&T Plaza",
"Allstate",
"Time",
"Toyota Motor Sales USA"
] |
|
13104_T
|
Cloud Gate
|
In the context of Cloud Gate, explain the Relevant Kapoor themes of the Artistic themes.
|
Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In so doing, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror (2001), a 20-foot (6.1 m) 10-short-ton (9 t; 9-long-ton) concave stainless steel mirror that also used a theme of distorted perception on a grand scale.Kapoor's objects often aim to evoke immateriality and the spiritual, an outcome he achieves either by carving dark voids into stone pieces, or more recently, through the sheer shine and reflectivity of his objects. This Indian artist's works have no fixed identity, but rather occupy an illusionary space that is consistent with eastern theologies shared by Buddhism, Hinduism and Taoism, as well as Albert Einstein's views of a non-three-dimensional world. Kapoor explores the theme of ambiguity with his works that place the viewer in a state of "in-betweenness". The artist often questions and plays with such dualities as solidity–emptiness or reality–reflection, which in turn allude to such paired opposites as flesh–spirit, the here–the beyond, east–west, sky–earth, etc. that create the conflict between internal and external, superficial and subterranean, and conscious and unconscious. Kapoor also creates a tension between masculine and feminine within his art by having concave points of focus that invite the entry of visitors and multiplies their images when they are positioned correctly.
|
[
"Hinduism",
"Buddhism",
"theme",
"Cloud Gate",
"Sky Mirror",
"India",
"Taoism",
"stainless steel",
"Anish Kapoor",
"Albert Einstein"
] |
|
13104_NT
|
Cloud Gate
|
In the context of this artwork, explain the Relevant Kapoor themes of the Artistic themes.
|
Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In so doing, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror (2001), a 20-foot (6.1 m) 10-short-ton (9 t; 9-long-ton) concave stainless steel mirror that also used a theme of distorted perception on a grand scale.Kapoor's objects often aim to evoke immateriality and the spiritual, an outcome he achieves either by carving dark voids into stone pieces, or more recently, through the sheer shine and reflectivity of his objects. This Indian artist's works have no fixed identity, but rather occupy an illusionary space that is consistent with eastern theologies shared by Buddhism, Hinduism and Taoism, as well as Albert Einstein's views of a non-three-dimensional world. Kapoor explores the theme of ambiguity with his works that place the viewer in a state of "in-betweenness". The artist often questions and plays with such dualities as solidity–emptiness or reality–reflection, which in turn allude to such paired opposites as flesh–spirit, the here–the beyond, east–west, sky–earth, etc. that create the conflict between internal and external, superficial and subterranean, and conscious and unconscious. Kapoor also creates a tension between masculine and feminine within his art by having concave points of focus that invite the entry of visitors and multiplies their images when they are positioned correctly.
|
[
"Hinduism",
"Buddhism",
"theme",
"Cloud Gate",
"Sky Mirror",
"India",
"Taoism",
"stainless steel",
"Anish Kapoor",
"Albert Einstein"
] |
|
13105_T
|
Cloud Gate
|
Explore the Cloud Gate themes about the Artistic themes of this artwork, Cloud Gate.
|
Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". He aspires to make his works look like they have independent realities that he reveals rather than creates. For him, removing all the seams from Cloud Gate was necessary in order to make the sculpture seem as though it was "perfect" and ready-made. These effects increase the viewer's fascination with it and makes them wonder what it is and where it came from. His attempts to hide his works' seams as an artist stand in contrast to Frank Gehry's architectural designs in the park, Jay Pritzker Pavilion and BP Pedestrian Bridge, which display their seams prominently.Cloud Gate is described as a transformative, iconic work. It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form, which is also how his earlier 1000 Names (1979–80) was described when it addressed the metaphysical and mystical.The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space. The experience is described as a displaced or virtual depth that is composed of multiplied surfaces.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast (Two Prudential Plaza, and Aon Center), north (One Prudential Plaza) and northwest (The Heritage, Crain Communications Building) are reflected on Cloud Gate's surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place. The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.
|
[
"Hinduism",
"testicle",
"Aon Center",
"abstract",
"abstract space",
"right",
"omphalos",
"One Prudential Plaza",
"theme",
"architect",
"yoni",
"Jay Pritzker Pavilion",
"Cloud Gate",
"India",
"manifold",
"Frank Gehry",
"BP Pedestrian Bridge",
"Two Prudential Plaza",
"Randolph Street",
"vagina",
"Crain Communications Building",
"The Heritage",
"transubstantiation",
"lingam"
] |
|
13105_NT
|
Cloud Gate
|
Explore the Cloud Gate themes about the Artistic themes of this artwork.
|
Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". He aspires to make his works look like they have independent realities that he reveals rather than creates. For him, removing all the seams from Cloud Gate was necessary in order to make the sculpture seem as though it was "perfect" and ready-made. These effects increase the viewer's fascination with it and makes them wonder what it is and where it came from. His attempts to hide his works' seams as an artist stand in contrast to Frank Gehry's architectural designs in the park, Jay Pritzker Pavilion and BP Pedestrian Bridge, which display their seams prominently.Cloud Gate is described as a transformative, iconic work. It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form, which is also how his earlier 1000 Names (1979–80) was described when it addressed the metaphysical and mystical.The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space. The experience is described as a displaced or virtual depth that is composed of multiplied surfaces.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast (Two Prudential Plaza, and Aon Center), north (One Prudential Plaza) and northwest (The Heritage, Crain Communications Building) are reflected on Cloud Gate's surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place. The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.
|
[
"Hinduism",
"testicle",
"Aon Center",
"abstract",
"abstract space",
"right",
"omphalos",
"One Prudential Plaza",
"theme",
"architect",
"yoni",
"Jay Pritzker Pavilion",
"Cloud Gate",
"India",
"manifold",
"Frank Gehry",
"BP Pedestrian Bridge",
"Two Prudential Plaza",
"Randolph Street",
"vagina",
"Crain Communications Building",
"The Heritage",
"transubstantiation",
"lingam"
] |
|
13106_T
|
Cloud Gate
|
Focus on Cloud Gate and discuss the In popular culture.
|
The sculpture has been used as a backdrop in commercial films, notably in the 2006 Hollywood film The Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming. It is also prominently featured in the ending scene of Source Code. Director Duncan Jones felt the structure was a metaphor for the movie's subject matter and aimed for it to be shown at the beginning and end of the movie. The sculpture served as an aesthetic and symbolic setting for the 2012 film The Vow when the lead characters share a kiss under it. It also appears in the video to "Homecoming", a song by Chicago native Kanye West, featuring Chris Martin of the band Coldplay. The sculpture is also featured in the 2008 mumblecore film Nights and Weekends. It was also featured in the Bollywood film Dhoom 3 and the 2014 movie Transformers: Age of Extinction, the fourth installment in the Transformers series. A modified reproduction of Cloud Gate is also included in Watch Dogs, a video game released in 2014 that takes place in Chicago. Unlike the real sculpture, the in-game replica is a curved, white torus.Cloud Gate plays a prominent role in Battle Ground, the 17th title in the Dresden Files urban fantasy novel series by Jim Butcher. In the Chicago of the novels, the sculpture was commissioned by Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Winter Court was in anticipation of a massive supernatural attack on the city of Chicago.
|
[
"The Vow",
"Battle Ground",
"Chicago",
"Jim Butcher",
"Duncan Jones",
"mumblecore",
"Watch Dogs",
"Dhoom 3",
"Nights and Weekends",
"Cloud Gate",
"Kanye West",
"Chris Martin",
"torus",
"Coldplay",
"Dresden Files",
"The Break-Up",
"Homecoming",
"Transformers: Age of Extinction",
"Source Code"
] |
|
13106_NT
|
Cloud Gate
|
Focus on this artwork and discuss the In popular culture.
|
The sculpture has been used as a backdrop in commercial films, notably in the 2006 Hollywood film The Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming. It is also prominently featured in the ending scene of Source Code. Director Duncan Jones felt the structure was a metaphor for the movie's subject matter and aimed for it to be shown at the beginning and end of the movie. The sculpture served as an aesthetic and symbolic setting for the 2012 film The Vow when the lead characters share a kiss under it. It also appears in the video to "Homecoming", a song by Chicago native Kanye West, featuring Chris Martin of the band Coldplay. The sculpture is also featured in the 2008 mumblecore film Nights and Weekends. It was also featured in the Bollywood film Dhoom 3 and the 2014 movie Transformers: Age of Extinction, the fourth installment in the Transformers series. A modified reproduction of Cloud Gate is also included in Watch Dogs, a video game released in 2014 that takes place in Chicago. Unlike the real sculpture, the in-game replica is a curved, white torus.Cloud Gate plays a prominent role in Battle Ground, the 17th title in the Dresden Files urban fantasy novel series by Jim Butcher. In the Chicago of the novels, the sculpture was commissioned by Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Winter Court was in anticipation of a massive supernatural attack on the city of Chicago.
|
[
"The Vow",
"Battle Ground",
"Chicago",
"Jim Butcher",
"Duncan Jones",
"mumblecore",
"Watch Dogs",
"Dhoom 3",
"Nights and Weekends",
"Cloud Gate",
"Kanye West",
"Chris Martin",
"torus",
"Coldplay",
"Dresden Files",
"The Break-Up",
"Homecoming",
"Transformers: Age of Extinction",
"Source Code"
] |
|
13107_T
|
Cloud Gate
|
In Cloud Gate, how is the Lawsuit against National Rifle Association of the In popular culture elucidated?
|
A June 2017 video by the National Rifle Association (NRA) entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.
|
[
"National Rifle Association",
"The Clenched Fist of Truth",
"Cloud Gate",
"Anish Kapoor"
] |
|
13107_NT
|
Cloud Gate
|
In this artwork, how is the Lawsuit against National Rifle Association of the In popular culture elucidated?
|
A June 2017 video by the National Rifle Association (NRA) entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.
|
[
"National Rifle Association",
"The Clenched Fist of Truth",
"Cloud Gate",
"Anish Kapoor"
] |
|
13108_T
|
The Hallucinogenic Toreador
|
Focus on The Hallucinogenic Toreador and analyze the abstract.
|
The Hallucinogenic Toreador (Spanish: El Torero Alucinógeno) is a 1969–1970 multi-leveled oil painting by Salvador Dalí which employs the canons of his particular interpretation of surrealist thought. It is currently being exhibited at the Salvador Dalí Museum in St. Petersburg, Florida.
In The Hallucinogenic Toreador Dalí transmits his wife's dislike for bullfighting by combining symbolism, optical illusions, and estranging yet familiar motifs. Dali used his paranoiac-critical method to create his own visual language within the painting, and combined versatile images as an instructive example of his artistic ability and vision.
|
[
"bullfighting",
"surrealist",
"symbol",
"Salvador Dalí",
"paranoiac-critical method",
"Salvador Dalí Museum",
"oil painting",
"Florida",
"optical illusion",
"St. Petersburg, Florida",
"St. Petersburg",
"motif"
] |
|
13108_NT
|
The Hallucinogenic Toreador
|
Focus on this artwork and analyze the abstract.
|
The Hallucinogenic Toreador (Spanish: El Torero Alucinógeno) is a 1969–1970 multi-leveled oil painting by Salvador Dalí which employs the canons of his particular interpretation of surrealist thought. It is currently being exhibited at the Salvador Dalí Museum in St. Petersburg, Florida.
In The Hallucinogenic Toreador Dalí transmits his wife's dislike for bullfighting by combining symbolism, optical illusions, and estranging yet familiar motifs. Dali used his paranoiac-critical method to create his own visual language within the painting, and combined versatile images as an instructive example of his artistic ability and vision.
|
[
"bullfighting",
"surrealist",
"symbol",
"Salvador Dalí",
"paranoiac-critical method",
"Salvador Dalí Museum",
"oil painting",
"Florida",
"optical illusion",
"St. Petersburg, Florida",
"St. Petersburg",
"motif"
] |
|
13109_T
|
The Hallucinogenic Toreador
|
In The Hallucinogenic Toreador, how is the Description discussed?
|
The entire scene is contained within a bullfighting ring, submerged under a barrage of red and yellow tones, alluding tentatively to the colors of the Spanish flag. In the upper left section we observe a representational portrait of Dali's wife, Gala, to whom the artist has dedicated this piece. Her serious, rigid expression could be interpreted as a pictorial representation of her deep-seated dislike for bullfighting. In the bottom left section there is a pattern of multicolored circles. This rectangular-shaped burst of colors immediately grasps the viewer's attention and steers it down towards the visibly emerging shape of a dying bull's head (probably Islero), dripping blood and saliva from its mouth.
This pool of blood transforms itself into a sheltered bay where a human figure on a yellow raft comes into sight. The lower section of the bay takes on the shape of a Dalmatian. The slain bull slowly rises to become the landscapes of Cap de Creus, around Dalí's living place. It was said that concern for an increase in tourism led Dalí to embrace its features in the painting. The mountain is mimicked on the right; however, this time, the mountain bears greater resemblance to the precipitous mountains around the town of Roses, near Dalí's studio.
An old anecdote lies behind the painter's desire to represent the sculpted figure of Venus de Milo, seen 28 times in the painting. Dalí decided to incorporate these particular silhouettes in his paintings after a visit to New York, where he purchased a box of pencils with a reproduction of the goddess on the cover. Dalí uses negative spaces to produce an image, alternate and complementary to the Venus de Milo. This complementary image encourages the eye to contemplate the painting in such a way as to introduce the quasi-hypnotic array of forms that inhabit the canvas. Examined from a distance, the body of the second Venus reveals the face and torso of the toreador (bullfighter, likely Manolete). Her breasts as his nose, while her face transforms into his eye. Their long skirts make up his white shirt and red scarf of the Toreador. The green layer makes up his necktie. His eye is found within the face of the second Venus. The soft white area unveils a tear slipping from his eye.The gadflies of Saint Narcissus of Gerona march over the arena in seemingly straight and parallel lines, forming the cap, hairnet and cape of the toreador. Situated on the lower right hand corner, the whole spectacle is being watched by an infant boy dressed in a sailor's suit who is said to represent Dalí as a youth.
When the painting was exhibited in a New York City gallery in the late 1960s as a work in progress, it was accompanied by an illustration of the design, matting out the areas not relevant to the Toreador so the Toreador was easier to see. It was labeled explicitly, "How to see the toreador."
|
[
"bullfighting",
"Cap de Creus",
"toreador",
"Dalmatian",
"Spanish flag",
"Islero",
"Manolete",
"tourism",
"Venus de Milo",
"Gerona",
"gadflies",
"Roses"
] |
|
13109_NT
|
The Hallucinogenic Toreador
|
In this artwork, how is the Description discussed?
|
The entire scene is contained within a bullfighting ring, submerged under a barrage of red and yellow tones, alluding tentatively to the colors of the Spanish flag. In the upper left section we observe a representational portrait of Dali's wife, Gala, to whom the artist has dedicated this piece. Her serious, rigid expression could be interpreted as a pictorial representation of her deep-seated dislike for bullfighting. In the bottom left section there is a pattern of multicolored circles. This rectangular-shaped burst of colors immediately grasps the viewer's attention and steers it down towards the visibly emerging shape of a dying bull's head (probably Islero), dripping blood and saliva from its mouth.
This pool of blood transforms itself into a sheltered bay where a human figure on a yellow raft comes into sight. The lower section of the bay takes on the shape of a Dalmatian. The slain bull slowly rises to become the landscapes of Cap de Creus, around Dalí's living place. It was said that concern for an increase in tourism led Dalí to embrace its features in the painting. The mountain is mimicked on the right; however, this time, the mountain bears greater resemblance to the precipitous mountains around the town of Roses, near Dalí's studio.
An old anecdote lies behind the painter's desire to represent the sculpted figure of Venus de Milo, seen 28 times in the painting. Dalí decided to incorporate these particular silhouettes in his paintings after a visit to New York, where he purchased a box of pencils with a reproduction of the goddess on the cover. Dalí uses negative spaces to produce an image, alternate and complementary to the Venus de Milo. This complementary image encourages the eye to contemplate the painting in such a way as to introduce the quasi-hypnotic array of forms that inhabit the canvas. Examined from a distance, the body of the second Venus reveals the face and torso of the toreador (bullfighter, likely Manolete). Her breasts as his nose, while her face transforms into his eye. Their long skirts make up his white shirt and red scarf of the Toreador. The green layer makes up his necktie. His eye is found within the face of the second Venus. The soft white area unveils a tear slipping from his eye.The gadflies of Saint Narcissus of Gerona march over the arena in seemingly straight and parallel lines, forming the cap, hairnet and cape of the toreador. Situated on the lower right hand corner, the whole spectacle is being watched by an infant boy dressed in a sailor's suit who is said to represent Dalí as a youth.
When the painting was exhibited in a New York City gallery in the late 1960s as a work in progress, it was accompanied by an illustration of the design, matting out the areas not relevant to the Toreador so the Toreador was easier to see. It was labeled explicitly, "How to see the toreador."
|
[
"bullfighting",
"Cap de Creus",
"toreador",
"Dalmatian",
"Spanish flag",
"Islero",
"Manolete",
"tourism",
"Venus de Milo",
"Gerona",
"gadflies",
"Roses"
] |
|
13110_T
|
The Attack at Dawn
|
Focus on The Attack at Dawn and explore the abstract.
|
The Attack at Dawn is a painting by French painter Alphonse de Neuville, from 1877. The painting depicts a French town under siege by Prussian troops during the Franco-Prussian War.
|
[
"The Attack at Dawn",
"Franco-Prussian War",
"Alphonse de Neuville"
] |
|
13110_NT
|
The Attack at Dawn
|
Focus on this artwork and explore the abstract.
|
The Attack at Dawn is a painting by French painter Alphonse de Neuville, from 1877. The painting depicts a French town under siege by Prussian troops during the Franco-Prussian War.
|
[
"The Attack at Dawn",
"Franco-Prussian War",
"Alphonse de Neuville"
] |
|
13111_T
|
The Attack at Dawn
|
Focus on The Attack at Dawn and explain the History.
|
Alphonse de Neuville served as an officer in the Auxiliary Sappers and as aide-de-camp to General Callier during the Franco-Prussian War. He closely studied locations of battles and weaponry to recreate battle scenes.
|
[
"Franco-Prussian War",
"Alphonse de Neuville"
] |
|
13111_NT
|
The Attack at Dawn
|
Focus on this artwork and explain the History.
|
Alphonse de Neuville served as an officer in the Auxiliary Sappers and as aide-de-camp to General Callier during the Franco-Prussian War. He closely studied locations of battles and weaponry to recreate battle scenes.
|
[
"Franco-Prussian War",
"Alphonse de Neuville"
] |
|
13112_T
|
The Attack at Dawn
|
Explore the Composition of this artwork, The Attack at Dawn.
|
The Attack at Dawn is a recreation of a Prussian assault on a French village. To the left of the painting, a bugler sounds the alarm. French troops rush from the inn, their uniforms identify them as Turcos or Algerian rifleman and mobiles or members of the Garde Mobile. The mountain in the background, helps to identify the location of the scene as a village near the Jura Mountains, located near the Swiss border.
|
[
"The Attack at Dawn",
"Garde Mobile",
"Jura Mountains"
] |
|
13112_NT
|
The Attack at Dawn
|
Explore the Composition of this artwork.
|
The Attack at Dawn is a recreation of a Prussian assault on a French village. To the left of the painting, a bugler sounds the alarm. French troops rush from the inn, their uniforms identify them as Turcos or Algerian rifleman and mobiles or members of the Garde Mobile. The mountain in the background, helps to identify the location of the scene as a village near the Jura Mountains, located near the Swiss border.
|
[
"The Attack at Dawn",
"Garde Mobile",
"Jura Mountains"
] |
|
13113_T
|
The Attack at Dawn
|
Focus on The Attack at Dawn and discuss the Analysis.
|
The paintings of de Neuville attempt to glorify France's heroic resistance rather than its military defeat.
|
[] |
|
13113_NT
|
The Attack at Dawn
|
Focus on this artwork and discuss the Analysis.
|
The paintings of de Neuville attempt to glorify France's heroic resistance rather than its military defeat.
|
[] |
|
13114_T
|
The Attack at Dawn
|
How does The Attack at Dawn elucidate its Off the Wall?
|
The Attack at Dawn was featured in Off the Wall, an open-air exhibition on the streets of Baltimore, Maryland. A reproduction of the painting, the original is part of The Walters Art Museum collection, was on display at Federal Hill Park. The National Gallery in London began the concept of bringing art out of doors in 2007 and the Detroit Institute of Art introduced the concept in the U.S.. The Off the Wall reproductions of the Walters' paintings were done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones.
|
[
"The Attack at Dawn",
"The Walters Art Museum",
"Walters Art Museum",
"Baltimore"
] |
|
13114_NT
|
The Attack at Dawn
|
How does this artwork elucidate its Off the Wall?
|
The Attack at Dawn was featured in Off the Wall, an open-air exhibition on the streets of Baltimore, Maryland. A reproduction of the painting, the original is part of The Walters Art Museum collection, was on display at Federal Hill Park. The National Gallery in London began the concept of bringing art out of doors in 2007 and the Detroit Institute of Art introduced the concept in the U.S.. The Off the Wall reproductions of the Walters' paintings were done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones.
|
[
"The Attack at Dawn",
"The Walters Art Museum",
"Walters Art Museum",
"Baltimore"
] |
|
13115_T
|
The Young Sabot Maker
|
Focus on The Young Sabot Maker and analyze the abstract.
|
The Young Sabot Maker is an oil-on-canvas painting made by the American artist Henry Ossawa Tanner in 1895. The painting was accepted for the 1895 Paris Salon and was Tanner's second Salon-entered painting.The painting follows a theme Tanner used for his genre paintings, "age instructing youth", which can also be seen in The Bagpipe Lesson and The Banjo Lesson. The painting depicts an older man proudly watching a boy push with his weight against the crossbar handle of an auger to carve a sabot, or wooden shoe. The two figures stand within the sabot maker's workshop, wood shavings scattered around them on the floor.
Measuring 47 3/8 x 35 3/8 inches (120.3 x 89.9 cm), the painting was purchased by a combination of donor sponsors and given to the Nelson-Atkins Museum of Art in 1995.
|
[
"The Banjo Lesson",
"Paris Salon",
"Nelson-Atkins Museum of Art",
"genre painting",
"genre",
"Henry Ossawa Tanner",
"sabot",
"The Bagpipe Lesson"
] |
|
13115_NT
|
The Young Sabot Maker
|
Focus on this artwork and analyze the abstract.
|
The Young Sabot Maker is an oil-on-canvas painting made by the American artist Henry Ossawa Tanner in 1895. The painting was accepted for the 1895 Paris Salon and was Tanner's second Salon-entered painting.The painting follows a theme Tanner used for his genre paintings, "age instructing youth", which can also be seen in The Bagpipe Lesson and The Banjo Lesson. The painting depicts an older man proudly watching a boy push with his weight against the crossbar handle of an auger to carve a sabot, or wooden shoe. The two figures stand within the sabot maker's workshop, wood shavings scattered around them on the floor.
Measuring 47 3/8 x 35 3/8 inches (120.3 x 89.9 cm), the painting was purchased by a combination of donor sponsors and given to the Nelson-Atkins Museum of Art in 1995.
|
[
"The Banjo Lesson",
"Paris Salon",
"Nelson-Atkins Museum of Art",
"genre painting",
"genre",
"Henry Ossawa Tanner",
"sabot",
"The Bagpipe Lesson"
] |
|
13116_T
|
The Young Sabot Maker
|
In The Young Sabot Maker, how is the Background discussed?
|
Tanner visited Europe in 1891. He studied in Paris, enrolling at the Académie Julian, while enjoying a sense of belonging within the city's international and racially diverse community of artists. During his first summer in France, he traveled to the village of Pont-Aven on Brittany's coast. Brittany was a popular destination for artists, and Tanner became fascinated with his rural French surroundings.Tanner returned to the Philadelphia in the summer of 1893, after he began making an artist's study of Study for the Young Sabot Maker. He signed it "Paris 1893." It has been suggested the return was in the fall of 1892. However, he shared an apartment in Paria for part of 1893 with "sculptor Hermon A. MacNeil at 15 rue de Seine" in 1893.
|
[
"Study for the Young Sabot Maker",
"Académie Julian",
"Brittany"
] |
|
13116_NT
|
The Young Sabot Maker
|
In this artwork, how is the Background discussed?
|
Tanner visited Europe in 1891. He studied in Paris, enrolling at the Académie Julian, while enjoying a sense of belonging within the city's international and racially diverse community of artists. During his first summer in France, he traveled to the village of Pont-Aven on Brittany's coast. Brittany was a popular destination for artists, and Tanner became fascinated with his rural French surroundings.Tanner returned to the Philadelphia in the summer of 1893, after he began making an artist's study of Study for the Young Sabot Maker. He signed it "Paris 1893." It has been suggested the return was in the fall of 1892. However, he shared an apartment in Paria for part of 1893 with "sculptor Hermon A. MacNeil at 15 rue de Seine" in 1893.
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[
"Study for the Young Sabot Maker",
"Académie Julian",
"Brittany"
] |
|
13117_T
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The Young Sabot Maker
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Focus on The Young Sabot Maker and explore the Theme.
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The figures in The Young Sabot Maker exist within a humble, timeless interior, seemingly apart from the modern world. Within the composition, Tanner emphasized the inherent dignity and ennobling effect of work that was publicized by important African-American educator, Booker T. Washington. Washington was a family friend who had helped to support Tanner's studies in Paris. He emphasized the importance of training in skilled manual labor, especially for African Americans, and built this into the curriculum he designed as the president of the Tuskegee Institute in Alabama.
|
[
"Booker T. Washington",
"Tuskegee Institute"
] |
|
13117_NT
|
The Young Sabot Maker
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Focus on this artwork and explore the Theme.
|
The figures in The Young Sabot Maker exist within a humble, timeless interior, seemingly apart from the modern world. Within the composition, Tanner emphasized the inherent dignity and ennobling effect of work that was publicized by important African-American educator, Booker T. Washington. Washington was a family friend who had helped to support Tanner's studies in Paris. He emphasized the importance of training in skilled manual labor, especially for African Americans, and built this into the curriculum he designed as the president of the Tuskegee Institute in Alabama.
|
[
"Booker T. Washington",
"Tuskegee Institute"
] |
|
13118_T
|
The Young Sabot Maker
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Focus on The Young Sabot Maker and explain the Related works.
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Henry Ossawa Tanner, The Young Sabot Maker, 1893, pastel and ink on paper mounted on paperboard, 10 3/8 x 8 3/8 in. (26.3 x 21.2 cm.). Smithsonian American Art Museum Gift of H. Alan and Melvin Frank 1983.95.49 Tanner began working on The Young Sabot Maker in Philadelphia in 1893. A number of preliminary sketches survive, showing the basic format for the final composition.
Henry Ossawa Tanner, Study for the Young Sabot Maker, 1893, watercolor and gouache on white wove paper, 15 1/4 x 10 3/16 in. (38.7 x 25.9 cm.). The Metropolitan Museum of Art. Purchase, Erving Wolf Foundation Gift and Gift of Hanson K. Corning, by exchange, 1975, 1975.27.2
Henry Ossawa Tanner, Study for the Young Sabot Maker, ca. 1895, oil on canvas, 16 1/4 x 13 in. (41.3 x 33 cm.). Smithsonian American Art Museum Gift of Mr. and Mrs. Norman Robbins 1983.95.208
|
[
"Study for the Young Sabot Maker",
"oil on canvas",
"Henry Ossawa Tanner"
] |
|
13118_NT
|
The Young Sabot Maker
|
Focus on this artwork and explain the Related works.
|
Henry Ossawa Tanner, The Young Sabot Maker, 1893, pastel and ink on paper mounted on paperboard, 10 3/8 x 8 3/8 in. (26.3 x 21.2 cm.). Smithsonian American Art Museum Gift of H. Alan and Melvin Frank 1983.95.49 Tanner began working on The Young Sabot Maker in Philadelphia in 1893. A number of preliminary sketches survive, showing the basic format for the final composition.
Henry Ossawa Tanner, Study for the Young Sabot Maker, 1893, watercolor and gouache on white wove paper, 15 1/4 x 10 3/16 in. (38.7 x 25.9 cm.). The Metropolitan Museum of Art. Purchase, Erving Wolf Foundation Gift and Gift of Hanson K. Corning, by exchange, 1975, 1975.27.2
Henry Ossawa Tanner, Study for the Young Sabot Maker, ca. 1895, oil on canvas, 16 1/4 x 13 in. (41.3 x 33 cm.). Smithsonian American Art Museum Gift of Mr. and Mrs. Norman Robbins 1983.95.208
|
[
"Study for the Young Sabot Maker",
"oil on canvas",
"Henry Ossawa Tanner"
] |
|
13119_T
|
St. Anne's Column
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Explore the abstract of this artwork, St. Anne's Column.
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St. Anne's Column (German: Annasäule) stands in the city centre of Innsbruck on Maria-Theresien-Straße.It was given its name when, in 1703, the last Bavarian troops were driven from the Tyrol on St. Anne's Day (26 July), as part of the War of the Spanish Succession. In 1704, in gratitude, the Landstände vowed to build a monument commemorating the event.
The column was made by Trient sculptor, Cristoforo Benedetti, from red Kramsach marble. On the base are four statues of saints:in the north, Saint Anne, the mother of the Blessed Virgin Mary
in the west, Cassian, patron saint of the Diocese of Bozen-Brixen.
in the east, Vigilius, patron saint of the Diocese of Trient.
in the south, Saint George, patron saint of the Tyrol.Towering above these four statues is the column with its statue of Mary as the Woman of the Apocalypse, raising 42 meters (137 feet) from the street.The column was consecrated on 26 July 1706 by Prince-Bishop Kaspar Ignaz, Count of Künigl. It has been restored several times over the centuries. In 1958, mainly for conservation reasons, the figure of Mary was replaced by a replica and the original was loaned to the Abbey of St. Georgenberg-Fiecht, where it has been placed in a side chapel of the abbey church of Fiecht (near Schwaz) above Saint Mary's altar.
On 10 October 2009 the figures of saints on the base of the monument were also substituted; the originals are now on the first floor of the Altes Landhaus in Innsbruck.
|
[
"Bavaria",
"St. Anne's Day",
"Cristoforo Benedetti",
"Abbey of St. Georgenberg-Fiecht",
"Woman of the Apocalypse",
"Schwaz",
"Diocese of Bozen-Brixen",
"Blessed Virgin Mary",
"Saint George",
"Cassian",
"Saint Anne",
"Diocese of Trient",
"Landstände",
"Tyrol",
"Prince-Bishop",
"Maria-Theresien-Straße",
"Innsbruck",
"War of the Spanish Succession",
"Kramsach",
"Vigilius"
] |
|
13119_NT
|
St. Anne's Column
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Explore the abstract of this artwork.
|
St. Anne's Column (German: Annasäule) stands in the city centre of Innsbruck on Maria-Theresien-Straße.It was given its name when, in 1703, the last Bavarian troops were driven from the Tyrol on St. Anne's Day (26 July), as part of the War of the Spanish Succession. In 1704, in gratitude, the Landstände vowed to build a monument commemorating the event.
The column was made by Trient sculptor, Cristoforo Benedetti, from red Kramsach marble. On the base are four statues of saints:in the north, Saint Anne, the mother of the Blessed Virgin Mary
in the west, Cassian, patron saint of the Diocese of Bozen-Brixen.
in the east, Vigilius, patron saint of the Diocese of Trient.
in the south, Saint George, patron saint of the Tyrol.Towering above these four statues is the column with its statue of Mary as the Woman of the Apocalypse, raising 42 meters (137 feet) from the street.The column was consecrated on 26 July 1706 by Prince-Bishop Kaspar Ignaz, Count of Künigl. It has been restored several times over the centuries. In 1958, mainly for conservation reasons, the figure of Mary was replaced by a replica and the original was loaned to the Abbey of St. Georgenberg-Fiecht, where it has been placed in a side chapel of the abbey church of Fiecht (near Schwaz) above Saint Mary's altar.
On 10 October 2009 the figures of saints on the base of the monument were also substituted; the originals are now on the first floor of the Altes Landhaus in Innsbruck.
|
[
"Bavaria",
"St. Anne's Day",
"Cristoforo Benedetti",
"Abbey of St. Georgenberg-Fiecht",
"Woman of the Apocalypse",
"Schwaz",
"Diocese of Bozen-Brixen",
"Blessed Virgin Mary",
"Saint George",
"Cassian",
"Saint Anne",
"Diocese of Trient",
"Landstände",
"Tyrol",
"Prince-Bishop",
"Maria-Theresien-Straße",
"Innsbruck",
"War of the Spanish Succession",
"Kramsach",
"Vigilius"
] |
|
13120_T
|
The Match Seller
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In The Match Seller, how is the Description of the Analysis elucidated?
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The composition depicts a scene where a homeless and crippled war veteran is seen selling matches on a street in Germany. Several well-dressed passersby flee from the quadrupled and blind amputee, while a dachshund urinates on the veteran's peglegs. As others ignore him, the veteran cries out the phrase “Matches, original Swedish matches!” (German: “Streichhölzer, Echte Schwedenhölzer") written on the composition using white lettering.
|
[
"peglegs",
"dachshund",
"pegleg",
"German"
] |
|
13120_NT
|
The Match Seller
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In this artwork, how is the Description of the Analysis elucidated?
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The composition depicts a scene where a homeless and crippled war veteran is seen selling matches on a street in Germany. Several well-dressed passersby flee from the quadrupled and blind amputee, while a dachshund urinates on the veteran's peglegs. As others ignore him, the veteran cries out the phrase “Matches, original Swedish matches!” (German: “Streichhölzer, Echte Schwedenhölzer") written on the composition using white lettering.
|
[
"peglegs",
"dachshund",
"pegleg",
"German"
] |
|
13121_T
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The Match Seller
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In the context of The Match Seller, analyze the Scholarship of the Analysis.
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According to art historian and curator Sabine Rewald, what set Dix apart from other painters associated with the Neue Sachlichkeit movement was his "fascination with the 'ugly'". Painted one year after the end of World War I and the Treaty of Versailles, The Match Seller is one of four "pictures of cripples" Dix completed while in Dresden to protest the brutality of the war and the lack of respect for the veterans among the contemporary German society. Otto Dix was a veteran himself, having served in a machine gun unit on the Western Front of World War I as a non-commissioned officer, and the experience of the war and its brutality deeply affected the artist.Moreover, the composition has also been interpreted as the artist’s political critique of the Weimar Republic, including the demoralization of its post-war society and the economic inequality that would contribute to the subsequent rise of the National Socialist government. Dix's depiction of the veteran as a "dehumanized outcast" has been compared to the The Beggars, a 1568 painting completed by the Netherlandish Renaissance artist Pieter Bruegel the Elder. Along with many other works by Dix, The Match Seller was included on the list of works of degenerate art in Nazi Germany and confiscated between 1937 and 1938.
|
[
"World War I",
"Otto Dix",
"Pieter Bruegel the Elder",
"The Beggars",
"the Netherlandish Renaissance",
"Treaty of Versailles",
"Nazi Germany",
"Western Front",
"German",
"Weimar Republic",
"degenerate art",
"non-commissioned officer",
"Neue Sachlichkeit"
] |
|
13121_NT
|
The Match Seller
|
In the context of this artwork, analyze the Scholarship of the Analysis.
|
According to art historian and curator Sabine Rewald, what set Dix apart from other painters associated with the Neue Sachlichkeit movement was his "fascination with the 'ugly'". Painted one year after the end of World War I and the Treaty of Versailles, The Match Seller is one of four "pictures of cripples" Dix completed while in Dresden to protest the brutality of the war and the lack of respect for the veterans among the contemporary German society. Otto Dix was a veteran himself, having served in a machine gun unit on the Western Front of World War I as a non-commissioned officer, and the experience of the war and its brutality deeply affected the artist.Moreover, the composition has also been interpreted as the artist’s political critique of the Weimar Republic, including the demoralization of its post-war society and the economic inequality that would contribute to the subsequent rise of the National Socialist government. Dix's depiction of the veteran as a "dehumanized outcast" has been compared to the The Beggars, a 1568 painting completed by the Netherlandish Renaissance artist Pieter Bruegel the Elder. Along with many other works by Dix, The Match Seller was included on the list of works of degenerate art in Nazi Germany and confiscated between 1937 and 1938.
|
[
"World War I",
"Otto Dix",
"Pieter Bruegel the Elder",
"The Beggars",
"the Netherlandish Renaissance",
"Treaty of Versailles",
"Nazi Germany",
"Western Front",
"German",
"Weimar Republic",
"degenerate art",
"non-commissioned officer",
"Neue Sachlichkeit"
] |
|
13122_T
|
The Match Seller
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Describe the characteristics of the Technique in The Match Seller's Analysis.
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Dix's 1920 composition includes collage, a technique invented by the Cubists that became popular among the artists associated with the Dada movement in Germany, including Hannah Höch and Kurt Schwitters. The use of collage allowed artists to shift away from traditional forms of artmaking in favor of more modern and unorthodox materials. Dix began using collage in late 1919. He also incorporated this technique into Prague Street, another painting completed in 1920.
|
[
"Prague Street",
"Kurt Schwitters",
"Hannah Höch",
"Cubists",
"German",
"Dada",
"collage"
] |
|
13122_NT
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The Match Seller
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Describe the characteristics of the Technique in this artwork's Analysis.
|
Dix's 1920 composition includes collage, a technique invented by the Cubists that became popular among the artists associated with the Dada movement in Germany, including Hannah Höch and Kurt Schwitters. The use of collage allowed artists to shift away from traditional forms of artmaking in favor of more modern and unorthodox materials. Dix began using collage in late 1919. He also incorporated this technique into Prague Street, another painting completed in 1920.
|
[
"Prague Street",
"Kurt Schwitters",
"Hannah Höch",
"Cubists",
"German",
"Dada",
"collage"
] |
|
13123_T
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Statue of Charles Marion Russell
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Focus on Statue of Charles Marion Russell and explore the abstract.
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Charles Marion Russell is a sculpture depicting the American artist of the same name by John Weaver.
One version, a bronze, is installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Montana in 1959.
Another version is installed in the Montana Historical Society's MacKay Collection, in Helena, Montana.
|
[
"bronze",
"John Weaver",
"National Statuary Hall Collection",
"Washington, D.C.",
"National Statuary Hall",
"Montana",
"U.S. state",
"United States Capitol",
"American artist of the same name",
"Charles Marion Russell"
] |
|
13123_NT
|
Statue of Charles Marion Russell
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Focus on this artwork and explore the abstract.
|
Charles Marion Russell is a sculpture depicting the American artist of the same name by John Weaver.
One version, a bronze, is installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Montana in 1959.
Another version is installed in the Montana Historical Society's MacKay Collection, in Helena, Montana.
|
[
"bronze",
"John Weaver",
"National Statuary Hall Collection",
"Washington, D.C.",
"National Statuary Hall",
"Montana",
"U.S. state",
"United States Capitol",
"American artist of the same name",
"Charles Marion Russell"
] |
|
13124_T
|
Franz the Bear
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Focus on Franz the Bear and explain the abstract.
|
Franz the Bear is a statue of a bear on a bench by Michele vandenHeuvel, installed in Park City, Utah, United States.
|
[
"Michele vandenHeuvel",
"Park City, Utah",
"Utah"
] |
|
13124_NT
|
Franz the Bear
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Focus on this artwork and explain the abstract.
|
Franz the Bear is a statue of a bear on a bench by Michele vandenHeuvel, installed in Park City, Utah, United States.
|
[
"Michele vandenHeuvel",
"Park City, Utah",
"Utah"
] |
|
13125_T
|
Franz the Bear
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Explore the History of this artwork, Franz the Bear.
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Someone placed a face mask on the statue during the COVID-19 pandemic. The bear was also featured in signs encouraging people to wear masks. The work was vandalized in January 2021.
|
[
"COVID-19 pandemic"
] |
|
13125_NT
|
Franz the Bear
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Explore the History of this artwork.
|
Someone placed a face mask on the statue during the COVID-19 pandemic. The bear was also featured in signs encouraging people to wear masks. The work was vandalized in January 2021.
|
[
"COVID-19 pandemic"
] |
|
13126_T
|
Statue of Ivo of Kermartin, Charles Bridge
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Focus on Statue of Ivo of Kermartin, Charles Bridge and discuss the abstract.
|
The statue of Ivo of Kermartin (Czech: Sousoší svatého Iva) is an outdoor sculpture by Matthias Braun, installed on the south side of the Charles Bridge in Prague, Czech Republic.
|
[
"Ivo of Kermartin",
"Prague",
"Charles Bridge",
"Matthias Braun"
] |
|
13126_NT
|
Statue of Ivo of Kermartin, Charles Bridge
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Focus on this artwork and discuss the abstract.
|
The statue of Ivo of Kermartin (Czech: Sousoší svatého Iva) is an outdoor sculpture by Matthias Braun, installed on the south side of the Charles Bridge in Prague, Czech Republic.
|
[
"Ivo of Kermartin",
"Prague",
"Charles Bridge",
"Matthias Braun"
] |
|
13127_T
|
The Last Voyage of Henry Hudson
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How does The Last Voyage of Henry Hudson elucidate its abstract?
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The Last Voyage of Henry Hudson is an oil-on-canvas painting by English artist John Collier, created in 1881. It is part of the Tate Britain collections since 1881.
|
[
"Tate Britain",
"Henry Hudson",
"John Collier"
] |
|
13127_NT
|
The Last Voyage of Henry Hudson
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How does this artwork elucidate its abstract?
|
The Last Voyage of Henry Hudson is an oil-on-canvas painting by English artist John Collier, created in 1881. It is part of the Tate Britain collections since 1881.
|
[
"Tate Britain",
"Henry Hudson",
"John Collier"
] |
|
13128_T
|
The Last Voyage of Henry Hudson
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Focus on The Last Voyage of Henry Hudson and analyze the History and description.
|
The painting depicts the historical event that happened during English navigator Henry Hudson final voyage to search for the Northwest passage, when his crew mutinied in Hudson Bay, and he, his son and others were abandoned in a small boat, on 23 June 1611. It is unknown what happened to Hudson, his son and his men after this, but its presumed that they eventually died of cold or starvation.Collier depicts Hudson, dressed in black and with a grey beard, at the rudder of his ship, staring eerily while holding the hand of his son, who is at his feet. To the left, a mustached man with a vague gaze covers himself with a fur blanket. The vast, desolated Arctic landscape, with an iceberg and a snow covered mountain visible to the left, serves as the background to the human drama that has unfolded. The painting drew the attention of his contemporary viewers to the ongoing Arctic explorations in the 19th century, including other attempts to find the Northwest passage.
|
[
"Northwest passage",
"Hudson Bay",
"Arctic",
"Henry Hudson"
] |
|
13128_NT
|
The Last Voyage of Henry Hudson
|
Focus on this artwork and analyze the History and description.
|
The painting depicts the historical event that happened during English navigator Henry Hudson final voyage to search for the Northwest passage, when his crew mutinied in Hudson Bay, and he, his son and others were abandoned in a small boat, on 23 June 1611. It is unknown what happened to Hudson, his son and his men after this, but its presumed that they eventually died of cold or starvation.Collier depicts Hudson, dressed in black and with a grey beard, at the rudder of his ship, staring eerily while holding the hand of his son, who is at his feet. To the left, a mustached man with a vague gaze covers himself with a fur blanket. The vast, desolated Arctic landscape, with an iceberg and a snow covered mountain visible to the left, serves as the background to the human drama that has unfolded. The painting drew the attention of his contemporary viewers to the ongoing Arctic explorations in the 19th century, including other attempts to find the Northwest passage.
|
[
"Northwest passage",
"Hudson Bay",
"Arctic",
"Henry Hudson"
] |
|
13129_T
|
Apparition of the Virgin to St Bernard (Filippino Lippi)
|
In Apparition of the Virgin to St Bernard (Filippino Lippi), how is the abstract discussed?
|
Apparition of the Virgin to St. Bernard is an oil painting on panel by the Italian Renaissance painter Filippino Lippi, completed around 1485–1487. It is housed in the Badia Fiorentina, a church in Florence.
The picture was commissioned for the chapel of Francesco del Pugliese by the latter's son Piero, who is portrayed in the lower right corner in the traditional praying posture of the donor portrait.
It is one of the most admired Lippi's works, noted for its powerful, Flemish-inspired chromatism and attention to details, which contribute in turning the mystical apparition of the Virgin to St. Bernard into an everyday life scene. The composition is set in a rocky landscape in which the saint, while writing on his lectern, is suddenly visited by the Virgin. Behind Bernard's shoulders is depicted the demon biting his chains: this is a reference to a medieval hymn celebrating the Virgin as the liberator of humanity from the chains of their sins.
A scroll on a rock contains a verse by the 3rd century AD stoic writer Epictetus: Sustine et abstine ("Carry on and abstain"), a hint to Bernard's teachings.
Some scholars have identified in the faces of the Virgin and the angels on the left the portraits of the donor's wife and sons.
|
[
"Florence",
"Filippino Lippi",
"Badia Fiorentina",
"Renaissance",
"donor portrait",
"lectern",
"apparition of the Virgin",
"Epictetus",
"Italian",
"stoic",
"St. Bernard"
] |
|
13129_NT
|
Apparition of the Virgin to St Bernard (Filippino Lippi)
|
In this artwork, how is the abstract discussed?
|
Apparition of the Virgin to St. Bernard is an oil painting on panel by the Italian Renaissance painter Filippino Lippi, completed around 1485–1487. It is housed in the Badia Fiorentina, a church in Florence.
The picture was commissioned for the chapel of Francesco del Pugliese by the latter's son Piero, who is portrayed in the lower right corner in the traditional praying posture of the donor portrait.
It is one of the most admired Lippi's works, noted for its powerful, Flemish-inspired chromatism and attention to details, which contribute in turning the mystical apparition of the Virgin to St. Bernard into an everyday life scene. The composition is set in a rocky landscape in which the saint, while writing on his lectern, is suddenly visited by the Virgin. Behind Bernard's shoulders is depicted the demon biting his chains: this is a reference to a medieval hymn celebrating the Virgin as the liberator of humanity from the chains of their sins.
A scroll on a rock contains a verse by the 3rd century AD stoic writer Epictetus: Sustine et abstine ("Carry on and abstain"), a hint to Bernard's teachings.
Some scholars have identified in the faces of the Virgin and the angels on the left the portraits of the donor's wife and sons.
|
[
"Florence",
"Filippino Lippi",
"Badia Fiorentina",
"Renaissance",
"donor portrait",
"lectern",
"apparition of the Virgin",
"Epictetus",
"Italian",
"stoic",
"St. Bernard"
] |
|
13130_T
|
Emblematical Print on the South Sea Scheme
|
Focus on Emblematical Print on the South Sea Scheme and explore the abstract.
|
Emblematical Print on the South Sea Scheme (also known as The South Sea Scheme) is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–21. The print is often considered the first editorial cartoon or as a precursor of the form.
|
[
"South Sea Bubble",
"caricature",
"William Hogarth",
"editorial cartoon"
] |
|
13130_NT
|
Emblematical Print on the South Sea Scheme
|
Focus on this artwork and explore the abstract.
|
Emblematical Print on the South Sea Scheme (also known as The South Sea Scheme) is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–21. The print is often considered the first editorial cartoon or as a precursor of the form.
|
[
"South Sea Bubble",
"caricature",
"William Hogarth",
"editorial cartoon"
] |
|
13131_T
|
Emblematical Print on the South Sea Scheme
|
Focus on Emblematical Print on the South Sea Scheme and explain the Background.
|
The South Sea Company was a British joint stock company founded in 1711. It was granted a monopoly to trade with Spain's South American colonies as part of a treaty during the War of Spanish Succession, in return for the company's assumption of the national debt run up by England during the war. Speculation in the company's stock led to a great economic bubble in 1720, with company's shares rising rapidly in price from around £100 to over £1,000. Many investors were ruined when the bubble burst and the value of stock in the South Sea Company crashed. Political scandal ensued when fraud among the company's directors and corruption of cabinet ministers became clear.
The event triggered several satirical engravings by foreign artists that were widely published in English newspapers, including in particular a version of A Monument Dedicated to Posterity by Bernard Picart adapted by Bernard Baron, which depicted Folly drawing Fortune in a cart while she showered a crowd of hopeful investors with bubbles of air and worthless shreds of paper rather than with the riches for which they hoped. Hogarth's print was created in 1721 as a response to the foreign engravings. The events had personal piquancy for Hogarth, given his father's detention as a debtor in Fleet Prison from 1707–12 and his early death in 1718. The South Sea Scheme is an early essay in engraving by Hogarth, who had set up on his own as a copperplate artist and painter after his apprenticeship with silver engraver Ellis Gamble came to an early end in 1720.
|
[
"British",
"Bernard Baron",
"joint stock company",
"Fortune",
"national debt",
"satirical",
"copperplate",
"War of Spanish Succession",
"Bernard Picart",
"South Sea Company",
"South American colonies",
"economic bubble",
"Fleet Prison"
] |
|
13131_NT
|
Emblematical Print on the South Sea Scheme
|
Focus on this artwork and explain the Background.
|
The South Sea Company was a British joint stock company founded in 1711. It was granted a monopoly to trade with Spain's South American colonies as part of a treaty during the War of Spanish Succession, in return for the company's assumption of the national debt run up by England during the war. Speculation in the company's stock led to a great economic bubble in 1720, with company's shares rising rapidly in price from around £100 to over £1,000. Many investors were ruined when the bubble burst and the value of stock in the South Sea Company crashed. Political scandal ensued when fraud among the company's directors and corruption of cabinet ministers became clear.
The event triggered several satirical engravings by foreign artists that were widely published in English newspapers, including in particular a version of A Monument Dedicated to Posterity by Bernard Picart adapted by Bernard Baron, which depicted Folly drawing Fortune in a cart while she showered a crowd of hopeful investors with bubbles of air and worthless shreds of paper rather than with the riches for which they hoped. Hogarth's print was created in 1721 as a response to the foreign engravings. The events had personal piquancy for Hogarth, given his father's detention as a debtor in Fleet Prison from 1707–12 and his early death in 1718. The South Sea Scheme is an early essay in engraving by Hogarth, who had set up on his own as a copperplate artist and painter after his apprenticeship with silver engraver Ellis Gamble came to an early end in 1720.
|
[
"British",
"Bernard Baron",
"joint stock company",
"Fortune",
"national debt",
"satirical",
"copperplate",
"War of Spanish Succession",
"Bernard Picart",
"South Sea Company",
"South American colonies",
"economic bubble",
"Fleet Prison"
] |
|
13132_T
|
Emblematical Print on the South Sea Scheme
|
Explore the Description of this artwork, Emblematical Print on the South Sea Scheme.
|
The print shows a London scene, with the Guildhall and its monumental statue of the giant Gog (or Magog) to the left, a classical column based on The Monument to the Great Fire of London to the right, and the dome of St Paul's Cathedral rising behind the buildings in the background. The base of the column bears an inscription which states: "This monument was erected in memory of the destruction of the city by the South Sea in 1720", while foxes fight above. It is no coincidence that in Hogarth's scene the monument, a symbol of the City's greed, dwarfs St Paul's, a symbol of Christian charity.The centre of the print is occupied by a financial wheel of fortune or merry-go-round ridden by figures easily recognized in society, including a whore and a clergyman on the left, then a housewife and a hunchback, and a Scottish nobleman to the right on a fat-faced horse. The ride is surmounted by a goat and the slogan "Who'l Ride" and surrounded by a jostling crowd below. To the front of the crowd, a short pickpocket rifles through the pockets of a larger gentleman. Paulson identifies the first as a caricature of Alexander Pope, who profited from the South Sea Scheme; and speculates that the other is John Gay, who, refusing to cash in enough of his stock to enable himself to have "a clean shirt and a shoulder of mutton every day for life", lost his investment and all his imagined profits. The image of the wheel is a parody of Jacques Callot's La Pendaison from the series The Miseries and Misfortunes of War, and the crowd has elements taken from his La Roue. Women line a balcony to the upper left, queuing to enter a building surmounted by stag's antlers, under a sign which offers "Raffleing for Husbands with Lottery Fortunes in Here".
The satire is accentuated by a series of allegorical figures, identified by letters explained in the verse below. To the left, a blindfolded Fortune hangs by her hair from the balcony of the Guildhall (the devil's shop) while a winged devil cuts off parts of her body with a scythe and throws the bloody chunks into the baying crowd. In the bottom left corner, distinctive clothing identifies a Catholic, a Jew and a Puritan, who are ignoring the tumultuous scene to concentrate on their game of chance. To their right, the naked figure of Honesty is broken on the wheel by Self-interest while an Anglican priest looks on; further right, Villainy – who has removed his fair mask which now hangs upside down between his legs – scourges Honour beneath the column. Standing nearby is a monkey (a symbol of mimicry or "aping") who wears a gentleman's sword and a baronial hat, and wraps himself in Honour's cloak. In the lower right corner, the figure of Trade lies asleep or dead, ignored by all.
Underneath, a verse reads:Hogarth may have tried to sell copies of the print in 1721, but no advertisements for the issue of the print are known. In 1724, following his unsuccessful attempt to break the printmakers' monopoly by self-publishing his popular print The Bad Taste of the Town (also known as Masquerades and Operas), Hogarth sold his South Sea print, and another 1724 engraving entitled The Lottery, through the printsellers Mrs Chilcott in Westminster Hall and R Caldwell in Newgate Street. Prints were sold for 1 shilling each. Various states of the print exist; between the first and second state some minor corrections were made, including a change from "And Swarm" to "To Swarm" in the fourth line of the verse, but all other states only change the publication line to reflect a corresponding change in the printseller. The last known state, produced sometime after 1751, has the publication line erased completely. An early sketch, noted in Oppe's catalogue, omits St Paul's, the Guildhall, and various figures on the merry-go-round, shows Honesty as a woman, and has different wording for the inscriptions on the monument and raffle house.
|
[
"Jew",
"shilling",
"wheel of fortune",
"stag's antlers",
"The Bad Taste of the Town",
"Anglican",
"merry-go-round",
"The Miseries and Misfortunes of War",
"right",
"Fortune",
"Oppe",
"Puritan",
"St Paul's Cathedral",
"Monument to the Great Fire of London",
"Gog",
"allegorical figure",
"Alexander Pope",
"John Gay",
"the Guildhall",
"broken on the wheel",
"The Lottery",
"Great Fire of London",
"satire",
"The Monument",
"baronial hat",
"caricature",
"Jacques Callot",
"pickpocket"
] |
|
13132_NT
|
Emblematical Print on the South Sea Scheme
|
Explore the Description of this artwork.
|
The print shows a London scene, with the Guildhall and its monumental statue of the giant Gog (or Magog) to the left, a classical column based on The Monument to the Great Fire of London to the right, and the dome of St Paul's Cathedral rising behind the buildings in the background. The base of the column bears an inscription which states: "This monument was erected in memory of the destruction of the city by the South Sea in 1720", while foxes fight above. It is no coincidence that in Hogarth's scene the monument, a symbol of the City's greed, dwarfs St Paul's, a symbol of Christian charity.The centre of the print is occupied by a financial wheel of fortune or merry-go-round ridden by figures easily recognized in society, including a whore and a clergyman on the left, then a housewife and a hunchback, and a Scottish nobleman to the right on a fat-faced horse. The ride is surmounted by a goat and the slogan "Who'l Ride" and surrounded by a jostling crowd below. To the front of the crowd, a short pickpocket rifles through the pockets of a larger gentleman. Paulson identifies the first as a caricature of Alexander Pope, who profited from the South Sea Scheme; and speculates that the other is John Gay, who, refusing to cash in enough of his stock to enable himself to have "a clean shirt and a shoulder of mutton every day for life", lost his investment and all his imagined profits. The image of the wheel is a parody of Jacques Callot's La Pendaison from the series The Miseries and Misfortunes of War, and the crowd has elements taken from his La Roue. Women line a balcony to the upper left, queuing to enter a building surmounted by stag's antlers, under a sign which offers "Raffleing for Husbands with Lottery Fortunes in Here".
The satire is accentuated by a series of allegorical figures, identified by letters explained in the verse below. To the left, a blindfolded Fortune hangs by her hair from the balcony of the Guildhall (the devil's shop) while a winged devil cuts off parts of her body with a scythe and throws the bloody chunks into the baying crowd. In the bottom left corner, distinctive clothing identifies a Catholic, a Jew and a Puritan, who are ignoring the tumultuous scene to concentrate on their game of chance. To their right, the naked figure of Honesty is broken on the wheel by Self-interest while an Anglican priest looks on; further right, Villainy – who has removed his fair mask which now hangs upside down between his legs – scourges Honour beneath the column. Standing nearby is a monkey (a symbol of mimicry or "aping") who wears a gentleman's sword and a baronial hat, and wraps himself in Honour's cloak. In the lower right corner, the figure of Trade lies asleep or dead, ignored by all.
Underneath, a verse reads:Hogarth may have tried to sell copies of the print in 1721, but no advertisements for the issue of the print are known. In 1724, following his unsuccessful attempt to break the printmakers' monopoly by self-publishing his popular print The Bad Taste of the Town (also known as Masquerades and Operas), Hogarth sold his South Sea print, and another 1724 engraving entitled The Lottery, through the printsellers Mrs Chilcott in Westminster Hall and R Caldwell in Newgate Street. Prints were sold for 1 shilling each. Various states of the print exist; between the first and second state some minor corrections were made, including a change from "And Swarm" to "To Swarm" in the fourth line of the verse, but all other states only change the publication line to reflect a corresponding change in the printseller. The last known state, produced sometime after 1751, has the publication line erased completely. An early sketch, noted in Oppe's catalogue, omits St Paul's, the Guildhall, and various figures on the merry-go-round, shows Honesty as a woman, and has different wording for the inscriptions on the monument and raffle house.
|
[
"Jew",
"shilling",
"wheel of fortune",
"stag's antlers",
"The Bad Taste of the Town",
"Anglican",
"merry-go-round",
"The Miseries and Misfortunes of War",
"right",
"Fortune",
"Oppe",
"Puritan",
"St Paul's Cathedral",
"Monument to the Great Fire of London",
"Gog",
"allegorical figure",
"Alexander Pope",
"John Gay",
"the Guildhall",
"broken on the wheel",
"The Lottery",
"Great Fire of London",
"satire",
"The Monument",
"baronial hat",
"caricature",
"Jacques Callot",
"pickpocket"
] |
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13133_T
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Hezilo chandelier
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Focus on Hezilo chandelier and discuss the Description.
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The Hezilo chandelier is composed of a circular hoop which is 6 metres (20 ft) in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outwards, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy-two candles.Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.
The gatehouses are flat, no higher than the hoop and are closed at the rear - where the ropes which hold up the chandelier are anchored. Each gate is flanked by two small but richly decorated round turrets and is crowned with battlements and the name of an apostle. It is likely that there were once images of these apostles in the doorways.
In the center, a large lamp is hung from a rope. The chandelier, also called a corona (crown) or circular chandelier, hung in the nave until 1944, when it was removed to protect it from bombing. It hung above the altar in the crossing from the reopening of the cathedral in 1960 to 2010, when cathedral restoration work began.
|
[
"Greek cross",
"Latin",
"apostle",
"merlon"
] |
|
13133_NT
|
Hezilo chandelier
|
Focus on this artwork and discuss the Description.
|
The Hezilo chandelier is composed of a circular hoop which is 6 metres (20 ft) in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outwards, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy-two candles.Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.
The gatehouses are flat, no higher than the hoop and are closed at the rear - where the ropes which hold up the chandelier are anchored. Each gate is flanked by two small but richly decorated round turrets and is crowned with battlements and the name of an apostle. It is likely that there were once images of these apostles in the doorways.
In the center, a large lamp is hung from a rope. The chandelier, also called a corona (crown) or circular chandelier, hung in the nave until 1944, when it was removed to protect it from bombing. It hung above the altar in the crossing from the reopening of the cathedral in 1960 to 2010, when cathedral restoration work began.
|
[
"Greek cross",
"Latin",
"apostle",
"merlon"
] |
|
13134_T
|
Hezilo chandelier
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How does Hezilo chandelier elucidate its History?
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Bernward, Bishop of Hildesheim, gifted the first large wheel chandelier to the Hildesheim Cathedral built by Bishop Altfrid, and later also gave one to the adjacent church of St. Michael. After Altfrid's cathedral burned down in 1046, Bishop Hezilo had it rebuilt with alterations, rejecting the plan of his predecessor Azelin to build a new cathedral, and in the nave he hung a "crown chandelier of shimmering gold", which is now known by his name as the Hezilo chandelier. It is not clear what influence the earlier chandelier of Bernward had on the design of this replacement.
|
[
"St. Michael",
"wheel chandelier",
"Bernward",
"Azelin",
"Altfrid",
"Hildesheim",
"Bishop of Hildesheim",
"Hildesheim Cathedral"
] |
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13134_NT
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Hezilo chandelier
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How does this artwork elucidate its History?
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Bernward, Bishop of Hildesheim, gifted the first large wheel chandelier to the Hildesheim Cathedral built by Bishop Altfrid, and later also gave one to the adjacent church of St. Michael. After Altfrid's cathedral burned down in 1046, Bishop Hezilo had it rebuilt with alterations, rejecting the plan of his predecessor Azelin to build a new cathedral, and in the nave he hung a "crown chandelier of shimmering gold", which is now known by his name as the Hezilo chandelier. It is not clear what influence the earlier chandelier of Bernward had on the design of this replacement.
|
[
"St. Michael",
"wheel chandelier",
"Bernward",
"Azelin",
"Altfrid",
"Hildesheim",
"Bishop of Hildesheim",
"Hildesheim Cathedral"
] |
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13135_T
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Hezilo chandelier
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Focus on Hezilo chandelier and analyze the Symbolism.
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The model for a chandelier as the symbol of the New Jerusalem was the great wheel chandelier in the Church of the Holy Sepulchre above Golgotha; the Azelin chandelier was designed to have the same symbolism. Elements of Islamic art in the ornamentation of the chandelier support the identification with Jerusalem.
The idea of the chandelier is the image of a floating city: according to the inscription, the Heavenly Jerusalem as target of the old and new covenants, fragrant with the scent of virtue, populated by the saints, lit by God himself, the source of all light.
The Hezilo chandelier was at the liturgical center of the cathedral until the nineteenth century, with services held under its crown of light. Its location marked the beginning and end of the great processions of the cathedral chapter on Sundays and holidays. The chandelier served as a symbol of righteousness. Violations of the sovereignty of the diocese were solemnly resolved beneath it.
|
[
"Golgotha",
"wheel chandelier",
"Church of the Holy Sepulchre",
"Heavenly Jerusalem",
"Azelin chandelier",
"New Jerusalem",
"Azelin",
"Islamic art"
] |
|
13135_NT
|
Hezilo chandelier
|
Focus on this artwork and analyze the Symbolism.
|
The model for a chandelier as the symbol of the New Jerusalem was the great wheel chandelier in the Church of the Holy Sepulchre above Golgotha; the Azelin chandelier was designed to have the same symbolism. Elements of Islamic art in the ornamentation of the chandelier support the identification with Jerusalem.
The idea of the chandelier is the image of a floating city: according to the inscription, the Heavenly Jerusalem as target of the old and new covenants, fragrant with the scent of virtue, populated by the saints, lit by God himself, the source of all light.
The Hezilo chandelier was at the liturgical center of the cathedral until the nineteenth century, with services held under its crown of light. Its location marked the beginning and end of the great processions of the cathedral chapter on Sundays and holidays. The chandelier served as a symbol of righteousness. Violations of the sovereignty of the diocese were solemnly resolved beneath it.
|
[
"Golgotha",
"wheel chandelier",
"Church of the Holy Sepulchre",
"Heavenly Jerusalem",
"Azelin chandelier",
"New Jerusalem",
"Azelin",
"Islamic art"
] |
|
13136_T
|
Hezilo chandelier
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In Hezilo chandelier, how is the Restoration discussed?
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Restoration work was carried out in the 16th century and again at the beginning of the 19th and 20th centuries, During the Second World War, the Hezilo chandelier was dismantled and removed from the cathedral — which was virtually destroyed by Allied bombing in March 1945. After the cathedral was rebuilt during the 1950s, the 900-year-old chandelier was placed in the crossing. It underwent extensive conservation work from 2002 until 2007. In 2010, when restoration work on the cathedral began, it was moved to St. Godehard, a Romanesque church in Hildesheim and the temporary seat of the bishop.
|
[
"Romanesque",
"Second World War",
"St. Godehard",
"Hildesheim"
] |
|
13136_NT
|
Hezilo chandelier
|
In this artwork, how is the Restoration discussed?
|
Restoration work was carried out in the 16th century and again at the beginning of the 19th and 20th centuries, During the Second World War, the Hezilo chandelier was dismantled and removed from the cathedral — which was virtually destroyed by Allied bombing in March 1945. After the cathedral was rebuilt during the 1950s, the 900-year-old chandelier was placed in the crossing. It underwent extensive conservation work from 2002 until 2007. In 2010, when restoration work on the cathedral began, it was moved to St. Godehard, a Romanesque church in Hildesheim and the temporary seat of the bishop.
|
[
"Romanesque",
"Second World War",
"St. Godehard",
"Hildesheim"
] |
|
13137_T
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Hezilo chandelier
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Focus on Hezilo chandelier and explore the Inscription.
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Due to early modern restorations, the verse inscription has been significantly altered. The donor's name, "Hezilo" was written in a later script. The oldest version is in a manuscript from around 1500:
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[] |
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13137_NT
|
Hezilo chandelier
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Focus on this artwork and explore the Inscription.
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Due to early modern restorations, the verse inscription has been significantly altered. The donor's name, "Hezilo" was written in a later script. The oldest version is in a manuscript from around 1500:
|
[] |
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13138_T
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Daughters of Revolution
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Focus on Daughters of Revolution and explain the abstract.
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Daughters of Revolution (1932) is a painting by American artist Grant Wood; he claimed it as his only satire.
|
[
"Grant Wood"
] |
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13138_NT
|
Daughters of Revolution
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Focus on this artwork and explain the abstract.
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Daughters of Revolution (1932) is a painting by American artist Grant Wood; he claimed it as his only satire.
|
[
"Grant Wood"
] |
|
13139_T
|
Daughters of Revolution
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Explore the Origin of this artwork, Daughters of Revolution.
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In 1927, Wood was commissioned to create a stained glass window in the Veterans Memorial Coliseum in Cedar Rapids, Iowa. Unhappy with the quality of domestic glass sources, he used glass made in Germany. The local chapter of the Daughters of the American Revolution (DAR) complained about the use of a German source for a World War I memorial, as Germany had been an enemy of the US in that war. They expressed a lingering anti-German sentiment in society, and other people in Cedar Rapids also protested the German source. As a result, the window was not dedicated until 1955.Wood was said to have described the DAR as "those Tory gals" and "people who are trying to set up an aristocracy of birth in a Republic." Five years later Wood painted Daughters of Revolution, which he described as his only satire. He emphasized the contrast of three aged women in faded dresses framed against the heroic 1851 painting of Washington Crossing the Delaware, which, ironically, was painted in Germany by the German-American artist Emanuel Leutze. Wood depicted his mother's clothing on the models, including a lace collar and amber pin he bought for her in Germany.
|
[
"commissioned",
"World War I",
"Tory",
"stained glass",
"Cedar Rapids, Iowa",
"Washington Crossing the Delaware",
"Daughters of the American Revolution",
"Emanuel Leutze"
] |
|
13139_NT
|
Daughters of Revolution
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Explore the Origin of this artwork.
|
In 1927, Wood was commissioned to create a stained glass window in the Veterans Memorial Coliseum in Cedar Rapids, Iowa. Unhappy with the quality of domestic glass sources, he used glass made in Germany. The local chapter of the Daughters of the American Revolution (DAR) complained about the use of a German source for a World War I memorial, as Germany had been an enemy of the US in that war. They expressed a lingering anti-German sentiment in society, and other people in Cedar Rapids also protested the German source. As a result, the window was not dedicated until 1955.Wood was said to have described the DAR as "those Tory gals" and "people who are trying to set up an aristocracy of birth in a Republic." Five years later Wood painted Daughters of Revolution, which he described as his only satire. He emphasized the contrast of three aged women in faded dresses framed against the heroic 1851 painting of Washington Crossing the Delaware, which, ironically, was painted in Germany by the German-American artist Emanuel Leutze. Wood depicted his mother's clothing on the models, including a lace collar and amber pin he bought for her in Germany.
|
[
"commissioned",
"World War I",
"Tory",
"stained glass",
"Cedar Rapids, Iowa",
"Washington Crossing the Delaware",
"Daughters of the American Revolution",
"Emanuel Leutze"
] |
|
13140_T
|
Daughters of Revolution
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Focus on Daughters of Revolution and discuss the Critique.
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Critics have commented on the juxtaposition of these women and the mythic painting of George Washington portrayed in one of his wartime feats. Based on Tripp Evans' biography Grant Wood, A Life (2010), Henry Adams in his review says that Wood's painting Daughters of Revolution depicts not women but men: the Founding Fathers as cross-dressing figures, who stand in front of a recreation of Washington Crossing the Delaware. Evans discusses Wood's alleged homosexuality in his book, as well as his fascination with what Adams describes as "changes of gender".In her review of Evans' book, Deborah Solomon thinks that he overstates the case for Wood as a homosexual and pushes this view too much in interpreting his works. She argues that Wood might better be described as asexual. Solomon finds Wood haunted by the dead, saying, "He longed for the company of the dead and tunneled back through time in his enchanting and elegiac paintings. He deserves to be remembered as one of the essential eccentrics of American art." Wood himself called it "A pretty rotten painting. Carried by its subject matter."
|
[
"cross-dressing",
"homosexuality",
"Founding Fathers",
"Washington Crossing the Delaware",
"George Washington",
"Deborah Solomon",
"Grant Wood"
] |
|
13140_NT
|
Daughters of Revolution
|
Focus on this artwork and discuss the Critique.
|
Critics have commented on the juxtaposition of these women and the mythic painting of George Washington portrayed in one of his wartime feats. Based on Tripp Evans' biography Grant Wood, A Life (2010), Henry Adams in his review says that Wood's painting Daughters of Revolution depicts not women but men: the Founding Fathers as cross-dressing figures, who stand in front of a recreation of Washington Crossing the Delaware. Evans discusses Wood's alleged homosexuality in his book, as well as his fascination with what Adams describes as "changes of gender".In her review of Evans' book, Deborah Solomon thinks that he overstates the case for Wood as a homosexual and pushes this view too much in interpreting his works. She argues that Wood might better be described as asexual. Solomon finds Wood haunted by the dead, saying, "He longed for the company of the dead and tunneled back through time in his enchanting and elegiac paintings. He deserves to be remembered as one of the essential eccentrics of American art." Wood himself called it "A pretty rotten painting. Carried by its subject matter."
|
[
"cross-dressing",
"homosexuality",
"Founding Fathers",
"Washington Crossing the Delaware",
"George Washington",
"Deborah Solomon",
"Grant Wood"
] |
|
13141_T
|
Forest (painting)
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How does Forest (painting) elucidate its abstract?
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Forest is an oil-on-canvas painting by French painter Paul Cézanne, which he created c. 1902–1904. It depicts the bank of a road in a wooded area close to Aix-en-Provence. It is housed in the collection of the National Gallery of Canada.
|
[
"Aix-en-Provence",
"National Gallery of Canada",
"painter",
"French",
"oil-on-canvas",
"Paul Cézanne"
] |
|
13141_NT
|
Forest (painting)
|
How does this artwork elucidate its abstract?
|
Forest is an oil-on-canvas painting by French painter Paul Cézanne, which he created c. 1902–1904. It depicts the bank of a road in a wooded area close to Aix-en-Provence. It is housed in the collection of the National Gallery of Canada.
|
[
"Aix-en-Provence",
"National Gallery of Canada",
"painter",
"French",
"oil-on-canvas",
"Paul Cézanne"
] |
|
13142_T
|
Forest (painting)
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Focus on Forest (painting) and analyze the Description.
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Forest is a landscape painted in oils on canvas, which measures 81.9 cm x 66 cm. The location represented in the painting may be the entrance to the Château Noir, an estate that Cézanne frequented in order to paint. The composition employs warm, earthy colours to depict the red rocks in the centre of the painting. Towards the edges, Cézanne used cooler tones of grey and blue to depict the foliage and the sky. He also purposefully used looser brushstrokes and created patches of colour on the edges alongside bare canvas.
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[] |
|
13142_NT
|
Forest (painting)
|
Focus on this artwork and analyze the Description.
|
Forest is a landscape painted in oils on canvas, which measures 81.9 cm x 66 cm. The location represented in the painting may be the entrance to the Château Noir, an estate that Cézanne frequented in order to paint. The composition employs warm, earthy colours to depict the red rocks in the centre of the painting. Towards the edges, Cézanne used cooler tones of grey and blue to depict the foliage and the sky. He also purposefully used looser brushstrokes and created patches of colour on the edges alongside bare canvas.
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[] |
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13143_T
|
Angel of the West
|
In Angel of the West, how is the abstract discussed?
|
Angel of the West is an outdoor sculpture in Jupiter, Florida, United States. The sculpture was made in 2008 by German sculptor Julian Voss-Andreae. Referencing British sculptor Antony Gormley's monumental 1998 piece Angel of the North it was created based on an antibody structure published by E. Padlan for the Florida campus of the Scripps Research Institute. The antibody is placed into a ring referencing Leonardo da Vinci's Vitruvian Man highlighting the similar proportions of the antibody and the human body.
|
[
"Vitruvian Man",
"Angel of the North",
"Antony Gormley's",
"Scripps Research Institute",
"Jupiter, Florida",
"United States",
"Julian Voss-Andreae",
"Leonardo da Vinci",
"Antony Gormley",
"antibody"
] |
|
13143_NT
|
Angel of the West
|
In this artwork, how is the abstract discussed?
|
Angel of the West is an outdoor sculpture in Jupiter, Florida, United States. The sculpture was made in 2008 by German sculptor Julian Voss-Andreae. Referencing British sculptor Antony Gormley's monumental 1998 piece Angel of the North it was created based on an antibody structure published by E. Padlan for the Florida campus of the Scripps Research Institute. The antibody is placed into a ring referencing Leonardo da Vinci's Vitruvian Man highlighting the similar proportions of the antibody and the human body.
|
[
"Vitruvian Man",
"Angel of the North",
"Antony Gormley's",
"Scripps Research Institute",
"Jupiter, Florida",
"United States",
"Julian Voss-Andreae",
"Leonardo da Vinci",
"Antony Gormley",
"antibody"
] |
|
13144_T
|
Allegory of Virtue (Correggio)
|
Focus on Allegory of Virtue (Correggio) and explore the abstract.
|
The Allegory of Virtue is an oil on canvas painting by Correggio dating to around 1531 and measuring 149 by 88 cm. It and Allegory of Vice were painted as a pair for the studiolo of Isabella d'Este, with Vice probably the second of the two to be completed. This hypothesis is since only one (possibly non-autograph) sketch survives for Vice, unlike Virtue, for which two preparatory studies survive (in the Louvre), along with a near-complete oil sketch (attributed to Correggio in the 1603 inventory of the Aldobrandini collection and now at the Galleria Doria Pamphili) - this suggests Correggio had become more proficient after the difficult gestation of Virtue.
As usually interpreted, the central woman is Minerva, holding a read lance and a plumed helmet - the work may even be a continuation of Mantegna's 1502 Triumph of the Virtues, painted for the same studiolo and also featuring a Minerva with a red lance. (Others have interpreted the figure as Isabella herself, dressed as Wisdom.) Glory hovers above her holding a crown, whilst a seated female figure to the left is surrounded by symbols of the four cardinal virtues (a snake in her hair for Prudence, a sword for Justice, reins for temperance and Hercules's lion skin for Fortitude). Some interpret the seated black female figure on the right as Astrology, Science or Intellectual Virtue - she points outside the painting's space and thus (like the putto in Vice) draws the viewer's attention from one painting to the other.
After the studiolo's contents was dispersed, Virtue and the Mantegna were given to cardinal Richelieu around 1627 and moved to Paris. There they were acquired by Eberhard Jabach in 1671, before being sold by him to Louis XIV - Virtue still hangs in the Louvre.
|
[
"studiolo",
"Triumph of the Virtues",
"Minerva",
"Galleria Doria Pamphili",
"Mantegna",
"canvas",
"Louis XIV",
"cardinal Richelieu",
"Allegory of Vice",
"Correggio",
"Isabella d'Este",
"cardinal virtues",
"Louvre",
"Paris",
"Aldobrandini",
"Hercules",
"Eberhard Jabach"
] |
|
13144_NT
|
Allegory of Virtue (Correggio)
|
Focus on this artwork and explore the abstract.
|
The Allegory of Virtue is an oil on canvas painting by Correggio dating to around 1531 and measuring 149 by 88 cm. It and Allegory of Vice were painted as a pair for the studiolo of Isabella d'Este, with Vice probably the second of the two to be completed. This hypothesis is since only one (possibly non-autograph) sketch survives for Vice, unlike Virtue, for which two preparatory studies survive (in the Louvre), along with a near-complete oil sketch (attributed to Correggio in the 1603 inventory of the Aldobrandini collection and now at the Galleria Doria Pamphili) - this suggests Correggio had become more proficient after the difficult gestation of Virtue.
As usually interpreted, the central woman is Minerva, holding a read lance and a plumed helmet - the work may even be a continuation of Mantegna's 1502 Triumph of the Virtues, painted for the same studiolo and also featuring a Minerva with a red lance. (Others have interpreted the figure as Isabella herself, dressed as Wisdom.) Glory hovers above her holding a crown, whilst a seated female figure to the left is surrounded by symbols of the four cardinal virtues (a snake in her hair for Prudence, a sword for Justice, reins for temperance and Hercules's lion skin for Fortitude). Some interpret the seated black female figure on the right as Astrology, Science or Intellectual Virtue - she points outside the painting's space and thus (like the putto in Vice) draws the viewer's attention from one painting to the other.
After the studiolo's contents was dispersed, Virtue and the Mantegna were given to cardinal Richelieu around 1627 and moved to Paris. There they were acquired by Eberhard Jabach in 1671, before being sold by him to Louis XIV - Virtue still hangs in the Louvre.
|
[
"studiolo",
"Triumph of the Virtues",
"Minerva",
"Galleria Doria Pamphili",
"Mantegna",
"canvas",
"Louis XIV",
"cardinal Richelieu",
"Allegory of Vice",
"Correggio",
"Isabella d'Este",
"cardinal virtues",
"Louvre",
"Paris",
"Aldobrandini",
"Hercules",
"Eberhard Jabach"
] |
|
13145_T
|
Statue of Johannes Gutenberg, Strasbourg
|
Focus on Statue of Johannes Gutenberg, Strasbourg and explain the abstract.
|
A statue of Johannes Gutenberg by David d'Angers is installed on Place Gutenberg in Strasbourg, France.
|
[
"David d'Angers",
"Johannes Gutenberg",
"Strasbourg"
] |
|
13145_NT
|
Statue of Johannes Gutenberg, Strasbourg
|
Focus on this artwork and explain the abstract.
|
A statue of Johannes Gutenberg by David d'Angers is installed on Place Gutenberg in Strasbourg, France.
|
[
"David d'Angers",
"Johannes Gutenberg",
"Strasbourg"
] |
|
13146_T
|
Young Woman in a Black Dress
|
Explore the abstract of this artwork, Young Woman in a Black Dress.
|
The Young Woman in a Black Dress is an oil painting by Titian, dating to around 1520 and now held at the Kunsthistorisches Museum in Vienna. It was later misattributed to Palma il Vecchio, then to Giovanni Cariani, until Roberto Longhi reattributed it as by Titian, which is now the critical consensus.
It depicts a woman half-length, facing the viewer, with her torso slightly twisted to give a sense of movement. One hand holds her black dress over her white shift, with a generous cleavage. The woman's physical type recurs in several other works by the artist, such as Flora and Woman with a Mirror - she may have been Titian's mistress, or simply a recurring model.
|
[
"Roberto Longhi",
"Titian",
"Flora",
"Kunsthistorisches Museum",
"Woman with a Mirror",
"Vienna",
"Palma il Vecchio",
"Giovanni Cariani"
] |
|
13146_NT
|
Young Woman in a Black Dress
|
Explore the abstract of this artwork.
|
The Young Woman in a Black Dress is an oil painting by Titian, dating to around 1520 and now held at the Kunsthistorisches Museum in Vienna. It was later misattributed to Palma il Vecchio, then to Giovanni Cariani, until Roberto Longhi reattributed it as by Titian, which is now the critical consensus.
It depicts a woman half-length, facing the viewer, with her torso slightly twisted to give a sense of movement. One hand holds her black dress over her white shift, with a generous cleavage. The woman's physical type recurs in several other works by the artist, such as Flora and Woman with a Mirror - she may have been Titian's mistress, or simply a recurring model.
|
[
"Roberto Longhi",
"Titian",
"Flora",
"Kunsthistorisches Museum",
"Woman with a Mirror",
"Vienna",
"Palma il Vecchio",
"Giovanni Cariani"
] |
|
13147_T
|
Cervara Altarpiece
|
Focus on Cervara Altarpiece and discuss the History.
|
It was commissioned by the Genoese nobleman Vincenzo Sauli on 7 September 1506, as dated in a 17th-century document - Sauli's name is painted above the Virgin's feet in the central panel. David painted it in Bruges and it was installed in the Abbey in 1507.
|
[
"Bruges",
"1507"
] |
|
13147_NT
|
Cervara Altarpiece
|
Focus on this artwork and discuss the History.
|
It was commissioned by the Genoese nobleman Vincenzo Sauli on 7 September 1506, as dated in a 17th-century document - Sauli's name is painted above the Virgin's feet in the central panel. David painted it in Bruges and it was installed in the Abbey in 1507.
|
[
"Bruges",
"1507"
] |
|
13148_T
|
Cervara Altarpiece
|
How does Cervara Altarpiece elucidate its Description?
|
It was originally formed of seven panels, which were divided up after the monastery's suppression and requisition in 1797 by the Republic of Genoa. The separated panels were initially deposited in the Palais Ducal, seat of the prefecture, and only four panels remained in Genoa. These four were the central one (measuring 153 by 89 cm and showing the Madonna and Child Enthroned or the Madonna of the Grapes), two side panels (each measuring 152.5 by 64 cm and showing saint Jerome and saint Maurus) and an upper central panel (measuring 102 by 88 cm and showing the Crucifixion).
The central Virgin and Child and the upper Crucifixion panels were rediscovered in the Palazzo Ducale in 1805. In 1830 the painter Francesco Baratta the elder supervised their transfer to the mayor's office in the Palazzo Tursi, the civic palazzo, and later into the Palazzo Bianco gallery. The altarpiece's three remaining panels were later rediscovered in Italy. Two of these were the two upper side panels of the Annunciation, now in the Metropolitan Museum of Art in New York, with one showing the angel and one the Virgin. A final semicircular panel from above the Crucifixion is now in the Louvre Museum in Paris - this shows God the Father with his hand raised in blessing, surrounded by angels. All seven panels were re-united at the Palazzo Bianco in autumn 2005.
|
[
"saint Maurus",
"Annunciation",
"Genoa",
"Palais Ducal",
"Francesco Baratta the elder",
"Palazzo Bianco",
"Italy",
"Republic of Genoa",
"saint Jerome",
"Louvre",
"Paris",
"altarpiece",
"Crucifixion",
"Metropolitan Museum of Art",
"Louvre Museum"
] |
|
13148_NT
|
Cervara Altarpiece
|
How does this artwork elucidate its Description?
|
It was originally formed of seven panels, which were divided up after the monastery's suppression and requisition in 1797 by the Republic of Genoa. The separated panels were initially deposited in the Palais Ducal, seat of the prefecture, and only four panels remained in Genoa. These four were the central one (measuring 153 by 89 cm and showing the Madonna and Child Enthroned or the Madonna of the Grapes), two side panels (each measuring 152.5 by 64 cm and showing saint Jerome and saint Maurus) and an upper central panel (measuring 102 by 88 cm and showing the Crucifixion).
The central Virgin and Child and the upper Crucifixion panels were rediscovered in the Palazzo Ducale in 1805. In 1830 the painter Francesco Baratta the elder supervised their transfer to the mayor's office in the Palazzo Tursi, the civic palazzo, and later into the Palazzo Bianco gallery. The altarpiece's three remaining panels were later rediscovered in Italy. Two of these were the two upper side panels of the Annunciation, now in the Metropolitan Museum of Art in New York, with one showing the angel and one the Virgin. A final semicircular panel from above the Crucifixion is now in the Louvre Museum in Paris - this shows God the Father with his hand raised in blessing, surrounded by angels. All seven panels were re-united at the Palazzo Bianco in autumn 2005.
|
[
"saint Maurus",
"Annunciation",
"Genoa",
"Palais Ducal",
"Francesco Baratta the elder",
"Palazzo Bianco",
"Italy",
"Republic of Genoa",
"saint Jerome",
"Louvre",
"Paris",
"altarpiece",
"Crucifixion",
"Metropolitan Museum of Art",
"Louvre Museum"
] |
|
13149_T
|
Brick Factory at Tortosa
|
Focus on Brick Factory at Tortosa and analyze the abstract.
|
Brick Factory at Tortosa (L'Usine, Horta de Ebro) is a 1909 oil on canvas painting by Pablo Picasso, which he created during a visit to Horta de Sant Joan in Catalonia. It depicts a landscape of a factory and palm trees, which are presented in a simplified, geometric style. The work belongs to Picasso's African Period and is considered a Proto-Cubist work. It is held in the collection of The State Hermitage Museum in Saint Petersburg.
|
[
"Proto-Cubist",
"Tortosa",
"The State Hermitage Museum",
"Hermitage Museum",
"oil on canvas",
"Horta de Sant Joan",
"Saint Petersburg",
"Picasso's African Period",
"Pablo Picasso"
] |
|
13149_NT
|
Brick Factory at Tortosa
|
Focus on this artwork and analyze the abstract.
|
Brick Factory at Tortosa (L'Usine, Horta de Ebro) is a 1909 oil on canvas painting by Pablo Picasso, which he created during a visit to Horta de Sant Joan in Catalonia. It depicts a landscape of a factory and palm trees, which are presented in a simplified, geometric style. The work belongs to Picasso's African Period and is considered a Proto-Cubist work. It is held in the collection of The State Hermitage Museum in Saint Petersburg.
|
[
"Proto-Cubist",
"Tortosa",
"The State Hermitage Museum",
"Hermitage Museum",
"oil on canvas",
"Horta de Sant Joan",
"Saint Petersburg",
"Picasso's African Period",
"Pablo Picasso"
] |
|
13150_T
|
Brick Factory at Tortosa
|
In Brick Factory at Tortosa, how is the Background discussed?
|
Picasso produced Brick Factory at Tortosa in the summer of 1909, when he was aged 28. It was created while he was on holiday at Horta de Sant Joan in Catalonia, Spain from Paris. The painting displays Picasso's developing style towards Cubism, which would eventually become fully formed in 1910 with paintings like Portrait of Daniel-Henry Kahnweiler.The painting was one of several that Picasso produced in Southern Spain during this year, including The Reservoir, Horta de Ebro, The Oil Mill, and Paysage, Horta de Ebro, landscapes that display the same simplified geometric style.Horta de Sant Joan played an important role in Picasso's development as an artist. He stayed in the village twice, once as a teenager in 1898 with his friend and fellow art student, Manuel Pallarés, and again from 5 June to September 1909. During his first visit, Picasso had experienced a new sense of freedom, set apart from the artistic restrictions of his father, José Ruiz y Blasco and La Academía de Bellas Artes. Picasso stated, "Everything that I know I have learned in Horta". He returned to Horta in the summer of 1909, ten years after his first visit. By this point, he had achieved a level of prestige as an artist in Paris and he was visiting with his girlfriend Fernande Olivier. This visit inspired Picasso to produce paintings dominated by landscapes depicted in a geometric style. It was a period in which he rediscovered himself as an artist and developed an experimental new style that would eventually lead to Cubism. He left the village at the beginning of September 1909 and never returned.
|
[
"Portrait of Daniel-Henry Kahnweiler",
"Tortosa",
"Cubism",
"Horta de Sant Joan",
"José Ruiz y Blasco",
"Fernande Olivier"
] |
|
13150_NT
|
Brick Factory at Tortosa
|
In this artwork, how is the Background discussed?
|
Picasso produced Brick Factory at Tortosa in the summer of 1909, when he was aged 28. It was created while he was on holiday at Horta de Sant Joan in Catalonia, Spain from Paris. The painting displays Picasso's developing style towards Cubism, which would eventually become fully formed in 1910 with paintings like Portrait of Daniel-Henry Kahnweiler.The painting was one of several that Picasso produced in Southern Spain during this year, including The Reservoir, Horta de Ebro, The Oil Mill, and Paysage, Horta de Ebro, landscapes that display the same simplified geometric style.Horta de Sant Joan played an important role in Picasso's development as an artist. He stayed in the village twice, once as a teenager in 1898 with his friend and fellow art student, Manuel Pallarés, and again from 5 June to September 1909. During his first visit, Picasso had experienced a new sense of freedom, set apart from the artistic restrictions of his father, José Ruiz y Blasco and La Academía de Bellas Artes. Picasso stated, "Everything that I know I have learned in Horta". He returned to Horta in the summer of 1909, ten years after his first visit. By this point, he had achieved a level of prestige as an artist in Paris and he was visiting with his girlfriend Fernande Olivier. This visit inspired Picasso to produce paintings dominated by landscapes depicted in a geometric style. It was a period in which he rediscovered himself as an artist and developed an experimental new style that would eventually lead to Cubism. He left the village at the beginning of September 1909 and never returned.
|
[
"Portrait of Daniel-Henry Kahnweiler",
"Tortosa",
"Cubism",
"Horta de Sant Joan",
"José Ruiz y Blasco",
"Fernande Olivier"
] |
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