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|---|---|---|---|---|---|
13151_T
|
Brick Factory at Tortosa
|
Focus on Brick Factory at Tortosa and explore the Significance and legacy.
|
Jonathan Jones of The Guardian called the work "formidable" and viewed the painting as "an experiment in how brutally you can reduce, simplify, solidify and abstract forms and still produce a picture that is not simply recognisable, but profoundly full of life."Laurent Le Bon, Chairman of the Musée Picasso in Paris, remarked on the importance of this period and location in relation to Picasso's development as an artist. "The artist did not travel much, but here we can see how he revolutionised the way the world is represented through art.[...]This is where the artist found a different way of seeing things."
|
[
"Jonathan Jones",
"The Guardian",
"Musée Picasso"
] |
|
13151_NT
|
Brick Factory at Tortosa
|
Focus on this artwork and explore the Significance and legacy.
|
Jonathan Jones of The Guardian called the work "formidable" and viewed the painting as "an experiment in how brutally you can reduce, simplify, solidify and abstract forms and still produce a picture that is not simply recognisable, but profoundly full of life."Laurent Le Bon, Chairman of the Musée Picasso in Paris, remarked on the importance of this period and location in relation to Picasso's development as an artist. "The artist did not travel much, but here we can see how he revolutionised the way the world is represented through art.[...]This is where the artist found a different way of seeing things."
|
[
"Jonathan Jones",
"The Guardian",
"Musée Picasso"
] |
|
13152_T
|
Brick Factory at Tortosa
|
Focus on Brick Factory at Tortosa and explain the Provenance.
|
The painting was originally in the collection of Sergei Shchukin. It was acquired by the State Museum of New Western Art in Moscow and then transferred to The State Hermitage Museum in 1948.
|
[
"The State Hermitage Museum",
"Hermitage Museum",
"Sergei Shchukin"
] |
|
13152_NT
|
Brick Factory at Tortosa
|
Focus on this artwork and explain the Provenance.
|
The painting was originally in the collection of Sergei Shchukin. It was acquired by the State Museum of New Western Art in Moscow and then transferred to The State Hermitage Museum in 1948.
|
[
"The State Hermitage Museum",
"Hermitage Museum",
"Sergei Shchukin"
] |
|
13153_T
|
Statue of Hiawatha
|
Explore the abstract of this artwork, Statue of Hiawatha.
|
The Statue of Hiawatha was a monument located at Riverside Park in La Crosse, Wisconsin. The statue was created by Anthony Zimmerhakl and overlooked the convergence of three rivers at Riverside Park: the Mississippi River, Black River, and the La Crosse River.
It had been built with the intention of drawing tourism to the area and was based on a fictionalized version of Hiawatha, a 16th-century Native American chief who had no connection to local tribes. Long standing public debate about whether the statue was offensive or presented a caricature based on stereotypes of Native Americans eventually led to its removal in 2020, nearly 60 years after it was erected.
|
[
"La Crosse",
"Hiawatha",
"Mississippi River",
"Anthony Zimmerhakl",
"La Crosse, Wisconsin",
"Riverside Park",
"Wisconsin",
"La Crosse River",
"Black River"
] |
|
13153_NT
|
Statue of Hiawatha
|
Explore the abstract of this artwork.
|
The Statue of Hiawatha was a monument located at Riverside Park in La Crosse, Wisconsin. The statue was created by Anthony Zimmerhakl and overlooked the convergence of three rivers at Riverside Park: the Mississippi River, Black River, and the La Crosse River.
It had been built with the intention of drawing tourism to the area and was based on a fictionalized version of Hiawatha, a 16th-century Native American chief who had no connection to local tribes. Long standing public debate about whether the statue was offensive or presented a caricature based on stereotypes of Native Americans eventually led to its removal in 2020, nearly 60 years after it was erected.
|
[
"La Crosse",
"Hiawatha",
"Mississippi River",
"Anthony Zimmerhakl",
"La Crosse, Wisconsin",
"Riverside Park",
"Wisconsin",
"La Crosse River",
"Black River"
] |
|
13154_T
|
Statue of Hiawatha
|
In Statue of Hiawatha, how is the Installation of the History elucidated?
|
In 1958, the city of La Crosse’s Chamber of Commerce commissioned art teacher Anthony Zimmerhakl to create a statue to be placed in Riverside Park. The Chamber of Commerce hoped that a monumental statue would draw tourism to the area. Zimmerhakl reportedly constructed the resulting 25-foot, 20-ton statue in his backyard near Weigent Park with the assistance of his sons.The city’s Board of Park Commissioners initially rejected the statue’s placement in Riverside Park in 1958. The board was not in opposition to the statue itself, but felt that it would “conflict with the essentially formal theme” of the park. They suggested that it instead be placed in Houska Park, though the city’s Tourist Publicity Committee largely ignored their proposal in favor of a more visible location for their tourist attraction. A 1994 thesis on revitalisation efforts of Riverside Park stated that the statue “detracts highly from the overall character of the park, developing an almost carnival-like feel to the area.”The statue was the subject of controversy even before it was formally erected. A committee meeting in September 1961 debated over naming the statue Hiawatha. Of concern to those at the meeting was the fact that Hiawatha had no ties to local Ho-Chunk and First Nation people; he was a member of the Mohawk people, historically based in the Mohawk River Valley in the state of New York. Proposals were made by city representatives and members of the local historical society to name the statue after a local indigenous leader, such as Waukon Decorah, Winnebago, Winneshiek, or Blackhawk. Unfortunately, the statue did not resemble local tribes in any way. The name was ultimately chosen because of its recognisability within western culture in the hopes of drawing the largest number of tourists.
Amid this naming controversy, the statue was erected in 1962. A plaque originally placed adjacent to the statue read:This Indian is symbolic of all the Indians of the area and is dedicated particularly to the braves of the Winnebagoes [sic]. Among the most famous were Chief Decorah and his son, Chief Winneshiek. La Crosse started as a trading post in Indian territory. Trail and river led to the prairie, a favorite gathering place for the Indians. The French named it Prairie La Crosse for a game they saw the Indians playing which reminded them of their own game of La Crosse [sic].[1]
|
[
"La Crosse",
"Ho-Chunk",
"Mohawk River",
"Mohawk people",
"Hiawatha",
"Anthony Zimmerhakl",
"Mohawk River Valley",
"Waukon Decorah",
"Riverside Park"
] |
|
13154_NT
|
Statue of Hiawatha
|
In this artwork, how is the Installation of the History elucidated?
|
In 1958, the city of La Crosse’s Chamber of Commerce commissioned art teacher Anthony Zimmerhakl to create a statue to be placed in Riverside Park. The Chamber of Commerce hoped that a monumental statue would draw tourism to the area. Zimmerhakl reportedly constructed the resulting 25-foot, 20-ton statue in his backyard near Weigent Park with the assistance of his sons.The city’s Board of Park Commissioners initially rejected the statue’s placement in Riverside Park in 1958. The board was not in opposition to the statue itself, but felt that it would “conflict with the essentially formal theme” of the park. They suggested that it instead be placed in Houska Park, though the city’s Tourist Publicity Committee largely ignored their proposal in favor of a more visible location for their tourist attraction. A 1994 thesis on revitalisation efforts of Riverside Park stated that the statue “detracts highly from the overall character of the park, developing an almost carnival-like feel to the area.”The statue was the subject of controversy even before it was formally erected. A committee meeting in September 1961 debated over naming the statue Hiawatha. Of concern to those at the meeting was the fact that Hiawatha had no ties to local Ho-Chunk and First Nation people; he was a member of the Mohawk people, historically based in the Mohawk River Valley in the state of New York. Proposals were made by city representatives and members of the local historical society to name the statue after a local indigenous leader, such as Waukon Decorah, Winnebago, Winneshiek, or Blackhawk. Unfortunately, the statue did not resemble local tribes in any way. The name was ultimately chosen because of its recognisability within western culture in the hopes of drawing the largest number of tourists.
Amid this naming controversy, the statue was erected in 1962. A plaque originally placed adjacent to the statue read:This Indian is symbolic of all the Indians of the area and is dedicated particularly to the braves of the Winnebagoes [sic]. Among the most famous were Chief Decorah and his son, Chief Winneshiek. La Crosse started as a trading post in Indian territory. Trail and river led to the prairie, a favorite gathering place for the Indians. The French named it Prairie La Crosse for a game they saw the Indians playing which reminded them of their own game of La Crosse [sic].[1]
|
[
"La Crosse",
"Ho-Chunk",
"Mohawk River",
"Mohawk people",
"Hiawatha",
"Anthony Zimmerhakl",
"Mohawk River Valley",
"Waukon Decorah",
"Riverside Park"
] |
|
13155_T
|
Statue of Hiawatha
|
In the context of Statue of Hiawatha, analyze the Controversy and removal of the History.
|
Members of the Ho-Chunk nation had opposed the statue’s installation from the beginning, and had actively advocated for its removal since the early 2000s. The statue had been loosely modeled on the traditional dress of the Mohawk people, though its appearance was a conglomeration of traditional wardrobe from many tribes. Because of this, it did not reflect the traditions of the Ho-Chunk Nation, and local association of the statue to their culture was denigrative. In effect, the statue was a caricature and generalized image of a Native American, which had been solely intended as a tourist attraction. Of the statue, Tracy Littlejohn stated that “It is not an honor to us. It does not teach anything. People don’t learn about the Ho-Chunk people because they see a statue. It was a tourist attraction not meant to teach anything.”By 2000, the statue was in need of repairs as its plaster had begun to erode and several cracks had formed which exposed its interior steel frame. A report compiled following an inspection of the structure found it to be dangerous, and recommended that if major repairs were not carried out, a fence should be placed around it to prevent pieces of plaster from falling on passersby. An estimated repair cost of $50,000 sparked debate within the community over the statue’s worth and continued maintenance by the city. This debate resulted in public outcry both by those who found the statue historically important and those who found it disrespectful. A special “Hiawatha Statue Committee” was formed to address the controversy. This committee ultimately voted in favor of keeping the statue of Hiawatha, and funds were allocated to refurbish it.On July 13, 2020, the city’s Mayor, Tim Kabat formally requested that the statue be removed by the Board of Park Commissioners. The city had been coordinating with the artist’s family to remove the statue for several years, who had requested that the statue be returned to them and relocated out of the city. Alongside these talks, the Mayor’s decision was catalyzed by the removal of monuments during the George Floyd Protests. His letter recommended that the statue be immediately removed from the park and relocated to the city’s Municipal Service Center until the family of the artist identified a privately owned location for the statue. He also proposed that the site be later renovated to honor Ho Chunk and First Nation people in a more respectful manner. The board unanimously agreed with the mayor's proposal. The statue was then removed on August 10, 2020 and placed in storage.
|
[
"Ho-Chunk Nation",
"Ho-Chunk",
"Mohawk people",
"Hiawatha",
"removal of monuments during the George Floyd Protests"
] |
|
13155_NT
|
Statue of Hiawatha
|
In the context of this artwork, analyze the Controversy and removal of the History.
|
Members of the Ho-Chunk nation had opposed the statue’s installation from the beginning, and had actively advocated for its removal since the early 2000s. The statue had been loosely modeled on the traditional dress of the Mohawk people, though its appearance was a conglomeration of traditional wardrobe from many tribes. Because of this, it did not reflect the traditions of the Ho-Chunk Nation, and local association of the statue to their culture was denigrative. In effect, the statue was a caricature and generalized image of a Native American, which had been solely intended as a tourist attraction. Of the statue, Tracy Littlejohn stated that “It is not an honor to us. It does not teach anything. People don’t learn about the Ho-Chunk people because they see a statue. It was a tourist attraction not meant to teach anything.”By 2000, the statue was in need of repairs as its plaster had begun to erode and several cracks had formed which exposed its interior steel frame. A report compiled following an inspection of the structure found it to be dangerous, and recommended that if major repairs were not carried out, a fence should be placed around it to prevent pieces of plaster from falling on passersby. An estimated repair cost of $50,000 sparked debate within the community over the statue’s worth and continued maintenance by the city. This debate resulted in public outcry both by those who found the statue historically important and those who found it disrespectful. A special “Hiawatha Statue Committee” was formed to address the controversy. This committee ultimately voted in favor of keeping the statue of Hiawatha, and funds were allocated to refurbish it.On July 13, 2020, the city’s Mayor, Tim Kabat formally requested that the statue be removed by the Board of Park Commissioners. The city had been coordinating with the artist’s family to remove the statue for several years, who had requested that the statue be returned to them and relocated out of the city. Alongside these talks, the Mayor’s decision was catalyzed by the removal of monuments during the George Floyd Protests. His letter recommended that the statue be immediately removed from the park and relocated to the city’s Municipal Service Center until the family of the artist identified a privately owned location for the statue. He also proposed that the site be later renovated to honor Ho Chunk and First Nation people in a more respectful manner. The board unanimously agreed with the mayor's proposal. The statue was then removed on August 10, 2020 and placed in storage.
|
[
"Ho-Chunk Nation",
"Ho-Chunk",
"Mohawk people",
"Hiawatha",
"removal of monuments during the George Floyd Protests"
] |
|
13156_T
|
The Ameya
|
In The Ameya, how is the abstract discussed?
|
The Ameya, also known as The Candy Blower, is a late 19th-century painting by American artist Robert Frederick Blum. Done in oil on canvas, the illustration depicts a Japanese candy maker (practicing the art of Amezaiku) at work. The Ameya is in the collection of the Metropolitan Museum of Art.
|
[
"Japan",
"Japanese",
"Robert Frederick Blum",
"Metropolitan Museum of Art",
"Amezaiku"
] |
|
13156_NT
|
The Ameya
|
In this artwork, how is the abstract discussed?
|
The Ameya, also known as The Candy Blower, is a late 19th-century painting by American artist Robert Frederick Blum. Done in oil on canvas, the illustration depicts a Japanese candy maker (practicing the art of Amezaiku) at work. The Ameya is in the collection of the Metropolitan Museum of Art.
|
[
"Japan",
"Japanese",
"Robert Frederick Blum",
"Metropolitan Museum of Art",
"Amezaiku"
] |
|
13157_T
|
The Ameya
|
Focus on The Ameya and explore the Description.
|
In 1890, Scribner’s Magazine dispatched American painter Robert Frederick Blum to Japan to illustrate a series of articles (written by Sir Edwin Arnold) the magazine was publishing. Blum occupied a small house in Tokyo for two years, and traveled through the country in search of scenes to illustrate.The Ameya was created by Blum during the later period of his stay in Japan. The work depicts an ameya, a candy maker practicing the art of Amezaiku; Blum himself described the ameya's work as being akin to glassblowing.Following his return to the United States, Blum's work was well received, particularly at the 1893 exhibition of the National Academy of Design—Blum later credited The Ameya with securing his election to the Academy. A critic for the New York Times praised the work's use of multiple subjects in varied dress, and described it as being "admirably painted". Other sources have cited Ameya as being an example of Blum's ability to convincingly render groups of figures in his illustrations.The painting was once owned by Alfred Corning Clark, whose estate donated it to the Metropolitan Museum of Art in 1904.
|
[
"Alfred Corning Clark",
"Japan",
"glassblowing",
"Sir Edwin Arnold",
"New York Times",
"Robert Frederick Blum",
"National Academy of Design",
"Scribner’s Magazine",
"Metropolitan Museum of Art",
"Amezaiku",
"Edwin Arnold"
] |
|
13157_NT
|
The Ameya
|
Focus on this artwork and explore the Description.
|
In 1890, Scribner’s Magazine dispatched American painter Robert Frederick Blum to Japan to illustrate a series of articles (written by Sir Edwin Arnold) the magazine was publishing. Blum occupied a small house in Tokyo for two years, and traveled through the country in search of scenes to illustrate.The Ameya was created by Blum during the later period of his stay in Japan. The work depicts an ameya, a candy maker practicing the art of Amezaiku; Blum himself described the ameya's work as being akin to glassblowing.Following his return to the United States, Blum's work was well received, particularly at the 1893 exhibition of the National Academy of Design—Blum later credited The Ameya with securing his election to the Academy. A critic for the New York Times praised the work's use of multiple subjects in varied dress, and described it as being "admirably painted". Other sources have cited Ameya as being an example of Blum's ability to convincingly render groups of figures in his illustrations.The painting was once owned by Alfred Corning Clark, whose estate donated it to the Metropolitan Museum of Art in 1904.
|
[
"Alfred Corning Clark",
"Japan",
"glassblowing",
"Sir Edwin Arnold",
"New York Times",
"Robert Frederick Blum",
"National Academy of Design",
"Scribner’s Magazine",
"Metropolitan Museum of Art",
"Amezaiku",
"Edwin Arnold"
] |
|
13158_T
|
The Execution of Lady Jane Grey
|
Focus on The Execution of Lady Jane Grey and explain the abstract.
|
The Execution of Lady Jane Grey is an oil painting by Paul Delaroche, completed in 1833, which is now in the National Gallery in London. It was enormously popular in the decades after it was painted, but in the 20th century realist historical paintings fell from critical favour and it was kept in storage for many decades, for much of which it was thought lost. Restored and displayed again since 1975, it immediately became a highly popular work once again, especially with younger visitors.The painting portrays, erroneously in some regards, the moments preceding the death of Lady Jane Grey, who on 10 July 1553 was proclaimed Queen of England, only to be deposed nine days later and executed in 1554. Jane is sometimes referred to as the "Nine Days' Queen" due to the brevity of her reign.
|
[
"Lady Jane Grey",
"National Gallery",
"Queen of England",
"Paul Delaroche",
"London"
] |
|
13158_NT
|
The Execution of Lady Jane Grey
|
Focus on this artwork and explain the abstract.
|
The Execution of Lady Jane Grey is an oil painting by Paul Delaroche, completed in 1833, which is now in the National Gallery in London. It was enormously popular in the decades after it was painted, but in the 20th century realist historical paintings fell from critical favour and it was kept in storage for many decades, for much of which it was thought lost. Restored and displayed again since 1975, it immediately became a highly popular work once again, especially with younger visitors.The painting portrays, erroneously in some regards, the moments preceding the death of Lady Jane Grey, who on 10 July 1553 was proclaimed Queen of England, only to be deposed nine days later and executed in 1554. Jane is sometimes referred to as the "Nine Days' Queen" due to the brevity of her reign.
|
[
"Lady Jane Grey",
"National Gallery",
"Queen of England",
"Paul Delaroche",
"London"
] |
|
13159_T
|
The Execution of Lady Jane Grey
|
Explore the Subject of this artwork, The Execution of Lady Jane Grey.
|
Lady Jane Grey was the great-granddaughter of Henry VII of England and first cousin once removed to his grandson, the short-lived Edward VI. After Edward's death she was proclaimed queen, being given precedence over Henry VIII's daughters, Mary Tudor and Elizabeth. Two weeks after the death of her brother, Mary, who had the support of the English people, claimed the throne, which Jane relinquished, having reigned for only nine days. Jane, her husband Lord Guilford Dudley, and her father, were imprisoned in the Tower of London on charges of high treason. Jane's trial was conducted in November, but the death penalty handed to her was temporarily suspended. In February 1554, Jane's father, who had been released, was one of the rebel leaders in Wyatt's rebellion. On Friday 12 February, Mary had Jane, then aged 17, and her husband beheaded. Her father followed eleven days later.
|
[
"Tower of London",
"Lady Jane Grey",
"Wyatt's rebellion",
"high treason",
"Mary Tudor",
"Lord Guilford Dudley",
"behead",
"Elizabeth",
"London",
"Edward VI",
"Henry VIII",
"Henry VII of England"
] |
|
13159_NT
|
The Execution of Lady Jane Grey
|
Explore the Subject of this artwork.
|
Lady Jane Grey was the great-granddaughter of Henry VII of England and first cousin once removed to his grandson, the short-lived Edward VI. After Edward's death she was proclaimed queen, being given precedence over Henry VIII's daughters, Mary Tudor and Elizabeth. Two weeks after the death of her brother, Mary, who had the support of the English people, claimed the throne, which Jane relinquished, having reigned for only nine days. Jane, her husband Lord Guilford Dudley, and her father, were imprisoned in the Tower of London on charges of high treason. Jane's trial was conducted in November, but the death penalty handed to her was temporarily suspended. In February 1554, Jane's father, who had been released, was one of the rebel leaders in Wyatt's rebellion. On Friday 12 February, Mary had Jane, then aged 17, and her husband beheaded. Her father followed eleven days later.
|
[
"Tower of London",
"Lady Jane Grey",
"Wyatt's rebellion",
"high treason",
"Mary Tudor",
"Lord Guilford Dudley",
"behead",
"Elizabeth",
"London",
"Edward VI",
"Henry VIII",
"Henry VII of England"
] |
|
13160_T
|
The Execution of Lady Jane Grey
|
Focus on The Execution of Lady Jane Grey and discuss the Treatment.
|
In 1833 Delaroche painted the subject of Lady Jane's execution, nearly 300 years after the event, drawing upon contemporary historical sources to help him portray it accurately. Delaroche had built his reputation in the Paris salon with large, realistic portrayals of famous events from the previous few centuries. Despite the artist's familiarity with the painting of historical narratives, there are aspects of the painting which are inaccurate.The painting depicts the moment that Jane, blindfolded, is being assisted to lay her head upon the block for the executioner. Her outstretched hand reaches uncertainly down to find the block. She is being assisted by a man who is identified as John Brydges, 1st Baron Chandos. Chandos was a Lieutenant of the Tower at the time of Jane's execution. While imprisoned in the Tower, Jane was attended by ladies in waiting, one of whom was the nursemaid of her infancy. Two ladies in waiting are depicted in the painting, showing their grief at the event which is about to take place.
The execution actually was conducted in the open air, in a part of the grounds of the Tower of London that is known as Tower Green, and where Henry VIII's wives Anne Boleyn and Catherine Howard had been executed. The painting indicates either that Delaroche was not familiar with this aspect of the event and has constructed the location according to his historical knowledge of other such events, or that he chose to take a great deal of artistic license.
In the picture, the execution is taking place upon a raised wooden platform similar to those on which executions of royalty and nobility had taken place in the French Revolution. The edge of this platform can be seen, draped with a black cloth, across the foreground of the picture. At the rear of the pictorial space the handrail of stairs descends, and the tops of two weapons indicate the presence of guards. Delaroche was presumably aware that the Tower of London was founded by William of Normandy. In the painting, two stout Norman columns with cushion capitals, a blind arcade, and a large chevroned arch create a backdrop indicative of the antiquity of the site. However, the buildings within the Tower of London span the reigns of many monarchs. In fact, the execution took place outside the Chapel of St Peter ad Vincula, which was constructed not at the time of William the Conqueror but by order of Henry VIII, and therefore in a style postdating that of the architecture in the painting by nearly 500 years.
It is difficult to ascertain by the setting and the lighting whether it was the artist's intention to create the impression that the scene was taking place outside a building or in an interior. The architectural features shown can occur on both interiors and exteriors of Norman buildings. The darkness of the upper part of the painting is suggestive of an interior, while the light that bathes the central figure is daylight. Ghislaine Kenyon, head of education at the National Gallery, commented on the sense of foreboding that the darkness was intended to create.The intensely dark areas that occupy a large proportion of the painting's surface play a big part in the drama. Not only is the shadow of the upper section of the painting black, so also are the cloth that covers the platform, the dress of one of the ladies, the cloak of Baron Chandos, and the sleeves of the executioner. Three garments form accents of warm colour, the brown dress of one of the ladies, the orange fur of the Lieutenant's collar, and the blood-red hose of the executioner. The colour of Lady Jane's red-gold hair is picked up in the straw beneath the block. Against the darkness, Lady Jane, with her pallid flesh, her white bodice, and her satin petticoat, makes a splash of light. The artist seizes the eye of the viewer by placing the most intense patches of white on Jane's blindfold and the area of her skirt just between her outstretched hand and the sharply defined edge of the block.
Delaroche has used many small details in telling the story and increasing the dramatic and emotive quality of the painting. The figures play their parts like actors through the expressions and gestures of grief and despair of the two women, the almost fatherly tenderness with which the Lieutenant of the Tower assists the blindfolded girl to take up the required position, and the displeasure in the face of the executioner at the task that confronts him. Other narrative details include the rings on the block with the ropes which lash it steady to the floor, and the well-honed but well-worn edge to the axe. Kenyon points out that the clean straw, commonly placed near the site of an execution to soak up blood, and the white dress were devices used by the artist to make the observer suppose what would happen to them next.
|
[
"Tower of London",
"Catherine Howard",
"William the Conqueror",
"artistic license",
"National Gallery",
"John Brydges, 1st Baron Chandos",
"Norman",
"ladies in waiting",
"Chapel of St Peter ad Vincula",
"Tower Green",
"Anne Boleyn",
"London",
"William of Normandy",
"Henry VIII",
"French Revolution",
"nursemaid"
] |
|
13160_NT
|
The Execution of Lady Jane Grey
|
Focus on this artwork and discuss the Treatment.
|
In 1833 Delaroche painted the subject of Lady Jane's execution, nearly 300 years after the event, drawing upon contemporary historical sources to help him portray it accurately. Delaroche had built his reputation in the Paris salon with large, realistic portrayals of famous events from the previous few centuries. Despite the artist's familiarity with the painting of historical narratives, there are aspects of the painting which are inaccurate.The painting depicts the moment that Jane, blindfolded, is being assisted to lay her head upon the block for the executioner. Her outstretched hand reaches uncertainly down to find the block. She is being assisted by a man who is identified as John Brydges, 1st Baron Chandos. Chandos was a Lieutenant of the Tower at the time of Jane's execution. While imprisoned in the Tower, Jane was attended by ladies in waiting, one of whom was the nursemaid of her infancy. Two ladies in waiting are depicted in the painting, showing their grief at the event which is about to take place.
The execution actually was conducted in the open air, in a part of the grounds of the Tower of London that is known as Tower Green, and where Henry VIII's wives Anne Boleyn and Catherine Howard had been executed. The painting indicates either that Delaroche was not familiar with this aspect of the event and has constructed the location according to his historical knowledge of other such events, or that he chose to take a great deal of artistic license.
In the picture, the execution is taking place upon a raised wooden platform similar to those on which executions of royalty and nobility had taken place in the French Revolution. The edge of this platform can be seen, draped with a black cloth, across the foreground of the picture. At the rear of the pictorial space the handrail of stairs descends, and the tops of two weapons indicate the presence of guards. Delaroche was presumably aware that the Tower of London was founded by William of Normandy. In the painting, two stout Norman columns with cushion capitals, a blind arcade, and a large chevroned arch create a backdrop indicative of the antiquity of the site. However, the buildings within the Tower of London span the reigns of many monarchs. In fact, the execution took place outside the Chapel of St Peter ad Vincula, which was constructed not at the time of William the Conqueror but by order of Henry VIII, and therefore in a style postdating that of the architecture in the painting by nearly 500 years.
It is difficult to ascertain by the setting and the lighting whether it was the artist's intention to create the impression that the scene was taking place outside a building or in an interior. The architectural features shown can occur on both interiors and exteriors of Norman buildings. The darkness of the upper part of the painting is suggestive of an interior, while the light that bathes the central figure is daylight. Ghislaine Kenyon, head of education at the National Gallery, commented on the sense of foreboding that the darkness was intended to create.The intensely dark areas that occupy a large proportion of the painting's surface play a big part in the drama. Not only is the shadow of the upper section of the painting black, so also are the cloth that covers the platform, the dress of one of the ladies, the cloak of Baron Chandos, and the sleeves of the executioner. Three garments form accents of warm colour, the brown dress of one of the ladies, the orange fur of the Lieutenant's collar, and the blood-red hose of the executioner. The colour of Lady Jane's red-gold hair is picked up in the straw beneath the block. Against the darkness, Lady Jane, with her pallid flesh, her white bodice, and her satin petticoat, makes a splash of light. The artist seizes the eye of the viewer by placing the most intense patches of white on Jane's blindfold and the area of her skirt just between her outstretched hand and the sharply defined edge of the block.
Delaroche has used many small details in telling the story and increasing the dramatic and emotive quality of the painting. The figures play their parts like actors through the expressions and gestures of grief and despair of the two women, the almost fatherly tenderness with which the Lieutenant of the Tower assists the blindfolded girl to take up the required position, and the displeasure in the face of the executioner at the task that confronts him. Other narrative details include the rings on the block with the ropes which lash it steady to the floor, and the well-honed but well-worn edge to the axe. Kenyon points out that the clean straw, commonly placed near the site of an execution to soak up blood, and the white dress were devices used by the artist to make the observer suppose what would happen to them next.
|
[
"Tower of London",
"Catherine Howard",
"William the Conqueror",
"artistic license",
"National Gallery",
"John Brydges, 1st Baron Chandos",
"Norman",
"ladies in waiting",
"Chapel of St Peter ad Vincula",
"Tower Green",
"Anne Boleyn",
"London",
"William of Normandy",
"Henry VIII",
"French Revolution",
"nursemaid"
] |
|
13161_T
|
Time Orders Old Age to Destroy Beauty
|
How does Time Orders Old Age to Destroy Beauty elucidate its abstract?
|
Time Orders Old Age to Destroy Beauty is a 1746 allegorical oil-on-canvas painting by the Italian artist Pompeo Batoni. It was commissioned from him by Bartolomeo Talenti, a collector from Lucca, as a pendant for La lascivia, now in the Hermitage Museum. It shows personifications of Time as an old man with a scythe, Old Age as an old woman and Beauty as a young woman. It came into the collection of the Russian count Nikolai Alexandrovich Kushelev-Bezborodko, before being acquired in 1961 by the National Gallery, London where it now hangs.
|
[
"allegorical",
"National Gallery",
"Hermitage Museum",
"Nikolai Alexandrovich Kushelev-Bezborodko",
"London",
"National Gallery, London",
"Pompeo Batoni",
"Lucca"
] |
|
13161_NT
|
Time Orders Old Age to Destroy Beauty
|
How does this artwork elucidate its abstract?
|
Time Orders Old Age to Destroy Beauty is a 1746 allegorical oil-on-canvas painting by the Italian artist Pompeo Batoni. It was commissioned from him by Bartolomeo Talenti, a collector from Lucca, as a pendant for La lascivia, now in the Hermitage Museum. It shows personifications of Time as an old man with a scythe, Old Age as an old woman and Beauty as a young woman. It came into the collection of the Russian count Nikolai Alexandrovich Kushelev-Bezborodko, before being acquired in 1961 by the National Gallery, London where it now hangs.
|
[
"allegorical",
"National Gallery",
"Hermitage Museum",
"Nikolai Alexandrovich Kushelev-Bezborodko",
"London",
"National Gallery, London",
"Pompeo Batoni",
"Lucca"
] |
|
13162_T
|
St. Jerome the Priest (Meštrović)
|
Focus on St. Jerome the Priest (Meštrović) and analyze the abstract.
|
St. Jerome the Priest is a bronze statue, by Ivan Meštrović, located at 2343 Massachusetts Avenue, Northwest, Washington, D.C.Ivan Meštrović donated this work to the Croatian Franciscan Fathers, who commissioned it as Saint Jerome. Jerome was born on the territory of modern Croatia. This Meštrović statue was originally located at the Franciscan Fathers' Abbey on 1359 Monroe Street, N.E., Washington, D.C., and was later moved to the front of the Croatian Embassy on Embassy Row.
The inscription reads:
(On front of base:)
|
[
"Washington, D.C.",
"Croatia",
"Embassy Row",
"Massachusetts Avenue",
"Northwest, Washington, D.C.",
"Jerome",
"Saint Jerome",
"Croatian Embassy",
"Ivan Meštrović"
] |
|
13162_NT
|
St. Jerome the Priest (Meštrović)
|
Focus on this artwork and analyze the abstract.
|
St. Jerome the Priest is a bronze statue, by Ivan Meštrović, located at 2343 Massachusetts Avenue, Northwest, Washington, D.C.Ivan Meštrović donated this work to the Croatian Franciscan Fathers, who commissioned it as Saint Jerome. Jerome was born on the territory of modern Croatia. This Meštrović statue was originally located at the Franciscan Fathers' Abbey on 1359 Monroe Street, N.E., Washington, D.C., and was later moved to the front of the Croatian Embassy on Embassy Row.
The inscription reads:
(On front of base:)
|
[
"Washington, D.C.",
"Croatia",
"Embassy Row",
"Massachusetts Avenue",
"Northwest, Washington, D.C.",
"Jerome",
"Saint Jerome",
"Croatian Embassy",
"Ivan Meštrović"
] |
|
13163_T
|
Christ Blessing the Children
|
In Christ Blessing the Children, how is the Description discussed?
|
The work's alternative title, "Suffer the little children to come unto me" is based on a passage from the gospel of Matthew in which Jesus was instructing his disciples through the example of children. The painting is part of the artist's body of religious work, which is less well-known than her depictions of strong women.
|
[
"passage from the gospel of Matthew"
] |
|
13163_NT
|
Christ Blessing the Children
|
In this artwork, how is the Description discussed?
|
The work's alternative title, "Suffer the little children to come unto me" is based on a passage from the gospel of Matthew in which Jesus was instructing his disciples through the example of children. The painting is part of the artist's body of religious work, which is less well-known than her depictions of strong women.
|
[
"passage from the gospel of Matthew"
] |
|
13164_T
|
Christ Blessing the Children
|
Focus on Christ Blessing the Children and explore the Provenance.
|
The painting's first home was the collection of Fernando Enriquez Afan de Ribera, the 3rd Duke of Alcalá, from 1626 to 1637. He purchased the painting in Rome while he was ambassador to the Holy See during 1625–1626. In 1626, he became viceroy of Naples, and then later returned to Seville in 1631. The work was intended for the charterhouse at Santa Maria della Cueves, which contained his family's chapel. It was later in the collection of the Duke of Sutherland at Stafford House, before being sold on to a collector in New York. The painting was first recognised as a Gentileschi based on a view of a black and white photograph in 2001, but the whereabouts were unknown; it had previously belonged to The Metropolitan Museum of Art, but had been deaccessioned in 1979 as a work of Carlo Rosa. In 2012, art historian Gianni Papi rediscovered the work in a church in Rome, but has yet to determine how it came to be there.
|
[
"Duke of Sutherland",
"Carlo Rosa",
"Holy See",
"Naples",
"Stafford House",
"Seville",
"Rome",
"The Metropolitan Museum of Art",
"deaccessioned",
"charterhouse",
"Metropolitan Museum of Art"
] |
|
13164_NT
|
Christ Blessing the Children
|
Focus on this artwork and explore the Provenance.
|
The painting's first home was the collection of Fernando Enriquez Afan de Ribera, the 3rd Duke of Alcalá, from 1626 to 1637. He purchased the painting in Rome while he was ambassador to the Holy See during 1625–1626. In 1626, he became viceroy of Naples, and then later returned to Seville in 1631. The work was intended for the charterhouse at Santa Maria della Cueves, which contained his family's chapel. It was later in the collection of the Duke of Sutherland at Stafford House, before being sold on to a collector in New York. The painting was first recognised as a Gentileschi based on a view of a black and white photograph in 2001, but the whereabouts were unknown; it had previously belonged to The Metropolitan Museum of Art, but had been deaccessioned in 1979 as a work of Carlo Rosa. In 2012, art historian Gianni Papi rediscovered the work in a church in Rome, but has yet to determine how it came to be there.
|
[
"Duke of Sutherland",
"Carlo Rosa",
"Holy See",
"Naples",
"Stafford House",
"Seville",
"Rome",
"The Metropolitan Museum of Art",
"deaccessioned",
"charterhouse",
"Metropolitan Museum of Art"
] |
|
13165_T
|
Majas on a Balcony
|
Focus on Majas on a Balcony and explain the abstract.
|
Majas on a Balcony (Spanish: Las majas en el balcón) is an oil painting by Francisco Goya, completed between 1808 and 1814, while Spain was engaged in the state of conflict after the invasion of Napoleon's French forces. The painting in the collection of Edmond de Rothschild in Switzerland is thought to be the original. Another version at the Metropolitan Museum of Art in New York City is thought to be a copy. A further copy, attributed to Leonardo Alenza, is in the Pezzoli collection in Paris.
Goya considered his "maja" works, such as this painting and his contemporaneous Maja and Celestina on the Balcony, a distraction from more serious works, such as his Disasters of War.
|
[
"state of conflict",
"Francisco Goya",
"New York City",
"Leonardo Alenza",
"Pezzoli collection",
"Disasters of War",
"Maja and Celestina on the Balcony",
"Edmond de Rothschild",
"majas",
"Metropolitan Museum of Art"
] |
|
13165_NT
|
Majas on a Balcony
|
Focus on this artwork and explain the abstract.
|
Majas on a Balcony (Spanish: Las majas en el balcón) is an oil painting by Francisco Goya, completed between 1808 and 1814, while Spain was engaged in the state of conflict after the invasion of Napoleon's French forces. The painting in the collection of Edmond de Rothschild in Switzerland is thought to be the original. Another version at the Metropolitan Museum of Art in New York City is thought to be a copy. A further copy, attributed to Leonardo Alenza, is in the Pezzoli collection in Paris.
Goya considered his "maja" works, such as this painting and his contemporaneous Maja and Celestina on the Balcony, a distraction from more serious works, such as his Disasters of War.
|
[
"state of conflict",
"Francisco Goya",
"New York City",
"Leonardo Alenza",
"Pezzoli collection",
"Disasters of War",
"Maja and Celestina on the Balcony",
"Edmond de Rothschild",
"majas",
"Metropolitan Museum of Art"
] |
|
13166_T
|
Majas on a Balcony
|
Explore the Description of this artwork, Majas on a Balcony.
|
The painting depicts two well-dressed women – "majas", beautiful young Spanish wives in elaborate clothing including lace mantillas – sitting behind the balustrade of a balcony, with two men standing inconspicuously in the shadows behind. Earlier interpretations of this painting unfortunately misunderstood the painting, believing the two women to be courtesans. Instead, we now know that they are the wives of the nobleman who are fishing on the lagoon. This painting is the companion painting to Carpaccio’s late 15th century “Hunting on the Lagoon" in the Getty collection.
There is a strong contrast between the light colours of the women and their richly decorated clothing in the foreground, and the plain heavy clothing of the men lurking in the background whose dark hats and cloaks conceal their features. The painting has a strict geometric composition, with the top of the balustrade dividing the scene into two regions. The top of the balustrade also forms the diagonal of a square from which the position of the figures is measured: the pilasters of the balustrade are in the lower half of the square, and the women lean towards each other in a triangle formed from the top half of the square. The composition of the area above the balustrade falls into four equal quadrants of another square.
|
[
"mantilla",
"majas"
] |
|
13166_NT
|
Majas on a Balcony
|
Explore the Description of this artwork.
|
The painting depicts two well-dressed women – "majas", beautiful young Spanish wives in elaborate clothing including lace mantillas – sitting behind the balustrade of a balcony, with two men standing inconspicuously in the shadows behind. Earlier interpretations of this painting unfortunately misunderstood the painting, believing the two women to be courtesans. Instead, we now know that they are the wives of the nobleman who are fishing on the lagoon. This painting is the companion painting to Carpaccio’s late 15th century “Hunting on the Lagoon" in the Getty collection.
There is a strong contrast between the light colours of the women and their richly decorated clothing in the foreground, and the plain heavy clothing of the men lurking in the background whose dark hats and cloaks conceal their features. The painting has a strict geometric composition, with the top of the balustrade dividing the scene into two regions. The top of the balustrade also forms the diagonal of a square from which the position of the figures is measured: the pilasters of the balustrade are in the lower half of the square, and the women lean towards each other in a triangle formed from the top half of the square. The composition of the area above the balustrade falls into four equal quadrants of another square.
|
[
"mantilla",
"majas"
] |
|
13167_T
|
Majas on a Balcony
|
Focus on Majas on a Balcony and discuss the Background.
|
The painting was probably made for the artist's own pleasure, possibly to decorate his own house. The original was one of eight paintings sold by Goya's son Javier Goya to Baron Isidore Justin Séverin Taylor in 1836, and it was displayed at the Louvre in Louis Philippe's Spanish gallery from 1838 to 1848. It was held by Antoine, Duke of Montpensier; his son Infante Antonio, Duke of Galliera sold it to Paul Durand-Ruel around 1911, who sold it to the Rothschild family. While in Paris, Goya's painting was the inspiration for Édouard Manet's 1868–69 work The Balcony, which, in turn, inspired René Magritte to paint his version named "Perspective II, Manet's Balcony" in 1950 showing sitting and standing coffins in lieu of people.
|
[
"The Balcony",
"Javier Goya",
"Spanish gallery",
"Infante Antonio, Duke of Galliera",
"Paul Durand-Ruel",
"René Magritte",
"Baron Isidore Justin Séverin Taylor",
"Rothschild family",
"Louvre",
"Édouard Manet",
"Antoine, Duke of Montpensier",
"Louis Philippe"
] |
|
13167_NT
|
Majas on a Balcony
|
Focus on this artwork and discuss the Background.
|
The painting was probably made for the artist's own pleasure, possibly to decorate his own house. The original was one of eight paintings sold by Goya's son Javier Goya to Baron Isidore Justin Séverin Taylor in 1836, and it was displayed at the Louvre in Louis Philippe's Spanish gallery from 1838 to 1848. It was held by Antoine, Duke of Montpensier; his son Infante Antonio, Duke of Galliera sold it to Paul Durand-Ruel around 1911, who sold it to the Rothschild family. While in Paris, Goya's painting was the inspiration for Édouard Manet's 1868–69 work The Balcony, which, in turn, inspired René Magritte to paint his version named "Perspective II, Manet's Balcony" in 1950 showing sitting and standing coffins in lieu of people.
|
[
"The Balcony",
"Javier Goya",
"Spanish gallery",
"Infante Antonio, Duke of Galliera",
"Paul Durand-Ruel",
"René Magritte",
"Baron Isidore Justin Séverin Taylor",
"Rothschild family",
"Louvre",
"Édouard Manet",
"Antoine, Duke of Montpensier",
"Louis Philippe"
] |
|
13168_T
|
Remembrance of Tivoli
|
How does Remembrance of Tivoli elucidate its abstract?
|
Remembrance of Tivoli (Italian - Ricordo di Tivoli) is a painting by the German artist Anselm Feuerbach, produced during his 1866 stay in Rome. It shows two Italian peasant children in Tivoli. It is now in the Alte Nationalgalerie, in Berlin.
|
[
"Anselm Feuerbach",
"Alte Nationalgalerie",
"Tivoli",
"Berlin"
] |
|
13168_NT
|
Remembrance of Tivoli
|
How does this artwork elucidate its abstract?
|
Remembrance of Tivoli (Italian - Ricordo di Tivoli) is a painting by the German artist Anselm Feuerbach, produced during his 1866 stay in Rome. It shows two Italian peasant children in Tivoli. It is now in the Alte Nationalgalerie, in Berlin.
|
[
"Anselm Feuerbach",
"Alte Nationalgalerie",
"Tivoli",
"Berlin"
] |
|
13169_T
|
Nymphéas en fleur
|
Focus on Nymphéas en fleur and analyze the abstract.
|
Nymphéas en fleur is a painting by French artist Claude Monet from his Water Lilies series. In a 2018 auction of paintings in the private collection of David Rockefeller and his wife, it was sold to another private collector for $81.7 million dollars. This was then the highest amount paid for a work by Monet.
|
[
"Claude Monet",
"David Rockefeller",
"French",
"his wife",
"Water Lilies"
] |
|
13169_NT
|
Nymphéas en fleur
|
Focus on this artwork and analyze the abstract.
|
Nymphéas en fleur is a painting by French artist Claude Monet from his Water Lilies series. In a 2018 auction of paintings in the private collection of David Rockefeller and his wife, it was sold to another private collector for $81.7 million dollars. This was then the highest amount paid for a work by Monet.
|
[
"Claude Monet",
"David Rockefeller",
"French",
"his wife",
"Water Lilies"
] |
|
13170_T
|
The Letter (ter Borch)
|
In The Letter (ter Borch), how is the abstract discussed?
|
The Letter is an oil on canvas painting by the Dutch artist Gerard ter Borch, created c. 1660-1665. The work is in the British Royal Collection. It was purchased by King George IV in 1814 from the collection of the British banker Sir Thomas Baring. Earlier, in 1805, it had been acquired by Baring's father, at a time when many Dutch paintings from the 17th century where being sold abroad.
|
[
"George IV",
"Gerard ter Borch",
"King George IV",
"Royal Collection"
] |
|
13170_NT
|
The Letter (ter Borch)
|
In this artwork, how is the abstract discussed?
|
The Letter is an oil on canvas painting by the Dutch artist Gerard ter Borch, created c. 1660-1665. The work is in the British Royal Collection. It was purchased by King George IV in 1814 from the collection of the British banker Sir Thomas Baring. Earlier, in 1805, it had been acquired by Baring's father, at a time when many Dutch paintings from the 17th century where being sold abroad.
|
[
"George IV",
"Gerard ter Borch",
"King George IV",
"Royal Collection"
] |
|
13171_T
|
The Letter (ter Borch)
|
Focus on The Letter (ter Borch) and explore the Description and models.
|
The painting depicts three people, two women and a boy, reunited around a table with several objects. In the foreground there is a chair on which a small dog is sleeping. The background of the room is otherwise dark, although a chandelier is visible through a reflection. The interior, although of limited visibility, is typically Dutch.
The fashionably dressed lady on the right is strongly lit and is clearly the main character of the scene. She reads a letter, while the boy in the middle and the woman on the left, who was apparently also writing a letter, stare at her. They closely observe her reaction, but the interpretation of what goes on psychologically between the figures remains a mystery, and is left to the viewers mind.
The Letter was probably painted in ter Borgh's home in Deventer, where he made most of his works. At least two models in the painting are his relatives. The boy in the middle is certainly his half-brother Moses, while the letter-reading lady on the right is his half-sister Gesina, a regular model for him. Ter Borch often used relatives and acquaintances as models. Even the dog on the chair is probably his own, as the animal appears in several of his paintings.
|
[
"Gesina",
"Moses",
"Deventer"
] |
|
13171_NT
|
The Letter (ter Borch)
|
Focus on this artwork and explore the Description and models.
|
The painting depicts three people, two women and a boy, reunited around a table with several objects. In the foreground there is a chair on which a small dog is sleeping. The background of the room is otherwise dark, although a chandelier is visible through a reflection. The interior, although of limited visibility, is typically Dutch.
The fashionably dressed lady on the right is strongly lit and is clearly the main character of the scene. She reads a letter, while the boy in the middle and the woman on the left, who was apparently also writing a letter, stare at her. They closely observe her reaction, but the interpretation of what goes on psychologically between the figures remains a mystery, and is left to the viewers mind.
The Letter was probably painted in ter Borgh's home in Deventer, where he made most of his works. At least two models in the painting are his relatives. The boy in the middle is certainly his half-brother Moses, while the letter-reading lady on the right is his half-sister Gesina, a regular model for him. Ter Borch often used relatives and acquaintances as models. Even the dog on the chair is probably his own, as the animal appears in several of his paintings.
|
[
"Gesina",
"Moses",
"Deventer"
] |
|
13172_T
|
The Letter (ter Borch)
|
Focus on The Letter (ter Borch) and explain the Analisys.
|
The painting is clearly set up in the style of the Dutch fijnschilders. The texture of the fabrics, especially of the main character, has been rendered with the utmost care. The metallic reflection of the blue and yellow of her clothing, which indicates a certain wealth, is striking. The refined elaboration, such as the embroidered border at the bottom of the dress, is almost unparalleled for that time.
As always, ter Borch pays a lot of attention to details, such as the tray and candlestick in the boy's hands, the inkwell on the table by the woman on the left, and even the vaguely rendered chandelier against the dark background. The subdued and measured mood is enhanced by the scattered light. Everything exudes enormous precision and craftsmanship. The overall effect is highly realistic, with a strong emphasis on the harmonious simplicity of domestic life.
Ter Borch painted many of these anecdotal works, often with the same models and with few changing elements, very similar in atmosphere. Characters reading letters or writing letters are often central. Because these figures have an intimate relationship with each other from a psychological point of view, the viewer is, as it were, excluded: he can only guess the circumstances of the event. Depicting veiled meanings in this way, often of the amorous kind, was usual that time and can also be observed in many of ter Borch's colleagues.
|
[
"fijnschilders"
] |
|
13172_NT
|
The Letter (ter Borch)
|
Focus on this artwork and explain the Analisys.
|
The painting is clearly set up in the style of the Dutch fijnschilders. The texture of the fabrics, especially of the main character, has been rendered with the utmost care. The metallic reflection of the blue and yellow of her clothing, which indicates a certain wealth, is striking. The refined elaboration, such as the embroidered border at the bottom of the dress, is almost unparalleled for that time.
As always, ter Borch pays a lot of attention to details, such as the tray and candlestick in the boy's hands, the inkwell on the table by the woman on the left, and even the vaguely rendered chandelier against the dark background. The subdued and measured mood is enhanced by the scattered light. Everything exudes enormous precision and craftsmanship. The overall effect is highly realistic, with a strong emphasis on the harmonious simplicity of domestic life.
Ter Borch painted many of these anecdotal works, often with the same models and with few changing elements, very similar in atmosphere. Characters reading letters or writing letters are often central. Because these figures have an intimate relationship with each other from a psychological point of view, the viewer is, as it were, excluded: he can only guess the circumstances of the event. Depicting veiled meanings in this way, often of the amorous kind, was usual that time and can also be observed in many of ter Borch's colleagues.
|
[
"fijnschilders"
] |
|
13173_T
|
Statue of Mariano Otero
|
Explore the abstract of this artwork, Statue of Mariano Otero.
|
A statue of Mariano Otero is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
|
13173_NT
|
Statue of Mariano Otero
|
Explore the abstract of this artwork.
|
A statue of Mariano Otero is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
|
13174_T
|
The Snake Charmer (Rousseau)
|
Focus on The Snake Charmer (Rousseau) and discuss the abstract.
|
The Snake Charmer (French: La Charmeuse de Serpents) is a 1907 oil-on-canvas painting by French Naïve artist Henri Rousseau (1844–1910). It is a depiction of a woman with glowing eyes playing a flute in the moonlight by the edge of a dark jungle with a snake extending toward her from a nearby tree.
|
[
"Naïve",
"Naïve art",
"Henri Rousseau"
] |
|
13174_NT
|
The Snake Charmer (Rousseau)
|
Focus on this artwork and discuss the abstract.
|
The Snake Charmer (French: La Charmeuse de Serpents) is a 1907 oil-on-canvas painting by French Naïve artist Henri Rousseau (1844–1910). It is a depiction of a woman with glowing eyes playing a flute in the moonlight by the edge of a dark jungle with a snake extending toward her from a nearby tree.
|
[
"Naïve",
"Naïve art",
"Henri Rousseau"
] |
|
13175_T
|
The Snake Charmer (Rousseau)
|
How does The Snake Charmer (Rousseau) elucidate its Description?
|
The painting has an asymmetric vertical composition with a detailed depiction of the jungle on the right and a woman playing the flute on the left, back-lit by moonlight from a full moon. A snake, charmed by the music, stretches horizontally across the painting. The Musée d'Orsay described the painting as "a black Eve in a disquieting Garden of Eden".
|
[
"Musée d'Orsay"
] |
|
13175_NT
|
The Snake Charmer (Rousseau)
|
How does this artwork elucidate its Description?
|
The painting has an asymmetric vertical composition with a detailed depiction of the jungle on the right and a woman playing the flute on the left, back-lit by moonlight from a full moon. A snake, charmed by the music, stretches horizontally across the painting. The Musée d'Orsay described the painting as "a black Eve in a disquieting Garden of Eden".
|
[
"Musée d'Orsay"
] |
|
13176_T
|
The Snake Charmer (Rousseau)
|
Focus on The Snake Charmer (Rousseau) and analyze the Popular culture references.
|
Sylvia Plath's 1957 poem "Snakecharmer" and Willard Elliot's 1975 composition The Snake Charmer for Alto Flute and Orchestra were inspired by Rousseau's painting.The painting inspired Australian artist Brett-Livingstone Strong's painting Homage to Henri Rousseau, which is recognisable as the album cover of the 1987 Fleetwood Mac album Tango in the Night. The painting was also used as cover art for the 2000 novel Merrick by Ann Rice, Darwin’s Dangerous idea by Daniel C. Dennett, Origins of the Modern Mind by Merlin Donald, and Gaia by James E. Lovelock.
|
[
"Fleetwood Mac",
"Brett-Livingstone Strong",
"Tango in the Night",
"James E. Lovelock",
"Sylvia Plath",
"Willard Elliot",
"Merrick",
"Henri Rousseau",
"Darwin’s Dangerous idea"
] |
|
13176_NT
|
The Snake Charmer (Rousseau)
|
Focus on this artwork and analyze the Popular culture references.
|
Sylvia Plath's 1957 poem "Snakecharmer" and Willard Elliot's 1975 composition The Snake Charmer for Alto Flute and Orchestra were inspired by Rousseau's painting.The painting inspired Australian artist Brett-Livingstone Strong's painting Homage to Henri Rousseau, which is recognisable as the album cover of the 1987 Fleetwood Mac album Tango in the Night. The painting was also used as cover art for the 2000 novel Merrick by Ann Rice, Darwin’s Dangerous idea by Daniel C. Dennett, Origins of the Modern Mind by Merlin Donald, and Gaia by James E. Lovelock.
|
[
"Fleetwood Mac",
"Brett-Livingstone Strong",
"Tango in the Night",
"James E. Lovelock",
"Sylvia Plath",
"Willard Elliot",
"Merrick",
"Henri Rousseau",
"Darwin’s Dangerous idea"
] |
|
13177_T
|
Vase with Poppies
|
In Vase with Poppies, how is the Flowers as a subject discussed?
|
Flowers were the subject of many of van Gogh's paintings in Paris, and one of his many interests due in great part to his regard for flowers. As he said to his brothers Theo Van Gogh and Cor Van Gogh, "You will see that by making a habit of looking at Japanese pictures you will come to love to make up bouquets and do things with flowers all the more." To his sister, Wil, van Gogh advised her to cultivate her own garden, like Voltaire's Candide, to find joy and meaning in life. After he left Paris and settled in Arles, van Gogh painted his second group of Sunflowers in 1888 and 1889. His paintings of sunflowers in vases are among his most well known paintings.
|
[
"Arles",
"left",
"Voltaire",
"Sunflowers",
"Candide",
"Paris"
] |
|
13177_NT
|
Vase with Poppies
|
In this artwork, how is the Flowers as a subject discussed?
|
Flowers were the subject of many of van Gogh's paintings in Paris, and one of his many interests due in great part to his regard for flowers. As he said to his brothers Theo Van Gogh and Cor Van Gogh, "You will see that by making a habit of looking at Japanese pictures you will come to love to make up bouquets and do things with flowers all the more." To his sister, Wil, van Gogh advised her to cultivate her own garden, like Voltaire's Candide, to find joy and meaning in life. After he left Paris and settled in Arles, van Gogh painted his second group of Sunflowers in 1888 and 1889. His paintings of sunflowers in vases are among his most well known paintings.
|
[
"Arles",
"left",
"Voltaire",
"Sunflowers",
"Candide",
"Paris"
] |
|
13178_T
|
Vase with Poppies
|
Focus on Vase with Poppies and explore the Flowers delivered to Van Gogh in Paris.
|
In Paris friends and acquaintances sent bouquets of flowers weekly for his still life paintings. He also purchased bouquets inexpensively, choosing flowers in a variety of colors for his paintings. In a letter to his sister Wil he wrote, "Last year I painted almost nothing but flowers so I could get used to colors other than grey - pink, soft or bright green, light blue, violet, yellow, glorious red." That was an exaggeration; during his time in Paris he painted 230 paintings, about 30 of which were flowers. Yet, the comment demonstrates his interest in painting flowers as a subject and to further develop his appreciation and understanding of color.
|
[
"still life",
"Paris"
] |
|
13178_NT
|
Vase with Poppies
|
Focus on this artwork and explore the Flowers delivered to Van Gogh in Paris.
|
In Paris friends and acquaintances sent bouquets of flowers weekly for his still life paintings. He also purchased bouquets inexpensively, choosing flowers in a variety of colors for his paintings. In a letter to his sister Wil he wrote, "Last year I painted almost nothing but flowers so I could get used to colors other than grey - pink, soft or bright green, light blue, violet, yellow, glorious red." That was an exaggeration; during his time in Paris he painted 230 paintings, about 30 of which were flowers. Yet, the comment demonstrates his interest in painting flowers as a subject and to further develop his appreciation and understanding of color.
|
[
"still life",
"Paris"
] |
|
13179_T
|
Vase with Poppies
|
Focus on Vase with Poppies and explain the Inspection and analysis.
|
The painting, which was donated by Anne Parrish Titzell in 1957 to the permanent collection of the Wadsworth Atheneum, was called into question by art historian Walter Feilchenfeldt in 1990 as to its authenticity. It was declared genuine by the Van Gogh Museum in Amsterdam, after having been sent there for inspection by the Wadsworth to determine if it was a work by the hand of the artist or an impostor. An x-ray image of the painting shows the outline of the portrait of a man underneath the flower painting.
|
[
"Amsterdam",
"Van Gogh Museum",
"Wadsworth Atheneum"
] |
|
13179_NT
|
Vase with Poppies
|
Focus on this artwork and explain the Inspection and analysis.
|
The painting, which was donated by Anne Parrish Titzell in 1957 to the permanent collection of the Wadsworth Atheneum, was called into question by art historian Walter Feilchenfeldt in 1990 as to its authenticity. It was declared genuine by the Van Gogh Museum in Amsterdam, after having been sent there for inspection by the Wadsworth to determine if it was a work by the hand of the artist or an impostor. An x-ray image of the painting shows the outline of the portrait of a man underneath the flower painting.
|
[
"Amsterdam",
"Van Gogh Museum",
"Wadsworth Atheneum"
] |
|
13180_T
|
Reservoir (Rauschenberg)
|
Explore the abstract of this artwork, Reservoir (Rauschenberg).
|
Reservoir is a 1961 painting by American artist Robert Rauschenberg. The work is one of his Combines, which incorporate both two- and three-dimensional found, non-art materials, using objects Rauschenberg collected from the streets of his lower Manhattan neighborhood. Reservoir is in the collection of the Smithsonian American Art Museum, in Washington, D.C. According to the museum, the artwork incorporates a length of wood, two clocks, and two cast-off wheels which evoke the always changing and surprising contrasts of everyday experience. The seemingly spontaneous arrangement of objects and the quick, gestural brushstrokes evoke the legacy of Abstract Expression. The two clocks record the time he started making the artwork and the moment he considered it finished.
|
[
"Washington, D.C.",
"Smithsonian American Art Museum",
"Combines",
"Robert Rauschenberg"
] |
|
13180_NT
|
Reservoir (Rauschenberg)
|
Explore the abstract of this artwork.
|
Reservoir is a 1961 painting by American artist Robert Rauschenberg. The work is one of his Combines, which incorporate both two- and three-dimensional found, non-art materials, using objects Rauschenberg collected from the streets of his lower Manhattan neighborhood. Reservoir is in the collection of the Smithsonian American Art Museum, in Washington, D.C. According to the museum, the artwork incorporates a length of wood, two clocks, and two cast-off wheels which evoke the always changing and surprising contrasts of everyday experience. The seemingly spontaneous arrangement of objects and the quick, gestural brushstrokes evoke the legacy of Abstract Expression. The two clocks record the time he started making the artwork and the moment he considered it finished.
|
[
"Washington, D.C.",
"Smithsonian American Art Museum",
"Combines",
"Robert Rauschenberg"
] |
|
13181_T
|
Portrait of a Seated Woman
|
Focus on Portrait of a Seated Woman and discuss the abstract.
|
Portrait of a Seated Woman is an oil-on-canvas painting by Dutch painter Nicolaes Maes. Its date of execution is unknown. It measures 112.5 x 91.5 cm, and is currently housed at the Royal Museum of Fine Arts in Antwerp.Maes, a pupil of Rembrandt, started his career as a painter of biblical and mythological subjects, genre paintings and portraits. His first recorded painting dates to 1653. He died in 1693.
|
[
"Royal Museum of Fine Arts",
"Nicolaes Maes",
"Antwerp",
"genre painting",
"Dutch",
"Rembrandt",
"oil-on-canvas"
] |
|
13181_NT
|
Portrait of a Seated Woman
|
Focus on this artwork and discuss the abstract.
|
Portrait of a Seated Woman is an oil-on-canvas painting by Dutch painter Nicolaes Maes. Its date of execution is unknown. It measures 112.5 x 91.5 cm, and is currently housed at the Royal Museum of Fine Arts in Antwerp.Maes, a pupil of Rembrandt, started his career as a painter of biblical and mythological subjects, genre paintings and portraits. His first recorded painting dates to 1653. He died in 1693.
|
[
"Royal Museum of Fine Arts",
"Nicolaes Maes",
"Antwerp",
"genre painting",
"Dutch",
"Rembrandt",
"oil-on-canvas"
] |
|
13182_T
|
Crucifixion with a Donor (Bosch)
|
How does Crucifixion with a Donor (Bosch) elucidate its abstract?
|
Crucifixion With a Donor is a painting by Hieronymus Bosch believed to be painted between 1480 and 1485. The painting resides at Royal Museums of Fine Arts of Belgium in Brussels.
|
[
"Hieronymus Bosch",
"Royal Museums of Fine Arts of Belgium",
"Brussels",
"Bosch"
] |
|
13182_NT
|
Crucifixion with a Donor (Bosch)
|
How does this artwork elucidate its abstract?
|
Crucifixion With a Donor is a painting by Hieronymus Bosch believed to be painted between 1480 and 1485. The painting resides at Royal Museums of Fine Arts of Belgium in Brussels.
|
[
"Hieronymus Bosch",
"Royal Museums of Fine Arts of Belgium",
"Brussels",
"Bosch"
] |
|
13183_T
|
Tommy Trojan
|
Focus on Tommy Trojan and analyze the abstract.
|
Tommy Trojan, officially known as the Trojan Shrine, is one of the most recognizable figures of school pride at the University of Southern California. The life-size bronze statue of a Trojan warrior stands in the center of campus and serves as a popular meeting spot, as well as a centerpiece for a number of campus events. It is the most popular unofficial mascot of the university.
|
[
"statue",
"bronze",
"California",
"Trojan",
"University of Southern California",
"Tommy Trojan"
] |
|
13183_NT
|
Tommy Trojan
|
Focus on this artwork and analyze the abstract.
|
Tommy Trojan, officially known as the Trojan Shrine, is one of the most recognizable figures of school pride at the University of Southern California. The life-size bronze statue of a Trojan warrior stands in the center of campus and serves as a popular meeting spot, as well as a centerpiece for a number of campus events. It is the most popular unofficial mascot of the university.
|
[
"statue",
"bronze",
"California",
"Trojan",
"University of Southern California",
"Tommy Trojan"
] |
|
13184_T
|
Tommy Trojan
|
In Tommy Trojan, how is the History discussed?
|
The Trojan Shrine was sculpted by Roger Noble Burnham, who used USC football players such as Russ Saunders, Ernie Pinckert, Henry Becker, Larry Stevens and John Ward as visual references for the statue. It was unveiled during the University's 50th Jubilee in 1930. It cost $10,000 to build, after which a $1 surcharge was added onto the season football tickets in order to help offset this cost.
The original name suggested for the statue was The Spirit of Troy, but that name went to the school's marching band.
|
[
"statue",
"Ernie Pinckert",
"Roger Noble Burnham",
"Spirit of Troy",
"Trojan",
"Troy",
"Russ Saunders",
"USC football"
] |
|
13184_NT
|
Tommy Trojan
|
In this artwork, how is the History discussed?
|
The Trojan Shrine was sculpted by Roger Noble Burnham, who used USC football players such as Russ Saunders, Ernie Pinckert, Henry Becker, Larry Stevens and John Ward as visual references for the statue. It was unveiled during the University's 50th Jubilee in 1930. It cost $10,000 to build, after which a $1 surcharge was added onto the season football tickets in order to help offset this cost.
The original name suggested for the statue was The Spirit of Troy, but that name went to the school's marching band.
|
[
"statue",
"Ernie Pinckert",
"Roger Noble Burnham",
"Spirit of Troy",
"Trojan",
"Troy",
"Russ Saunders",
"USC football"
] |
|
13185_T
|
Tommy Trojan
|
Focus on Tommy Trojan and explore the Features.
|
Tommy Trojan is located at the core of the campus and often serves as a meeting ground for students and visitors. Many people take pictures with the statue. The Shrine is surrounded by the Bovard Administration Building, Ronald Tutor Campus Center, and Alumni Park. Trousdale Parkway passes next to the statue. USC offers the Tommy Cam, which is a live image of the statue, with daily time-lapse videos. Inscribed on the base of the statue are the five attributes of the ideal Trojan: Faithful, Scholarly, Skillful, Courageous and Ambitious. On the reverse is a plaque bearing a quote by Virgil: "Here are provided seats of meditative joy, where shall rise again the destined reign of Troy."
|
[
"statue",
"Virgil",
"Trojan",
"Troy",
"Tommy Trojan"
] |
|
13185_NT
|
Tommy Trojan
|
Focus on this artwork and explore the Features.
|
Tommy Trojan is located at the core of the campus and often serves as a meeting ground for students and visitors. Many people take pictures with the statue. The Shrine is surrounded by the Bovard Administration Building, Ronald Tutor Campus Center, and Alumni Park. Trousdale Parkway passes next to the statue. USC offers the Tommy Cam, which is a live image of the statue, with daily time-lapse videos. Inscribed on the base of the statue are the five attributes of the ideal Trojan: Faithful, Scholarly, Skillful, Courageous and Ambitious. On the reverse is a plaque bearing a quote by Virgil: "Here are provided seats of meditative joy, where shall rise again the destined reign of Troy."
|
[
"statue",
"Virgil",
"Trojan",
"Troy",
"Tommy Trojan"
] |
|
13186_T
|
Tommy Trojan
|
Focus on Tommy Trojan and explain the Vandalism.
|
USC's cross-town rival UCLA had vandalized Tommy Trojan (often by painting the statue in the UCLA colors of blue and gold) during the week of the annual USC-UCLA football game. To prevent this, university officials now cover the statue during that week to protect it from UCLA vandals. Students also gather for Save Tommy Nite on the night before the game against UCLA. In addition, members of the Trojan Knights maintain an all-night vigil around Tommy Trojan during the rivalry week to further deter would-be vandals.
|
[
"statue",
"vandalized",
"Trojan",
"Trojan Knights",
"UCLA",
"Vandalism",
"Tommy Trojan",
"USC-UCLA"
] |
|
13186_NT
|
Tommy Trojan
|
Focus on this artwork and explain the Vandalism.
|
USC's cross-town rival UCLA had vandalized Tommy Trojan (often by painting the statue in the UCLA colors of blue and gold) during the week of the annual USC-UCLA football game. To prevent this, university officials now cover the statue during that week to protect it from UCLA vandals. Students also gather for Save Tommy Nite on the night before the game against UCLA. In addition, members of the Trojan Knights maintain an all-night vigil around Tommy Trojan during the rivalry week to further deter would-be vandals.
|
[
"statue",
"vandalized",
"Trojan",
"Trojan Knights",
"UCLA",
"Vandalism",
"Tommy Trojan",
"USC-UCLA"
] |
|
13187_T
|
Tommy Trojan
|
Explore the Identity of this artwork, Tommy Trojan.
|
Many people identify Tommy Trojan as the symbol of the university. However, Tommy Trojan is not USC's official mascot; that title belongs to Traveler, a white Andalusian horse. Before Traveler, a real local dog named George Tirebiter served as the unofficial mascot. A statue of the dog is also a feature of the campus.
|
[
"statue",
"George Tirebiter",
"Trojan",
"Tommy Trojan",
"Traveler"
] |
|
13187_NT
|
Tommy Trojan
|
Explore the Identity of this artwork.
|
Many people identify Tommy Trojan as the symbol of the university. However, Tommy Trojan is not USC's official mascot; that title belongs to Traveler, a white Andalusian horse. Before Traveler, a real local dog named George Tirebiter served as the unofficial mascot. A statue of the dog is also a feature of the campus.
|
[
"statue",
"George Tirebiter",
"Trojan",
"Tommy Trojan",
"Traveler"
] |
|
13188_T
|
Adoration of the Magi (Rembrandt)
|
Focus on Adoration of the Magi (Rembrandt) and discuss the abstract.
|
The Adoration of the Magi is a painting of c. 1632 to 1633 recently attributed to Rembrandt.It was discovered in 2016 after it fell off the wall at the home of its owners in Rome. They took it to be restored as the fall damaged the frame. The restorer realized the painting was not a copy as the owners believed, but an original. The French Academy in Rome confirmed its authenticity on June 22, 2021. The French Academy in Rome, supported by the Fondazione Patrimonio Italia (FPI), displayed the work at a symposium titled "Rembrandt: Identifying the Prototype, Seeing the Invisible" at its Villa Medici headquarters. The work was thought to have been lost and has been known only from copies in the Hermitage Museum and the Gothenburg Museum of Art.The work is oil on paper applied to canvas. It measures 54 centimeters by 44 centimeters. It was likely painted in preparation for a series of engravings on the Life and Passion of Christ.
|
[
"Hermitage Museum",
"Rome",
"Gothenburg Museum of Art",
"Villa Medici",
"Fondazione Patrimonio Italia",
"Rembrandt",
"French Academy in Rome"
] |
|
13188_NT
|
Adoration of the Magi (Rembrandt)
|
Focus on this artwork and discuss the abstract.
|
The Adoration of the Magi is a painting of c. 1632 to 1633 recently attributed to Rembrandt.It was discovered in 2016 after it fell off the wall at the home of its owners in Rome. They took it to be restored as the fall damaged the frame. The restorer realized the painting was not a copy as the owners believed, but an original. The French Academy in Rome confirmed its authenticity on June 22, 2021. The French Academy in Rome, supported by the Fondazione Patrimonio Italia (FPI), displayed the work at a symposium titled "Rembrandt: Identifying the Prototype, Seeing the Invisible" at its Villa Medici headquarters. The work was thought to have been lost and has been known only from copies in the Hermitage Museum and the Gothenburg Museum of Art.The work is oil on paper applied to canvas. It measures 54 centimeters by 44 centimeters. It was likely painted in preparation for a series of engravings on the Life and Passion of Christ.
|
[
"Hermitage Museum",
"Rome",
"Gothenburg Museum of Art",
"Villa Medici",
"Fondazione Patrimonio Italia",
"Rembrandt",
"French Academy in Rome"
] |
|
13189_T
|
Mother with a Child and a Chambermaid
|
How does Mother with a Child and a Chambermaid elucidate its abstract?
|
Mother with a Child and a Chambermaid (1665–1668) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch. It is an example of Dutch Golden Age painting and is part of the collection of the Amsterdam Museum.This painting was the second painting by Hooch documented by Hofstede de Groot in 1908, who wrote:2. MOTHER WITH A CHILD AND A CHAMBERMAID. Sm. 31 and Suppl. 12; deG. 4. To the left, but near the centre of the picture, sits a woman, holding a little child on her lap with her left hand. She wears a blue jacket trimmed with fur and a red skirt; at her right is a wicker cradle. Farther back, to the right of the fireplace, a chambermaid is sweeping the tiled floor. Bright sunlight falls from the window high up on the left, and illumines the back wall, on which hangs a picture. Another picture hangs over the fireplace; below is a chair. In the left foreground is a table with a cloth, upon which is a basket. The open door at the back shows a view of a canal with a stone bridge and a sunlit house.
Signed "P. D. HOOCH"; oak panel, 14 1/2 inches by 16 1/2 inches. A replica is in the Stockholm Museum. Sales:P. Locquet, in Amsterdam, September 22, 1783, No. 139 (355 florins, Delfos).
Jurriaans, August 28, 1817 (990 florins, De Vries).
G. Schimmelpenninck, in Amsterdam, July 12, 1819, No. 40 (799 florins, De Vries).
Amsterdam, May 14, 1832, No. 37 (925 florins, De Vries).
In the Van der Hoop collection, 1842 (Sm.).
Now in the Rijksmuseum at Amsterdam, No. 1252 in the 1903 catalogue (formerly No. 684).
|
[
"Amsterdam",
"Sm.",
"Hofstede de Groot",
"Pieter de Hooch",
"Van der Hoop collection",
"Dutch",
"oil",
"Dutch Golden Age painting",
"Amsterdam Museum",
"Stockholm Museum",
"A replica"
] |
|
13189_NT
|
Mother with a Child and a Chambermaid
|
How does this artwork elucidate its abstract?
|
Mother with a Child and a Chambermaid (1665–1668) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch. It is an example of Dutch Golden Age painting and is part of the collection of the Amsterdam Museum.This painting was the second painting by Hooch documented by Hofstede de Groot in 1908, who wrote:2. MOTHER WITH A CHILD AND A CHAMBERMAID. Sm. 31 and Suppl. 12; deG. 4. To the left, but near the centre of the picture, sits a woman, holding a little child on her lap with her left hand. She wears a blue jacket trimmed with fur and a red skirt; at her right is a wicker cradle. Farther back, to the right of the fireplace, a chambermaid is sweeping the tiled floor. Bright sunlight falls from the window high up on the left, and illumines the back wall, on which hangs a picture. Another picture hangs over the fireplace; below is a chair. In the left foreground is a table with a cloth, upon which is a basket. The open door at the back shows a view of a canal with a stone bridge and a sunlit house.
Signed "P. D. HOOCH"; oak panel, 14 1/2 inches by 16 1/2 inches. A replica is in the Stockholm Museum. Sales:P. Locquet, in Amsterdam, September 22, 1783, No. 139 (355 florins, Delfos).
Jurriaans, August 28, 1817 (990 florins, De Vries).
G. Schimmelpenninck, in Amsterdam, July 12, 1819, No. 40 (799 florins, De Vries).
Amsterdam, May 14, 1832, No. 37 (925 florins, De Vries).
In the Van der Hoop collection, 1842 (Sm.).
Now in the Rijksmuseum at Amsterdam, No. 1252 in the 1903 catalogue (formerly No. 684).
|
[
"Amsterdam",
"Sm.",
"Hofstede de Groot",
"Pieter de Hooch",
"Van der Hoop collection",
"Dutch",
"oil",
"Dutch Golden Age painting",
"Amsterdam Museum",
"Stockholm Museum",
"A replica"
] |
|
13190_T
|
The Jewish Cemetery
|
Focus on The Jewish Cemetery and analyze the Subject and symbols.
|
In both versions, Jacob van Ruisdael presents the cemetery as a landscape variant of a vanitas painting. Vanitas works tend to be still-life or genre scenes, with skulls, books, flowers, and candles as common subjects in this theme. Similarly, Jacob van Ruisdael employed deserted tombs, ravaged churches, stormy clouds, dead trees, changing skies, and flowing water to symbolize death and the transience of all earthly things. Jacob Rosenberg and Seymour Slive describe the "compelling and tragic mood in nature" of the Jewish Cemetery—"a moralizing landscape .... painted with a deliberate allegorical programme."The central building's foundations are overrun by leafy foliage arising from decaying wood in the foreground. Beyond, many likely symbols of death prevail. As the brook rushes over large stones under the broken arch, possibly symbolizing the fast-flowing passage of a human lifetime. That may correspond to beams of light that break through billowing rain or storm clouds in the upper sphere. The upright but broken column—here presented as a half-cylinder—likely signifies death. In addition to serving as a memento mori, a reminder of the inevitability of death, the painting may also offer themes of hope and renewal. Water constantly flows, changes, and regenerates in the stream, perhaps symbolizing life and aliveness while the decaying tree bending over it represents death's inevitable arrival. Nature revitalizes and replenishes neglected areas as they become submerged in encroaching woodland over time. Although a rainbow bear varied symbolic meanings, it often been regarded as a harbinger of hope and divine promise. At the top of the picture, the curve in the rainbow's arc may suggest a "bridge to the heavens." It has also been theorized to symbolize the renewal of life, connecting the work to a theological message: rabbis have said that the resurrection of the dead would be the first sign that the moshiach (the anointed one from the House of David) would be coming. This message would have been clear to Portuguese Sephardi, who would wait for this event from within Beth Chaim. It is possible that this added meaning would have been at the direction of a patron, though it is unknown who, if anyone, might have commissioned the painting.
|
[
"anointed",
"Jacob van Ruisdael",
"genre",
"moshiach",
"Vanitas",
"still-life",
"House of David",
"memento mori",
"vanitas",
"Sephardi",
"column"
] |
|
13190_NT
|
The Jewish Cemetery
|
Focus on this artwork and analyze the Subject and symbols.
|
In both versions, Jacob van Ruisdael presents the cemetery as a landscape variant of a vanitas painting. Vanitas works tend to be still-life or genre scenes, with skulls, books, flowers, and candles as common subjects in this theme. Similarly, Jacob van Ruisdael employed deserted tombs, ravaged churches, stormy clouds, dead trees, changing skies, and flowing water to symbolize death and the transience of all earthly things. Jacob Rosenberg and Seymour Slive describe the "compelling and tragic mood in nature" of the Jewish Cemetery—"a moralizing landscape .... painted with a deliberate allegorical programme."The central building's foundations are overrun by leafy foliage arising from decaying wood in the foreground. Beyond, many likely symbols of death prevail. As the brook rushes over large stones under the broken arch, possibly symbolizing the fast-flowing passage of a human lifetime. That may correspond to beams of light that break through billowing rain or storm clouds in the upper sphere. The upright but broken column—here presented as a half-cylinder—likely signifies death. In addition to serving as a memento mori, a reminder of the inevitability of death, the painting may also offer themes of hope and renewal. Water constantly flows, changes, and regenerates in the stream, perhaps symbolizing life and aliveness while the decaying tree bending over it represents death's inevitable arrival. Nature revitalizes and replenishes neglected areas as they become submerged in encroaching woodland over time. Although a rainbow bear varied symbolic meanings, it often been regarded as a harbinger of hope and divine promise. At the top of the picture, the curve in the rainbow's arc may suggest a "bridge to the heavens." It has also been theorized to symbolize the renewal of life, connecting the work to a theological message: rabbis have said that the resurrection of the dead would be the first sign that the moshiach (the anointed one from the House of David) would be coming. This message would have been clear to Portuguese Sephardi, who would wait for this event from within Beth Chaim. It is possible that this added meaning would have been at the direction of a patron, though it is unknown who, if anyone, might have commissioned the painting.
|
[
"anointed",
"Jacob van Ruisdael",
"genre",
"moshiach",
"Vanitas",
"still-life",
"House of David",
"memento mori",
"vanitas",
"Sephardi",
"column"
] |
|
13191_T
|
The Jewish Cemetery
|
Describe the characteristics of the Tombs in The Jewish Cemetery's Subject and symbols.
|
Ruisdael's paintings depict tombs he would have observed when visiting Beth Hamin. (Michael Zell writes that "Ruisdael focuses on a corner of the cemetery, isolating four of the oldest, most unusual and most conspicuous Sephardi tombs" with "illegible pseudo-Hebraic inscriptions.") They marked the remains of the first Portuguese settlers in Amsterdam at the time, many of whom were from old families that had obtained wealth and noble titles before coming to Amsterdam. In the illuminated white marble tombstone, adorned with a large stone box and colorful cap, lie the remains of Elias (or Eliahu) Montalto. Dr. Montalto was physician to Maria de' Medici, and upon his death in 1616 his remains were brought to Ouderkerk for burial. Inscribed on the marble slab are Hebrew block letters. Montalto's first name is spelled out in an acrostic poem on the vertical rear plate.In both versions of the painting, Ruisdael shows Montalto's tomb with light concentrated over it, as if that light is breaking through from the heavens to shine on his resting place. The shape and style of the tomb align with the style seen in the Levant, and not typical of tombs found in Holland. The carver of the tomb is unknown but it is likely that it was created in another country before being brought to Beth Haim. Ruisdael reproduced the oldest tombs in his works, shown in accord with the Old Testament belief that it was not proper to have images on tombs. Instead these grave sites are inscribed with Hebrew writing. In the painting, David Farrar's grave is barely visible behind Montalto's tomb—as a simple headpiece and a plain stone slab.In the sarcophagus next to Montalto there is a carved cover made of red marble that bedecks Issac Uziel grave; the tomb is adorned with a veil of red-speckled marble, of symbolic significance. Uziel is presumed to have arrived in Amsterdam around 1615 and was the Haham, or Chief Rabbi, of the second community from 1617 to 1622 when he died. He was also a well known scholar of Hebrew, and likely taught the new immigrants much about Judaism. So respected when he died, it was decided that his tomb would require no inscription, as the greatness of his tomb would speak for the reputation of the man.Alongside Uziel, to the right, is the largest tomb of the group, belonging to Abraham Israel Mendez. This tomb is described as having an impressive height and "prismatic simplicity." Mendez was on of the third Portuguese-Jewish community's governors and the inscription on his memorial describes him as "highly esteemed". On one side of the block the Mendez coat of arms appears, though barely legible and not depicted with any detail in the painting.A dark tomb with a half-cylindrical column erected on top of the graves in the far left corner of the painting, separated from the other graves by a rushing stream and a broken, fallen bridge-like tree, dedicated to Abraham Franco Mendes o Velho ("the old one" in Portuguese). (He was also known as Abraham Franco O. Velho or Melchior Franco Mendez). In the painting, Ruisdael located the black stone tomb on the left edge, on the other side of the brook, although it was actually placed in front of the other three tombs at Beth Haim: Ruisdael's choice would have been for composition and coloration. Viewers eyes would be led to the tomb, as they follow the curves of the dead tree and eventually end up in front of the Mendez tomb. His tomb appears to be significant, as Ruisdael signed the horizontally lying half-column that crowned his grave. This half-column is thought to be the column that once decorated the top of the stone slab that was placed over the tombs of Mendez Velho and three other members of his family, linking them all together. The stone slab cracked around 1676 and the column fell off and was later made visible above ground, which is what Ruisdael captures in his paintings and prints, though he has placed it on the opposite side.Also noted in Ruisdael's composition is what in the actual cemetery is a wooden post—presented in one of the Teylers drawings as a signpost, and in the Detroit painting as a stump, while in the Dresden version left out altogether. This wooden post would have been found near the tomb of Jacob Pereyra, itself a flat marble slab seen in both paintings and the drawing. Pereyra's grave appears decorated with a medallion encompassing a coat of arms. He reserved his tomb's location specifically for its proximity to the other three tombs. The tomb and signpost were both created move than half a century before his death.Near these prominent tombs lies another burial site for a man of social prominence, Don Samuel Palache. Palache came to Amsterdam as an ambassador for Muley Sidan, the king of Morocco. In Beth Haim the actual tomb comprises a slab decorated with a coat of arms consisting of lion and a coronet, along with Hebrew inscriptions detailing his rank and notable accomplishments. In Ruisdael's painting the tomb appears to be away from the other three graves, placed on the other side of the brook, at the left of the painting. The lower edge of the tomb is in the water and instead of the detailed coat of arms that adorns Palache's actual grave, the painting shows merely a letter sign, similar to a 'Y'. Some scholars have interpreted this as Ruisdael's way of signifying death's inevitability, and that regardless of one's status or wealth, there is no protection from death.In the center of the composition, a pair of white tombs are flanked by the figures of three mourners—a Jewish family, including a father, mother, and boy, dressed in black, and reflected in the middle distance by the lids of two elongated pyramids. These tombs have been identified by Zwarts based on the Portuguese inscriptions, as belonging to Rafael Hiskias Athias and his wife Raquel.
|
[
"Maria de' Medici",
"Ouderkerk",
"Amsterdam",
"Haham",
"ambassador",
"sarcophagus",
"Hebrew",
"Beth Haim",
"Levant",
"Old Testament",
"Muley Sidan",
"Dresden",
"Issac Uziel",
"Abraham Franco Mendes",
"Sephardi",
"acrostic",
"Elias (or Eliahu) Montalto",
"left",
"column"
] |
|
13191_NT
|
The Jewish Cemetery
|
Describe the characteristics of the Tombs in this artwork's Subject and symbols.
|
Ruisdael's paintings depict tombs he would have observed when visiting Beth Hamin. (Michael Zell writes that "Ruisdael focuses on a corner of the cemetery, isolating four of the oldest, most unusual and most conspicuous Sephardi tombs" with "illegible pseudo-Hebraic inscriptions.") They marked the remains of the first Portuguese settlers in Amsterdam at the time, many of whom were from old families that had obtained wealth and noble titles before coming to Amsterdam. In the illuminated white marble tombstone, adorned with a large stone box and colorful cap, lie the remains of Elias (or Eliahu) Montalto. Dr. Montalto was physician to Maria de' Medici, and upon his death in 1616 his remains were brought to Ouderkerk for burial. Inscribed on the marble slab are Hebrew block letters. Montalto's first name is spelled out in an acrostic poem on the vertical rear plate.In both versions of the painting, Ruisdael shows Montalto's tomb with light concentrated over it, as if that light is breaking through from the heavens to shine on his resting place. The shape and style of the tomb align with the style seen in the Levant, and not typical of tombs found in Holland. The carver of the tomb is unknown but it is likely that it was created in another country before being brought to Beth Haim. Ruisdael reproduced the oldest tombs in his works, shown in accord with the Old Testament belief that it was not proper to have images on tombs. Instead these grave sites are inscribed with Hebrew writing. In the painting, David Farrar's grave is barely visible behind Montalto's tomb—as a simple headpiece and a plain stone slab.In the sarcophagus next to Montalto there is a carved cover made of red marble that bedecks Issac Uziel grave; the tomb is adorned with a veil of red-speckled marble, of symbolic significance. Uziel is presumed to have arrived in Amsterdam around 1615 and was the Haham, or Chief Rabbi, of the second community from 1617 to 1622 when he died. He was also a well known scholar of Hebrew, and likely taught the new immigrants much about Judaism. So respected when he died, it was decided that his tomb would require no inscription, as the greatness of his tomb would speak for the reputation of the man.Alongside Uziel, to the right, is the largest tomb of the group, belonging to Abraham Israel Mendez. This tomb is described as having an impressive height and "prismatic simplicity." Mendez was on of the third Portuguese-Jewish community's governors and the inscription on his memorial describes him as "highly esteemed". On one side of the block the Mendez coat of arms appears, though barely legible and not depicted with any detail in the painting.A dark tomb with a half-cylindrical column erected on top of the graves in the far left corner of the painting, separated from the other graves by a rushing stream and a broken, fallen bridge-like tree, dedicated to Abraham Franco Mendes o Velho ("the old one" in Portuguese). (He was also known as Abraham Franco O. Velho or Melchior Franco Mendez). In the painting, Ruisdael located the black stone tomb on the left edge, on the other side of the brook, although it was actually placed in front of the other three tombs at Beth Haim: Ruisdael's choice would have been for composition and coloration. Viewers eyes would be led to the tomb, as they follow the curves of the dead tree and eventually end up in front of the Mendez tomb. His tomb appears to be significant, as Ruisdael signed the horizontally lying half-column that crowned his grave. This half-column is thought to be the column that once decorated the top of the stone slab that was placed over the tombs of Mendez Velho and three other members of his family, linking them all together. The stone slab cracked around 1676 and the column fell off and was later made visible above ground, which is what Ruisdael captures in his paintings and prints, though he has placed it on the opposite side.Also noted in Ruisdael's composition is what in the actual cemetery is a wooden post—presented in one of the Teylers drawings as a signpost, and in the Detroit painting as a stump, while in the Dresden version left out altogether. This wooden post would have been found near the tomb of Jacob Pereyra, itself a flat marble slab seen in both paintings and the drawing. Pereyra's grave appears decorated with a medallion encompassing a coat of arms. He reserved his tomb's location specifically for its proximity to the other three tombs. The tomb and signpost were both created move than half a century before his death.Near these prominent tombs lies another burial site for a man of social prominence, Don Samuel Palache. Palache came to Amsterdam as an ambassador for Muley Sidan, the king of Morocco. In Beth Haim the actual tomb comprises a slab decorated with a coat of arms consisting of lion and a coronet, along with Hebrew inscriptions detailing his rank and notable accomplishments. In Ruisdael's painting the tomb appears to be away from the other three graves, placed on the other side of the brook, at the left of the painting. The lower edge of the tomb is in the water and instead of the detailed coat of arms that adorns Palache's actual grave, the painting shows merely a letter sign, similar to a 'Y'. Some scholars have interpreted this as Ruisdael's way of signifying death's inevitability, and that regardless of one's status or wealth, there is no protection from death.In the center of the composition, a pair of white tombs are flanked by the figures of three mourners—a Jewish family, including a father, mother, and boy, dressed in black, and reflected in the middle distance by the lids of two elongated pyramids. These tombs have been identified by Zwarts based on the Portuguese inscriptions, as belonging to Rafael Hiskias Athias and his wife Raquel.
|
[
"Maria de' Medici",
"Ouderkerk",
"Amsterdam",
"Haham",
"ambassador",
"sarcophagus",
"Hebrew",
"Beth Haim",
"Levant",
"Old Testament",
"Muley Sidan",
"Dresden",
"Issac Uziel",
"Abraham Franco Mendes",
"Sephardi",
"acrostic",
"Elias (or Eliahu) Montalto",
"left",
"column"
] |
|
13192_T
|
The Jewish Cemetery
|
Focus on The Jewish Cemetery and explore the Location and context.
|
On the southern outskirts of Amsterdam is the village of Ouderkerk aan de Amstel, and its Beth Haim (House of Life) cemetery lies by the Amstel River provides the subject matter of Jacob van Ruisdael's painting. David Henrique De Castro was the first to connect the marble tomb in Dresden painting to the Portuguese-Jewish cemetery in Ouderkerk.The site was also visited by other artists, including Rembrandt. Rembrandt was struck by its unusual beauty in the Ouderkerk church's steeple, with its decorative knob-like projections. Frits Lugt discovered the structure in a pen-and-ink drawing by Rembrandt. Jacob van Ruisdael made sketches that demonstrate his awareness of the surroundings early in his career. During his trip to Ouderkerk, the artist still lived with his father in his native Haarlem. At that time, Ouderkerk had a small Jewish community, but Haarlem was the first city in Holland to allow Jews to practice openly. Following the fall of Granada in 1492, Ferdinand and Isabella granted full power to the Inquisition, which drove Jews from Spain, leading to the arrival of Portuguese-Jewish refugees in Amsterdam, around 1590. In Amsterdam, many Portuguese Jews reverted to Judaism after generations of being forced to live as Catholics in the Iberian peninsula. Since its founding in 1614, the year Jews became officially religiously free, the Jewish cemetery in Ouderkerk saw the burial of Sephardic refugees who fled the Inquisition from Spain and Portugal. The Jewish cemetery there was thus emblematic of Jews' freedom in Amsterdam.
Many of the largest elements depicted in the painting do not represent how Ouderkerk really appears, including the church ruins: there was neither a castle nor church on the grounds, nor any small timber building nearby, nor hills or rushing streams, all of which Jacob van Ruisdael must have invented. Svetlana Alpers finds "radical changes wrought on a site ... which nears, in this regard, his imaginary representation of swamps." Only the tombs in Beth Haim cemetery are similar to those in the painting. The drawing of the ruined remains of Egmond aan den Hoef Castle were depicted in his Dresden painting. In the Detroit version, the scene contains what was left of the Romanesque Abbey of Egmond Binnen, near Alkmaar. The abbey had been sacrificed during the Dutch revolt against Spain over 80 years before Ruisdael painted it. Landscape artists like Jacob van Ruisdael may have selected representative sites of the Dutch Republic, such as ruins, windmills, and city views, to illustrate Dutch patriotism. In his Haarlem studio, he added the additional landscape elements to render compositional and allegorical elements into the scene. These features are found in sketches Jacob van Ruisdael made at other locations, but do not appear in the Ouderkerk landscape.
|
[
"Sephardic",
"Ferdinand",
"Granada",
"Ouderkerk",
"David Henrique De Castro",
"Amsterdam",
"Jacob van Ruisdael",
"Beth Haim",
"Egmond aan den Hoef Castle",
"Inquisition",
"Frits Lugt",
"Rembrandt",
"city views",
"Romanesque Abbey of Egmond Binnen",
"live as Catholics",
"Dresden",
"Haarlem",
"Sephardi",
"left",
"Isabella",
"Alkmaar",
"Dutch revolt",
"Ouderkerk aan de Amstel"
] |
|
13192_NT
|
The Jewish Cemetery
|
Focus on this artwork and explore the Location and context.
|
On the southern outskirts of Amsterdam is the village of Ouderkerk aan de Amstel, and its Beth Haim (House of Life) cemetery lies by the Amstel River provides the subject matter of Jacob van Ruisdael's painting. David Henrique De Castro was the first to connect the marble tomb in Dresden painting to the Portuguese-Jewish cemetery in Ouderkerk.The site was also visited by other artists, including Rembrandt. Rembrandt was struck by its unusual beauty in the Ouderkerk church's steeple, with its decorative knob-like projections. Frits Lugt discovered the structure in a pen-and-ink drawing by Rembrandt. Jacob van Ruisdael made sketches that demonstrate his awareness of the surroundings early in his career. During his trip to Ouderkerk, the artist still lived with his father in his native Haarlem. At that time, Ouderkerk had a small Jewish community, but Haarlem was the first city in Holland to allow Jews to practice openly. Following the fall of Granada in 1492, Ferdinand and Isabella granted full power to the Inquisition, which drove Jews from Spain, leading to the arrival of Portuguese-Jewish refugees in Amsterdam, around 1590. In Amsterdam, many Portuguese Jews reverted to Judaism after generations of being forced to live as Catholics in the Iberian peninsula. Since its founding in 1614, the year Jews became officially religiously free, the Jewish cemetery in Ouderkerk saw the burial of Sephardic refugees who fled the Inquisition from Spain and Portugal. The Jewish cemetery there was thus emblematic of Jews' freedom in Amsterdam.
Many of the largest elements depicted in the painting do not represent how Ouderkerk really appears, including the church ruins: there was neither a castle nor church on the grounds, nor any small timber building nearby, nor hills or rushing streams, all of which Jacob van Ruisdael must have invented. Svetlana Alpers finds "radical changes wrought on a site ... which nears, in this regard, his imaginary representation of swamps." Only the tombs in Beth Haim cemetery are similar to those in the painting. The drawing of the ruined remains of Egmond aan den Hoef Castle were depicted in his Dresden painting. In the Detroit version, the scene contains what was left of the Romanesque Abbey of Egmond Binnen, near Alkmaar. The abbey had been sacrificed during the Dutch revolt against Spain over 80 years before Ruisdael painted it. Landscape artists like Jacob van Ruisdael may have selected representative sites of the Dutch Republic, such as ruins, windmills, and city views, to illustrate Dutch patriotism. In his Haarlem studio, he added the additional landscape elements to render compositional and allegorical elements into the scene. These features are found in sketches Jacob van Ruisdael made at other locations, but do not appear in the Ouderkerk landscape.
|
[
"Sephardic",
"Ferdinand",
"Granada",
"Ouderkerk",
"David Henrique De Castro",
"Amsterdam",
"Jacob van Ruisdael",
"Beth Haim",
"Egmond aan den Hoef Castle",
"Inquisition",
"Frits Lugt",
"Rembrandt",
"city views",
"Romanesque Abbey of Egmond Binnen",
"live as Catholics",
"Dresden",
"Haarlem",
"Sephardi",
"left",
"Isabella",
"Alkmaar",
"Dutch revolt",
"Ouderkerk aan de Amstel"
] |
|
13193_T
|
The Jewish Cemetery
|
Focus on The Jewish Cemetery and explain the Provenance.
|
The known provenance for the painting dates back only to 1739 and its original owner is not documented. While it is not known whether the painting was produced under commission, some scholars have theorized that it was possibly made for a member of Montalto's family, as his tomb is prominent in the image and is highlighted with a concentration of light leading the eye to the tomb as if the light were coming from the heavens. On September 22, 1783 the painting was sold at an auction of Pieter Locquet's collection in Amsterdam, before appearing again at auctions in Paris in 1790 and 1802. Around 1815 the painting was purchased from a banker in Paris by Huybens, who imported the work into England. It was sold three more times, including the 1828 sale to the Mackintosh collection, where it was later catalogued in 1835. The Jewish Cemetery ceased to be exhibited publicly some time after it was cataloged in England in 1835. In the 1920s, the painting was rediscovered in London and by 1925 it was included in the Kaiser Friedrich Museum Museumsverein exhibition Old Masters from Berlin Collections, in Berlin. In 1926, the painting was donated to The Detroit Institute of Arts by Mr. Julius H. Haass, in memory of his brother Dr. Ernest W. Haass.
|
[
"The Jewish Cemetery",
"Amsterdam",
"Detroit Institute of Arts",
"Kaiser Friedrich Museum"
] |
|
13193_NT
|
The Jewish Cemetery
|
Focus on this artwork and explain the Provenance.
|
The known provenance for the painting dates back only to 1739 and its original owner is not documented. While it is not known whether the painting was produced under commission, some scholars have theorized that it was possibly made for a member of Montalto's family, as his tomb is prominent in the image and is highlighted with a concentration of light leading the eye to the tomb as if the light were coming from the heavens. On September 22, 1783 the painting was sold at an auction of Pieter Locquet's collection in Amsterdam, before appearing again at auctions in Paris in 1790 and 1802. Around 1815 the painting was purchased from a banker in Paris by Huybens, who imported the work into England. It was sold three more times, including the 1828 sale to the Mackintosh collection, where it was later catalogued in 1835. The Jewish Cemetery ceased to be exhibited publicly some time after it was cataloged in England in 1835. In the 1920s, the painting was rediscovered in London and by 1925 it was included in the Kaiser Friedrich Museum Museumsverein exhibition Old Masters from Berlin Collections, in Berlin. In 1926, the painting was donated to The Detroit Institute of Arts by Mr. Julius H. Haass, in memory of his brother Dr. Ernest W. Haass.
|
[
"The Jewish Cemetery",
"Amsterdam",
"Detroit Institute of Arts",
"Kaiser Friedrich Museum"
] |
|
13194_T
|
The Jewish Cemetery
|
Explore the Other versions of this artwork, The Jewish Cemetery.
|
In Dresden, there was another version of the same composition, that some scholars believe was created after the Detroit painting. The Dresden painting is described as having the qualities of a more developed technique: lighter brushwork, a strong and simple structure, and greater perspective and clarity in the artist's approach. In comparison, the Detroit painting has forms that are more natural, firmer brushwork, and stronger, brighter, color. It is unknown if the paintings were commissioned or who their early owners were. However, Montalto's white illuminated marble tomb appears prominently in both paintings. Therefore, Jacob van Ruisdael might have been commissioned to paint it by a member of his family. There is also a possibility that he was merely exploring the dramatic aspects of a landscape. These paintings show a step back from the Haarlem realism that most of Ruisdael's landscapes represent. Many of his landscapes, even if they did not depict any real or identifiable location, would be painted in a realistic manner. Ruisdael's cemetery paintings however, show a more dramatic and "wonderous realm." Both paintings are though to have been created around 1653-55 and show a very similar depiction of the three tombs that are visible in the right foreground. Many other aspects of the paintings differ, however; the Dresden painting has a more "concentrated composition" with an emphasis on the vertical axis, which is made clear by the proportions of the church ruins and the flow of the stream, unlike the Detroit painting where the stream flows through the image quietly. The Dresden painting shares the moral lesson in general, less localized, ways while the Detroit painting uses the Romanesque church tower and other key features to keep the painting tied to the specific location of Ouderkerk.
A potential third painting, a panel, appeared in Rotterdam at an auction on October 11, 1855. Its current location, however, remains unknown. The Teyler Museum in Haarlem, Amsterdam, also houses two sketches of the cemetery. Both drawings are rigorously topographical, without figures, and stylistically equivalent. Similar to Detroit and Dresden paintings, the tombs are realistically depicted. The drawings are finished works, signed by the artist, and not just sketches for the paintings though they are clearly related. They became well known in the late 1670s, as they were reproduced by the engraver Abraham Blooteling, and later were used in a pair of etchings by Romeyn de Hooghe that depicted the Ouderkerk cemetery.
|
[
"Ouderkerk",
"Amsterdam",
"Jacob van Ruisdael",
"Romeyn de Hooghe",
"Dresden",
"Haarlem",
"Teyler Museum",
"Abraham Blooteling",
"Rotterdam"
] |
|
13194_NT
|
The Jewish Cemetery
|
Explore the Other versions of this artwork.
|
In Dresden, there was another version of the same composition, that some scholars believe was created after the Detroit painting. The Dresden painting is described as having the qualities of a more developed technique: lighter brushwork, a strong and simple structure, and greater perspective and clarity in the artist's approach. In comparison, the Detroit painting has forms that are more natural, firmer brushwork, and stronger, brighter, color. It is unknown if the paintings were commissioned or who their early owners were. However, Montalto's white illuminated marble tomb appears prominently in both paintings. Therefore, Jacob van Ruisdael might have been commissioned to paint it by a member of his family. There is also a possibility that he was merely exploring the dramatic aspects of a landscape. These paintings show a step back from the Haarlem realism that most of Ruisdael's landscapes represent. Many of his landscapes, even if they did not depict any real or identifiable location, would be painted in a realistic manner. Ruisdael's cemetery paintings however, show a more dramatic and "wonderous realm." Both paintings are though to have been created around 1653-55 and show a very similar depiction of the three tombs that are visible in the right foreground. Many other aspects of the paintings differ, however; the Dresden painting has a more "concentrated composition" with an emphasis on the vertical axis, which is made clear by the proportions of the church ruins and the flow of the stream, unlike the Detroit painting where the stream flows through the image quietly. The Dresden painting shares the moral lesson in general, less localized, ways while the Detroit painting uses the Romanesque church tower and other key features to keep the painting tied to the specific location of Ouderkerk.
A potential third painting, a panel, appeared in Rotterdam at an auction on October 11, 1855. Its current location, however, remains unknown. The Teyler Museum in Haarlem, Amsterdam, also houses two sketches of the cemetery. Both drawings are rigorously topographical, without figures, and stylistically equivalent. Similar to Detroit and Dresden paintings, the tombs are realistically depicted. The drawings are finished works, signed by the artist, and not just sketches for the paintings though they are clearly related. They became well known in the late 1670s, as they were reproduced by the engraver Abraham Blooteling, and later were used in a pair of etchings by Romeyn de Hooghe that depicted the Ouderkerk cemetery.
|
[
"Ouderkerk",
"Amsterdam",
"Jacob van Ruisdael",
"Romeyn de Hooghe",
"Dresden",
"Haarlem",
"Teyler Museum",
"Abraham Blooteling",
"Rotterdam"
] |
|
13195_T
|
The Jewish Cemetery
|
Focus on The Jewish Cemetery and discuss the Exhibitions.
|
Rings: Five Passions in World Art, High Museum of Art, Atlanta, Georgia, July 4, 1996–September 29, 1996.
The Glory of the Golden Age, Rijksmuseum, Amsterdam, April 15, 2000–September 17, 2000.
Rembrandt and the Golden Age: Highlights from the Detroit Institute of Arts, Detroit Institute of Arts and the Frist Center for Visual Arts, Nashville, Tennessee, February 1, 2013–May 19, 2013.
|
[
"Golden Age",
"Amsterdam",
"High Museum of Art",
"Frist Center",
"Rembrandt",
"Detroit Institute of Arts",
"Rijksmuseum"
] |
|
13195_NT
|
The Jewish Cemetery
|
Focus on this artwork and discuss the Exhibitions.
|
Rings: Five Passions in World Art, High Museum of Art, Atlanta, Georgia, July 4, 1996–September 29, 1996.
The Glory of the Golden Age, Rijksmuseum, Amsterdam, April 15, 2000–September 17, 2000.
Rembrandt and the Golden Age: Highlights from the Detroit Institute of Arts, Detroit Institute of Arts and the Frist Center for Visual Arts, Nashville, Tennessee, February 1, 2013–May 19, 2013.
|
[
"Golden Age",
"Amsterdam",
"High Museum of Art",
"Frist Center",
"Rembrandt",
"Detroit Institute of Arts",
"Rijksmuseum"
] |
|
13196_T
|
Figure with Meat
|
How does Figure with Meat elucidate its abstract?
|
Figure with Meat is a 1954 painting by the Irish-born artist Francis Bacon. The figure is based on the Pope Innocent X portrait by Diego Velázquez; however, in the Bacon painting the Pope is shown as a gruesome figure and placed between two bisected halves of a cow.
The carcass hanging in the background is likely derived from Rembrandt's Slaughtered Ox, 1655. The painting is in the permanent collection of the Art Institute of Chicago.
|
[
"Art Institute of Chicago",
"Slaughtered Ox",
"Francis Bacon",
"Rembrandt",
"Chicago",
"Pope Innocent X",
"Diego Velázquez"
] |
|
13196_NT
|
Figure with Meat
|
How does this artwork elucidate its abstract?
|
Figure with Meat is a 1954 painting by the Irish-born artist Francis Bacon. The figure is based on the Pope Innocent X portrait by Diego Velázquez; however, in the Bacon painting the Pope is shown as a gruesome figure and placed between two bisected halves of a cow.
The carcass hanging in the background is likely derived from Rembrandt's Slaughtered Ox, 1655. The painting is in the permanent collection of the Art Institute of Chicago.
|
[
"Art Institute of Chicago",
"Slaughtered Ox",
"Francis Bacon",
"Rembrandt",
"Chicago",
"Pope Innocent X",
"Diego Velázquez"
] |
|
13197_T
|
Figure with Meat
|
Focus on Figure with Meat and analyze the Description.
|
According to Mary Louise Schumacher of the Milwaukee Journal Sentinel, "Bacon appropriated the famous portrait, with its subject, enthroned and draped in satins and lace, his stare stern and full of authority. In Bacon's version, animal carcasses hang at the pope's back, creating a raw and disturbing Crucifixion-like composition. The pope's hands, elegant and poised in Velázquez's version, are rough hewn and gripping the church's seat of authority in apparent terror. His mouth is held in a scream and black striations drip down from the pope's nose to his neck.
The fresh meat recalls the lavish arrangements of fruits, meats and confections in 17th-century vanitas paintings, which usually carried subtle moralizing messages about the impermanence of life and the spiritual dangers of sensual pleasures. Sometimes, the food itself showed signs of being overripe or spoiled, to make the point. Bacon weds the imagery of salvation, worldly decadence, power and carnal sensuality, and he contrasts those things with his own far more palpable and existential view of damnation".
|
[
"salvation",
"vanitas paintings",
"damnation",
"vanitas"
] |
|
13197_NT
|
Figure with Meat
|
Focus on this artwork and analyze the Description.
|
According to Mary Louise Schumacher of the Milwaukee Journal Sentinel, "Bacon appropriated the famous portrait, with its subject, enthroned and draped in satins and lace, his stare stern and full of authority. In Bacon's version, animal carcasses hang at the pope's back, creating a raw and disturbing Crucifixion-like composition. The pope's hands, elegant and poised in Velázquez's version, are rough hewn and gripping the church's seat of authority in apparent terror. His mouth is held in a scream and black striations drip down from the pope's nose to his neck.
The fresh meat recalls the lavish arrangements of fruits, meats and confections in 17th-century vanitas paintings, which usually carried subtle moralizing messages about the impermanence of life and the spiritual dangers of sensual pleasures. Sometimes, the food itself showed signs of being overripe or spoiled, to make the point. Bacon weds the imagery of salvation, worldly decadence, power and carnal sensuality, and he contrasts those things with his own far more palpable and existential view of damnation".
|
[
"salvation",
"vanitas paintings",
"damnation",
"vanitas"
] |
|
13198_T
|
Figure with Meat
|
In Figure with Meat, how is the Influence discussed?
|
The painting is featured in Tim Burton's 1989 film Batman. Criminals led by the Joker break into an art museum and vandalize various works of art; but upon seeing Figure with Meat, the Joker orders it spared and left intact, remarking "I kind of like this one [...] Leave it." Craig Shaw Gardner's novelization explains that it was in that art that Joker saw "A black-and-white figure, screaming with pain and anguish and madness, a creature both pitiful and terrifying in its intensity, as if it contained all the pain and anguish and madness in the world."
|
[
"Joker",
"Tim Burton",
"left",
"Batman",
"Craig Shaw Gardner"
] |
|
13198_NT
|
Figure with Meat
|
In this artwork, how is the Influence discussed?
|
The painting is featured in Tim Burton's 1989 film Batman. Criminals led by the Joker break into an art museum and vandalize various works of art; but upon seeing Figure with Meat, the Joker orders it spared and left intact, remarking "I kind of like this one [...] Leave it." Craig Shaw Gardner's novelization explains that it was in that art that Joker saw "A black-and-white figure, screaming with pain and anguish and madness, a creature both pitiful and terrifying in its intensity, as if it contained all the pain and anguish and madness in the world."
|
[
"Joker",
"Tim Burton",
"left",
"Batman",
"Craig Shaw Gardner"
] |
|
13199_T
|
Allegory of Isabella d'Este's Coronation
|
Focus on Allegory of Isabella d'Este's Coronation and explain the abstract.
|
The Allegory of Isabella d'Este's Coronation is a painting by the Italian Renaissance painter Lorenzo Costa, dating to about 1505–1506. It is displayed in the Louvre, in Paris.
|
[
"Italian",
"Lorenzo Costa",
"Louvre",
"Paris"
] |
|
13199_NT
|
Allegory of Isabella d'Este's Coronation
|
Focus on this artwork and explain the abstract.
|
The Allegory of Isabella d'Este's Coronation is a painting by the Italian Renaissance painter Lorenzo Costa, dating to about 1505–1506. It is displayed in the Louvre, in Paris.
|
[
"Italian",
"Lorenzo Costa",
"Louvre",
"Paris"
] |
|
13200_T
|
Allegory of Isabella d'Este's Coronation
|
Explore the History of this artwork, Allegory of Isabella d'Este's Coronation.
|
The painting was the fourth commissioned by Isabella d'Este for her studiolo, after two canvasses by Andrea Mantegna (Parnassus and the Triumph of the Virtues, respectively from 1497 and 1499-1502) and Perugino's Combat of Love and Chastity (1503).
The subject was provided by the court poet Paride of Ceresara and was initially assigned to Mantegna. However, after the latter's death in 1506, he was replaced by Lorenzo Costa, who deleted all the work made by his predecessor. Isabella liked the painting, and this granted Costa the position as the new court painter of the Gonzaga of Mantua.
Duke Charles I of Nevers gifted this and the other paintings in the studiolo to Cardinal Richelieu, and the Allegory thus went to Paris. After belonging to several collections, it became part of the collections of the Louvre Museum.
|
[
"Charles I of Nevers",
"Triumph of the Virtues",
"Gonzaga",
"Parnassus",
"Combat of Love and Chastity",
"Mantua",
"Lorenzo Costa",
"Andrea Mantegna",
"Perugino",
"Louvre",
"Cardinal Richelieu",
"Paris",
"Paride of Ceresara",
"Louvre Museum"
] |
|
13200_NT
|
Allegory of Isabella d'Este's Coronation
|
Explore the History of this artwork.
|
The painting was the fourth commissioned by Isabella d'Este for her studiolo, after two canvasses by Andrea Mantegna (Parnassus and the Triumph of the Virtues, respectively from 1497 and 1499-1502) and Perugino's Combat of Love and Chastity (1503).
The subject was provided by the court poet Paride of Ceresara and was initially assigned to Mantegna. However, after the latter's death in 1506, he was replaced by Lorenzo Costa, who deleted all the work made by his predecessor. Isabella liked the painting, and this granted Costa the position as the new court painter of the Gonzaga of Mantua.
Duke Charles I of Nevers gifted this and the other paintings in the studiolo to Cardinal Richelieu, and the Allegory thus went to Paris. After belonging to several collections, it became part of the collections of the Louvre Museum.
|
[
"Charles I of Nevers",
"Triumph of the Virtues",
"Gonzaga",
"Parnassus",
"Combat of Love and Chastity",
"Mantua",
"Lorenzo Costa",
"Andrea Mantegna",
"Perugino",
"Louvre",
"Cardinal Richelieu",
"Paris",
"Paride of Ceresara",
"Louvre Museum"
] |
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