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|---|---|---|---|---|---|
13201_T
|
Allegory of Isabella d'Este's Coronation
|
Focus on Allegory of Isabella d'Este's Coronation and discuss the Description.
|
The most accepted interpretation of the painting is an exaltation of Isabella d'Este, her rule and her role as patron of the arts, which generates harmony. She would be the figure in the center, crowned with laurel by Anteros, who is held by his mother, Venus: the two mythological figures would symbolize the heavenly and virtuous love, compared to the earthly and carnal one.
The scene would be in the garden of Harmony, where it is possible to freely practice Music, Arts and Poetry, which are referred to by the characters surrounding the coronation. In the foreground, behind the garden's boundaries, are Diana, symbol of chastity, and Cadmus (on the left), protectors of the arts such as Mercury, identified by the scene of battle behind him on the painting's left. The two female characters sitting on the ground are identifiable with the Virtues who watch over Isabella's world: the one crowning the ox would be Perseverance, the one crowning the lamb would be Purity or Innocence.
Another interpretation is that based on the Tabula Cebetis: the painting would represent the different genres of poetry, the foremost of which is lyrics, portrayed by Venus in the center. The character being crowned would be Sappho, and the personifications around her would be outstanding early lyricists such as Callimachus, Propertius, Ovid and Tibullus.
|
[
"Ovid",
"Tibullus",
"Anteros",
"Diana",
"Callimachus",
"Propertius",
"Mercury",
"Sappho",
"Venus",
"Cadmus"
] |
|
13201_NT
|
Allegory of Isabella d'Este's Coronation
|
Focus on this artwork and discuss the Description.
|
The most accepted interpretation of the painting is an exaltation of Isabella d'Este, her rule and her role as patron of the arts, which generates harmony. She would be the figure in the center, crowned with laurel by Anteros, who is held by his mother, Venus: the two mythological figures would symbolize the heavenly and virtuous love, compared to the earthly and carnal one.
The scene would be in the garden of Harmony, where it is possible to freely practice Music, Arts and Poetry, which are referred to by the characters surrounding the coronation. In the foreground, behind the garden's boundaries, are Diana, symbol of chastity, and Cadmus (on the left), protectors of the arts such as Mercury, identified by the scene of battle behind him on the painting's left. The two female characters sitting on the ground are identifiable with the Virtues who watch over Isabella's world: the one crowning the ox would be Perseverance, the one crowning the lamb would be Purity or Innocence.
Another interpretation is that based on the Tabula Cebetis: the painting would represent the different genres of poetry, the foremost of which is lyrics, portrayed by Venus in the center. The character being crowned would be Sappho, and the personifications around her would be outstanding early lyricists such as Callimachus, Propertius, Ovid and Tibullus.
|
[
"Ovid",
"Tibullus",
"Anteros",
"Diana",
"Callimachus",
"Propertius",
"Mercury",
"Sappho",
"Venus",
"Cadmus"
] |
|
13202_T
|
Allegory of Isabella d'Este's Coronation
|
How does Allegory of Isabella d'Este's Coronation elucidate its Other paintings of Isabella's Studiolo?
|
Parnassus by Mantegna
Reign of Comus by Lorenzo Costa
Triumph of the Virtues by Mantegna
Combat of Love and Chastity by Pietro Perugino
|
[
"Triumph of the Virtues",
"Reign of Comus",
"Parnassus",
"Pietro Perugino",
"Combat of Love and Chastity",
"Lorenzo Costa",
"Perugino"
] |
|
13202_NT
|
Allegory of Isabella d'Este's Coronation
|
How does this artwork elucidate its Other paintings of Isabella's Studiolo?
|
Parnassus by Mantegna
Reign of Comus by Lorenzo Costa
Triumph of the Virtues by Mantegna
Combat of Love and Chastity by Pietro Perugino
|
[
"Triumph of the Virtues",
"Reign of Comus",
"Parnassus",
"Pietro Perugino",
"Combat of Love and Chastity",
"Lorenzo Costa",
"Perugino"
] |
|
13203_T
|
All the Mistakes I've Made
|
Focus on All the Mistakes I've Made and analyze the abstract.
|
All The Mistakes I've Made is the common title of a pair of distinct performance/lecture pieces conceived and performed by Canadian video artist Daniel Cockburn.
|
[
"Daniel Cockburn",
"video artist"
] |
|
13203_NT
|
All the Mistakes I've Made
|
Focus on this artwork and analyze the abstract.
|
All The Mistakes I've Made is the common title of a pair of distinct performance/lecture pieces conceived and performed by Canadian video artist Daniel Cockburn.
|
[
"Daniel Cockburn",
"video artist"
] |
|
13204_T
|
All the Mistakes I've Made
|
In the context of All the Mistakes I've Made, explore the Content of the All The Mistakes I've Made.
|
Daniel Cockburn revisits some of his early short films and "walks the audience through the pros and cons of being a visual artist." Examples include a karaoke-style revamp of Rocket Man and an overlooked element due to his having taken shots in his bedroom, the latter of which he ascribes to laziness. Besides mistakes made while making films, Cockburn also confesses to misunderstanding the works of other filmmakers, and discusses works by Andrei Tarkovsky and Tim Burton.
|
[
"Daniel Cockburn",
"Tim Burton",
"karaoke",
"Andrei Tarkovsky",
"short films"
] |
|
13204_NT
|
All the Mistakes I've Made
|
In the context of this artwork, explore the Content of the All The Mistakes I've Made.
|
Daniel Cockburn revisits some of his early short films and "walks the audience through the pros and cons of being a visual artist." Examples include a karaoke-style revamp of Rocket Man and an overlooked element due to his having taken shots in his bedroom, the latter of which he ascribes to laziness. Besides mistakes made while making films, Cockburn also confesses to misunderstanding the works of other filmmakers, and discusses works by Andrei Tarkovsky and Tim Burton.
|
[
"Daniel Cockburn",
"Tim Burton",
"karaoke",
"Andrei Tarkovsky",
"short films"
] |
|
13205_T
|
All the Mistakes I've Made
|
In the context of All the Mistakes I've Made, explain the Background and concept of the All The Mistakes I've Made.
|
During an artist's residency in 2009 in Berlin, Daniel Cockburn developed an anti-artist talk, also called a "lecture-performance" about his professional mistakes as an artist: technical, aesthetic, and ideological. "The art world is bursting with events where artists present an anthology of the highlights of their career to a slightly bored audience." Cockburn decided to turn this idea on its head, examining to what extent his own inability to properly judge might be representative of a "negative trend" in contemporary art and cinema, supporting this argument with excerpts from his own work, and that of artists like Andrei Tarkovsky and Tim Burton.Cockburn gave an interview in Osnabrück ahead of a performance there in 2012, saying that during the programme he was half himself and half artificial persona, that it all begins quite personally but ends apocalyptically.
|
[
"Daniel Cockburn",
"Berlin",
"Tim Burton",
"artist's residency",
"anti-art",
"persona",
"Osnabrück",
"apocalyptically",
"Andrei Tarkovsky"
] |
|
13205_NT
|
All the Mistakes I've Made
|
In the context of this artwork, explain the Background and concept of the All The Mistakes I've Made.
|
During an artist's residency in 2009 in Berlin, Daniel Cockburn developed an anti-artist talk, also called a "lecture-performance" about his professional mistakes as an artist: technical, aesthetic, and ideological. "The art world is bursting with events where artists present an anthology of the highlights of their career to a slightly bored audience." Cockburn decided to turn this idea on its head, examining to what extent his own inability to properly judge might be representative of a "negative trend" in contemporary art and cinema, supporting this argument with excerpts from his own work, and that of artists like Andrei Tarkovsky and Tim Burton.Cockburn gave an interview in Osnabrück ahead of a performance there in 2012, saying that during the programme he was half himself and half artificial persona, that it all begins quite personally but ends apocalyptically.
|
[
"Daniel Cockburn",
"Berlin",
"Tim Burton",
"artist's residency",
"anti-art",
"persona",
"Osnabrück",
"apocalyptically",
"Andrei Tarkovsky"
] |
|
13206_T
|
All the Mistakes I've Made
|
Explore the Performances about the All The Mistakes I've Made of this artwork, All the Mistakes I've Made.
|
Cockburn performed All The Mistakes I've Made from 2009 to 2013, touring internationally. In Osnabrück, it was advertised in German as Alle meine Fehler.On at least one occasion, he playfully retitled the performance a few minutes in, to Some of the Mistakes I've Made.
|
[
"Osnabrück"
] |
|
13206_NT
|
All the Mistakes I've Made
|
Explore the Performances about the All The Mistakes I've Made of this artwork.
|
Cockburn performed All The Mistakes I've Made from 2009 to 2013, touring internationally. In Osnabrück, it was advertised in German as Alle meine Fehler.On at least one occasion, he playfully retitled the performance a few minutes in, to Some of the Mistakes I've Made.
|
[
"Osnabrück"
] |
|
13207_T
|
All the Mistakes I've Made
|
In the context of All the Mistakes I've Made, discuss the Reception of the All The Mistakes I've Made.
|
Cockburn's lecture-performance is described as "funny, quirky, and insightfully self-deprecating", and "both playful and profound, personal and wide-reaching in its meditation on creative misguidance."
|
[
"persona"
] |
|
13207_NT
|
All the Mistakes I've Made
|
In the context of this artwork, discuss the Reception of the All The Mistakes I've Made.
|
Cockburn's lecture-performance is described as "funny, quirky, and insightfully self-deprecating", and "both playful and profound, personal and wide-reaching in its meditation on creative misguidance."
|
[
"persona"
] |
|
13208_T
|
All the Mistakes I've Made
|
In the context of All the Mistakes I've Made, analyze the Content of the All The Mistakes I've Made (Part 2).
|
Cockburn begins with a look at 1990s horror movies (two 1994 films in particular, John Carpenter's In the Mouth of Madness and Wes Craven's New Nightmare), "by way of illuminating both the redemptive and destructive powers of storytelling." He then takes the audience on an autobiographical journey "full of film references, over-interpretation and paranoia." Cockburn also argues against finding fault with continuity errors, as he says in an essay derived from the performance:We never would have noticed, if you hadn't pointed it out to us. IMDB users of the world: does it make you feel good to find mistakes in a world's construction? ... Film is joinery. That's what it is, what it does. So there's no point in getting indignant or superior when the joins aren't in line with what you think they ought to be.
|
[
"In the Mouth of Madness",
"continuity errors",
"Wes Craven's New Nightmare",
"horror movies",
"John Carpenter",
"IMDB"
] |
|
13208_NT
|
All the Mistakes I've Made
|
In the context of this artwork, analyze the Content of the All The Mistakes I've Made (Part 2).
|
Cockburn begins with a look at 1990s horror movies (two 1994 films in particular, John Carpenter's In the Mouth of Madness and Wes Craven's New Nightmare), "by way of illuminating both the redemptive and destructive powers of storytelling." He then takes the audience on an autobiographical journey "full of film references, over-interpretation and paranoia." Cockburn also argues against finding fault with continuity errors, as he says in an essay derived from the performance:We never would have noticed, if you hadn't pointed it out to us. IMDB users of the world: does it make you feel good to find mistakes in a world's construction? ... Film is joinery. That's what it is, what it does. So there's no point in getting indignant or superior when the joins aren't in line with what you think they ought to be.
|
[
"In the Mouth of Madness",
"continuity errors",
"Wes Craven's New Nightmare",
"horror movies",
"John Carpenter",
"IMDB"
] |
|
13209_T
|
All the Mistakes I've Made
|
Describe the characteristics of the Background and concept in All the Mistakes I've Made's All The Mistakes I've Made (Part 2).
|
Sometimes also featuring a subtitle (How Not To Watch a Film) or alternate title (How Not to Watch a Movie and even How To Not Watch a Movie), Cockburn's similarly-titled and -themed performance is not, despite the titular suggestion, strictly a sequel to All The Mistakes I've Made, but rather a spiritual successor to the original performance, "an independent, stand-alone work."
|
[
"spiritual successor"
] |
|
13209_NT
|
All the Mistakes I've Made
|
Describe the characteristics of the Background and concept in this artwork's All The Mistakes I've Made (Part 2).
|
Sometimes also featuring a subtitle (How Not To Watch a Film) or alternate title (How Not to Watch a Movie and even How To Not Watch a Movie), Cockburn's similarly-titled and -themed performance is not, despite the titular suggestion, strictly a sequel to All The Mistakes I've Made, but rather a spiritual successor to the original performance, "an independent, stand-alone work."
|
[
"spiritual successor"
] |
|
13210_T
|
All the Mistakes I've Made
|
In the context of All the Mistakes I've Made, explore the Reception of the All The Mistakes I've Made (Part 2).
|
Like his "exuberantly cerebral, filmically deconstructionist" work in film and video, the performance defies easy categorization, located at an intersection of filmmaking, criticism, academia, performance art, and personal confession. And, like the original performance, Cockburn's multimedia presentation has been met with "much acclaim." Calum Marsh calls it "part scholarly monologue, part real-time essay film, and part solo theatre":A bit like Spalding Gray with PowerPoint. All the Mistakes I've Made (Part 2) is about the cinema, and it is smart and amusing. Better still is its curt punch line, provided by none other than Paul Schrader — a sight gag worth the price of admission.
|
[
"PowerPoint",
"Spalding Gray",
"Paul Schrader",
"persona"
] |
|
13210_NT
|
All the Mistakes I've Made
|
In the context of this artwork, explore the Reception of the All The Mistakes I've Made (Part 2).
|
Like his "exuberantly cerebral, filmically deconstructionist" work in film and video, the performance defies easy categorization, located at an intersection of filmmaking, criticism, academia, performance art, and personal confession. And, like the original performance, Cockburn's multimedia presentation has been met with "much acclaim." Calum Marsh calls it "part scholarly monologue, part real-time essay film, and part solo theatre":A bit like Spalding Gray with PowerPoint. All the Mistakes I've Made (Part 2) is about the cinema, and it is smart and amusing. Better still is its curt punch line, provided by none other than Paul Schrader — a sight gag worth the price of admission.
|
[
"PowerPoint",
"Spalding Gray",
"Paul Schrader",
"persona"
] |
|
13211_T
|
Horizontes
|
Focus on Horizontes and explain the abstract.
|
Horizons (Spanish: Horizontes) is a 1913 oil painting by Francisco Antonio Cano Cardona. Horizons shows the idealized migrant family and it portrays a colono family –consisting of a husband, wife, and child– sitting on a bluff, surrounded by mountains. The three members of the family are often referred as a version of the Holy family, with the woman dressed in colors like the Virgin Mary, with a baby on her lap. The gaze of the wife, child, and father are in the direction of the man's outstretched hand, which evokes Michelangelo's Creation of Adam, and that points toward an unseen horizon.The painting is a part of the permanent collection of the Museum of Antioquia, located in Medellín, Colombia.
|
[
"Francisco Antonio Cano Cardona",
"Holy family",
"colono",
"Virgin Mary",
"Museum of Antioquia",
"Creation of Adam",
"Medellín"
] |
|
13211_NT
|
Horizontes
|
Focus on this artwork and explain the abstract.
|
Horizons (Spanish: Horizontes) is a 1913 oil painting by Francisco Antonio Cano Cardona. Horizons shows the idealized migrant family and it portrays a colono family –consisting of a husband, wife, and child– sitting on a bluff, surrounded by mountains. The three members of the family are often referred as a version of the Holy family, with the woman dressed in colors like the Virgin Mary, with a baby on her lap. The gaze of the wife, child, and father are in the direction of the man's outstretched hand, which evokes Michelangelo's Creation of Adam, and that points toward an unseen horizon.The painting is a part of the permanent collection of the Museum of Antioquia, located in Medellín, Colombia.
|
[
"Francisco Antonio Cano Cardona",
"Holy family",
"colono",
"Virgin Mary",
"Museum of Antioquia",
"Creation of Adam",
"Medellín"
] |
|
13212_T
|
Horizontes
|
Explore the History of this artwork, Horizontes.
|
Horizons was painted in Bogotá after the painter moved there from Medellín.
|
[
"Medellín"
] |
|
13212_NT
|
Horizontes
|
Explore the History of this artwork.
|
Horizons was painted in Bogotá after the painter moved there from Medellín.
|
[
"Medellín"
] |
|
13213_T
|
Bust of Pope Paul V
|
Focus on Bust of Pope Paul V and discuss the abstract.
|
The Italian artist Gian Lorenzo Bernini made two Busts of Pope Paul V. The first is currently in the Galleria Borghese in Rome. 1618 is the commonly accepted date for the portrait of the pope. In 2015, a second bust was acquired by the J. Paul Getty Museum in Los Angeles. It was created by Bernini 1621, shortly after the death of Paul V, and commissioned by his nephew, Cardinal Scipione Borghese. A bronze version of this sculpture exists in the Statens Museum for Kunst, Copenhagen, Denmark.
|
[
"Copenhagen",
"Statens Museum for Kunst",
"Scipione Borghese",
"Galleria Borghese",
"Cardinal Scipione Borghese",
"Paul V",
"Rome",
"Pope Paul V",
" Pope",
"J. Paul Getty Museum",
"Gian Lorenzo Bernini"
] |
|
13213_NT
|
Bust of Pope Paul V
|
Focus on this artwork and discuss the abstract.
|
The Italian artist Gian Lorenzo Bernini made two Busts of Pope Paul V. The first is currently in the Galleria Borghese in Rome. 1618 is the commonly accepted date for the portrait of the pope. In 2015, a second bust was acquired by the J. Paul Getty Museum in Los Angeles. It was created by Bernini 1621, shortly after the death of Paul V, and commissioned by his nephew, Cardinal Scipione Borghese. A bronze version of this sculpture exists in the Statens Museum for Kunst, Copenhagen, Denmark.
|
[
"Copenhagen",
"Statens Museum for Kunst",
"Scipione Borghese",
"Galleria Borghese",
"Cardinal Scipione Borghese",
"Paul V",
"Rome",
"Pope Paul V",
" Pope",
"J. Paul Getty Museum",
"Gian Lorenzo Bernini"
] |
|
13214_T
|
Bust of Pope Paul V
|
How does Bust of Pope Paul V elucidate its Rediscovery of second bust?
|
For most of the twentieth century, the second bust had been presumed lost. It was sold by the Borghese family in 1893, and an art historian recorded its existence in Vienna in 1916. However, little more was known about the presence of the bust until it appeared in auction in Slovakia in 2014; the piece had been in the private collection of the Slovakian artist Ernest Zmeták. Unrecognised by the sellers, it was bought by a resident of Bratislava, Clément Guenebeaud, who then sold the bust via Sotheby's to the current holders, the Getty Museum.
|
[] |
|
13214_NT
|
Bust of Pope Paul V
|
How does this artwork elucidate its Rediscovery of second bust?
|
For most of the twentieth century, the second bust had been presumed lost. It was sold by the Borghese family in 1893, and an art historian recorded its existence in Vienna in 1916. However, little more was known about the presence of the bust until it appeared in auction in Slovakia in 2014; the piece had been in the private collection of the Slovakian artist Ernest Zmeták. Unrecognised by the sellers, it was bought by a resident of Bratislava, Clément Guenebeaud, who then sold the bust via Sotheby's to the current holders, the Getty Museum.
|
[] |
|
13215_T
|
Frédéric-Back Park
|
Focus on Frédéric-Back Park and analyze the abstract.
|
Frédéric-Back Park (French: Parc Frédéric-Back) is an urban park in Montreal, Quebec, Canada. It is within the Saint-Michel environmental complex in the borough of Villeray–Saint-Michel–Parc-Extension. The 192-hectare area originally was a limestone quarry, then a landfill. It is in the midst of a transformation that will see the majority of it become the park. A trail of 5.5 kilometres (3.4 mi) encircles the center of the park. As of 2020, the park has a total area of 48 hectares. When the planned transformation is complete, the park will have an area of 153 hectares.This will make it one or the largest urban parks in the city of Montreal.
|
[
"Saint-Michel environmental complex",
"Saint-Michel",
"Montreal",
"urban park",
"Quebec",
"Villeray–Saint-Michel–Parc-Extension"
] |
|
13215_NT
|
Frédéric-Back Park
|
Focus on this artwork and analyze the abstract.
|
Frédéric-Back Park (French: Parc Frédéric-Back) is an urban park in Montreal, Quebec, Canada. It is within the Saint-Michel environmental complex in the borough of Villeray–Saint-Michel–Parc-Extension. The 192-hectare area originally was a limestone quarry, then a landfill. It is in the midst of a transformation that will see the majority of it become the park. A trail of 5.5 kilometres (3.4 mi) encircles the center of the park. As of 2020, the park has a total area of 48 hectares. When the planned transformation is complete, the park will have an area of 153 hectares.This will make it one or the largest urban parks in the city of Montreal.
|
[
"Saint-Michel environmental complex",
"Saint-Michel",
"Montreal",
"urban park",
"Quebec",
"Villeray–Saint-Michel–Parc-Extension"
] |
|
13216_T
|
Frédéric-Back Park
|
In Frédéric-Back Park, how is the Toponymy discussed?
|
The land on which the park is located was used as a quarry by the Miron family for 60 years. In 1988, the City of Montreal acquired the site in order to make it a landfill site. In 1995, it renamed the site to be the Saint-Michel Environmental Complex because of its location in the Saint-Michel neighborhood.As of 2020 some landfill activities still take place. In 2016, the part that was destined to become a park was named Frédéric-Back Park in honor of the painter, illustrator and film director Frédéric Back, who notably produced the 1987 film The Man Who Planted Trees.
|
[
"Saint-Michel",
"Montreal",
"The Man Who Planted Trees",
"Frédéric Back",
"City of Montreal"
] |
|
13216_NT
|
Frédéric-Back Park
|
In this artwork, how is the Toponymy discussed?
|
The land on which the park is located was used as a quarry by the Miron family for 60 years. In 1988, the City of Montreal acquired the site in order to make it a landfill site. In 1995, it renamed the site to be the Saint-Michel Environmental Complex because of its location in the Saint-Michel neighborhood.As of 2020 some landfill activities still take place. In 2016, the part that was destined to become a park was named Frédéric-Back Park in honor of the painter, illustrator and film director Frédéric Back, who notably produced the 1987 film The Man Who Planted Trees.
|
[
"Saint-Michel",
"Montreal",
"The Man Who Planted Trees",
"Frédéric Back",
"City of Montreal"
] |
|
13217_T
|
Frédéric-Back Park
|
Focus on Frédéric-Back Park and explore the History.
|
In 1957, all the quarries that operated on the site were united under the Miron banner. Over time, some of the blasting sessions and various accidents severely irritated the local residents. Protests by citizens made themselves heard, as did spokespeople from the Saint-Michel community. As a result, the Miron firm transformed 75 hectares of the quarry into a landfill site for domestic waste.
The City of Montreal acquired the Miron quarry in 1988 and continued the landfill activities. The two chimneys of the cement factory, emblematic of Saint-Michel, were demolished in front of an audience of 50,000 people. During the 1990s, the city set up a sorting center for recycling and a power plant to convert the biogas extracted from the landfill site into electricity.From 1995, the site constantly was being reworked under the direction of the City in order to make it an urban green space. As of 2020, it is comparable in size to Mount Royal Park. A cycling and pedestrian path, transformed into a cross-country ski trail in winter, is laid out all around the park. In 2017, two new sections, Parvis Papineau and Boisé Est, totaling 17.7 hectares, were opened to the public.Frédéric-Back Park is set to become one of the largest urban parks in the city by the middle of the 2020s, with an estimated area of 153 hectares (out of the 192 hectares of the complex). It represents “one of the most ambitious environmental remediation projects ever undertaken in an urban setting in North America". The works is planned to be completed by 2026.
|
[
"Mount Royal Park",
"Mount Royal",
"Saint-Michel",
"Montreal",
"biogas",
"urban park",
"City of Montreal"
] |
|
13217_NT
|
Frédéric-Back Park
|
Focus on this artwork and explore the History.
|
In 1957, all the quarries that operated on the site were united under the Miron banner. Over time, some of the blasting sessions and various accidents severely irritated the local residents. Protests by citizens made themselves heard, as did spokespeople from the Saint-Michel community. As a result, the Miron firm transformed 75 hectares of the quarry into a landfill site for domestic waste.
The City of Montreal acquired the Miron quarry in 1988 and continued the landfill activities. The two chimneys of the cement factory, emblematic of Saint-Michel, were demolished in front of an audience of 50,000 people. During the 1990s, the city set up a sorting center for recycling and a power plant to convert the biogas extracted from the landfill site into electricity.From 1995, the site constantly was being reworked under the direction of the City in order to make it an urban green space. As of 2020, it is comparable in size to Mount Royal Park. A cycling and pedestrian path, transformed into a cross-country ski trail in winter, is laid out all around the park. In 2017, two new sections, Parvis Papineau and Boisé Est, totaling 17.7 hectares, were opened to the public.Frédéric-Back Park is set to become one of the largest urban parks in the city by the middle of the 2020s, with an estimated area of 153 hectares (out of the 192 hectares of the complex). It represents “one of the most ambitious environmental remediation projects ever undertaken in an urban setting in North America". The works is planned to be completed by 2026.
|
[
"Mount Royal Park",
"Mount Royal",
"Saint-Michel",
"Montreal",
"biogas",
"urban park",
"City of Montreal"
] |
|
13218_T
|
Frédéric-Back Park
|
Focus on Frédéric-Back Park and explain the Current uses.
|
As of 2020, almost 75 hectares are still used for waste disposal. In addition to the park, the complex includes a recyclable material recovery center, an electric power station operating through the recovery of biogas, a composting site, and a landfill site.
The Center of Expertise on Residual Materials (French: Centre d'expertise sur les matières résiduelles) (CEMR), dedicated to the research and application of efficient, ecological and sustainable management of residual materials is located in the complex. For several years now, the Cité des Arts du cirque (TOHU), a non-profit organization, has been installed on the site. Its mission is to make Montreal an international capital of the circus arts, to contribute to the environmental rehabilitation of the landfill site, and to support the community development of the Saint-Michel district.
|
[
"Saint-Michel",
"Montreal",
"biogas"
] |
|
13218_NT
|
Frédéric-Back Park
|
Focus on this artwork and explain the Current uses.
|
As of 2020, almost 75 hectares are still used for waste disposal. In addition to the park, the complex includes a recyclable material recovery center, an electric power station operating through the recovery of biogas, a composting site, and a landfill site.
The Center of Expertise on Residual Materials (French: Centre d'expertise sur les matières résiduelles) (CEMR), dedicated to the research and application of efficient, ecological and sustainable management of residual materials is located in the complex. For several years now, the Cité des Arts du cirque (TOHU), a non-profit organization, has been installed on the site. Its mission is to make Montreal an international capital of the circus arts, to contribute to the environmental rehabilitation of the landfill site, and to support the community development of the Saint-Michel district.
|
[
"Saint-Michel",
"Montreal",
"biogas"
] |
|
13219_T
|
Frédéric-Back Park
|
In the context of Frédéric-Back Park, discuss the Anamnèse 1+1 of the Art.
|
Anamnèse 1+1 is a permanent work that was installed in the park in 2017. The artist Alain-Martin Richard created it after a two-year cultural consultation with the residents of the area.
The work is composed of two parts. One part is a cast aluminum rectangular volume, from the top of which emerges a tree as a sign of renewal. The other part includes thirty partially buried stones along the nearby path, words and reproductions of residents appearing on them.
|
[
"Alain-Martin Richard",
"aluminum"
] |
|
13219_NT
|
Frédéric-Back Park
|
In the context of this artwork, discuss the Anamnèse 1+1 of the Art.
|
Anamnèse 1+1 is a permanent work that was installed in the park in 2017. The artist Alain-Martin Richard created it after a two-year cultural consultation with the residents of the area.
The work is composed of two parts. One part is a cast aluminum rectangular volume, from the top of which emerges a tree as a sign of renewal. The other part includes thirty partially buried stones along the nearby path, words and reproductions of residents appearing on them.
|
[
"Alain-Martin Richard",
"aluminum"
] |
|
13220_T
|
Frédéric-Back Park
|
How does Frédéric-Back Park elucidate its Prizes and Distinctions?
|
The park rehabilitation project has received many distinctions:
Winner of the 2018 Grands Prix du Design in the Urban Furniture category for its design of 250 biogas-capturing wells
Gold Medal - Environmentally Sustainable Projects Award
Merit - The International Award for Liveable Communities 2004
Special Mention - Communities in Bloom 2004
Espace Montréal at Expo 2010 - Shanghai
|
[
"biogas"
] |
|
13220_NT
|
Frédéric-Back Park
|
How does this artwork elucidate its Prizes and Distinctions?
|
The park rehabilitation project has received many distinctions:
Winner of the 2018 Grands Prix du Design in the Urban Furniture category for its design of 250 biogas-capturing wells
Gold Medal - Environmentally Sustainable Projects Award
Merit - The International Award for Liveable Communities 2004
Special Mention - Communities in Bloom 2004
Espace Montréal at Expo 2010 - Shanghai
|
[
"biogas"
] |
|
13221_T
|
87 Hackford Road (Van Gogh)
|
Focus on 87 Hackford Road (Van Gogh) and analyze the Discovery.
|
In 1973, while researching an article on van Gogh, the journalist Ken Wilkie visited Eugenie's granddaughter, Kathleen Maynard, at her home in Devon, England. While she was showing him photographs of the Loyers and their house, he noticed a dusty, tea- or coffee- stained drawing in the box in which the photographs were kept. Maynard recalled that her father said it had been drawn by "one of my [Maynard's] Grandmother's lodgers" and "it's been up in the attic as long as I can remember".Wilkie recognised it as depicting the house in Hackford Road, and being potentially Van Gogh's work. With Maynard's blessing, he took it to Amsterdam, where Dr Hans Jaffé, an authority on the artist working at the University of Amsterdam, authenticated it. The final paragraph of Jaffé's report read:
On the grounds of topographical evidence, the origin of the drawing, but especially on the grounds of the style in which this drawing has been made... I do not hesitate to accept the drawing shown to me as a work of Vincent van Gogh from his London period 1873–1874.
|
[
"Devon",
"Hackford Road",
"University of Amsterdam",
"Vincent van Gogh"
] |
|
13221_NT
|
87 Hackford Road (Van Gogh)
|
Focus on this artwork and analyze the Discovery.
|
In 1973, while researching an article on van Gogh, the journalist Ken Wilkie visited Eugenie's granddaughter, Kathleen Maynard, at her home in Devon, England. While she was showing him photographs of the Loyers and their house, he noticed a dusty, tea- or coffee- stained drawing in the box in which the photographs were kept. Maynard recalled that her father said it had been drawn by "one of my [Maynard's] Grandmother's lodgers" and "it's been up in the attic as long as I can remember".Wilkie recognised it as depicting the house in Hackford Road, and being potentially Van Gogh's work. With Maynard's blessing, he took it to Amsterdam, where Dr Hans Jaffé, an authority on the artist working at the University of Amsterdam, authenticated it. The final paragraph of Jaffé's report read:
On the grounds of topographical evidence, the origin of the drawing, but especially on the grounds of the style in which this drawing has been made... I do not hesitate to accept the drawing shown to me as a work of Vincent van Gogh from his London period 1873–1874.
|
[
"Devon",
"Hackford Road",
"University of Amsterdam",
"Vincent van Gogh"
] |
|
13222_T
|
Statue of George Clinton
|
In Statue of George Clinton, how is the abstract discussed?
|
George Clinton is an 1873 bronze sculpture depicting the American soldier and statesman of the same name by Henry Kirke Brown, installed in the United States Capitol, in Washington D.C., as part of the National Statuary Hall Collection. It is one of two statues donated by the U.S. state of New York. The statue is one of three by Brown in the Collection.
|
[
"George Clinton",
"Washington D.C.",
"National Statuary Hall Collection",
"bronze sculpture",
"National Statuary Hall",
"New York",
"U.S. state",
"American soldier and statesman of the same name",
"United States Capitol",
"Henry Kirke Brown"
] |
|
13222_NT
|
Statue of George Clinton
|
In this artwork, how is the abstract discussed?
|
George Clinton is an 1873 bronze sculpture depicting the American soldier and statesman of the same name by Henry Kirke Brown, installed in the United States Capitol, in Washington D.C., as part of the National Statuary Hall Collection. It is one of two statues donated by the U.S. state of New York. The statue is one of three by Brown in the Collection.
|
[
"George Clinton",
"Washington D.C.",
"National Statuary Hall Collection",
"bronze sculpture",
"National Statuary Hall",
"New York",
"U.S. state",
"American soldier and statesman of the same name",
"United States Capitol",
"Henry Kirke Brown"
] |
|
13223_T
|
Hours of Maria d'Harcourt
|
Focus on Hours of Maria d'Harcourt and explore the abstract.
|
The Hours of Maria d'Harcourt is an illuminated book of hours produced in 1415 in Arnhem (the text) and Nijmegen (the illuminations) in the Duchy of Guelders. It follows the Roman liturgy, with 6 full-page miniatures and 86 smaller miniatures, with stylised borders. It is divided into two volumes, the larger of which is held in Berlin at the Staatsbibliothek, the smaller is held in Vienna by the Österreichische Nationalbibliothek.
|
[
"Maria d'Harcourt",
"Duchy of Guelders",
"book of hours",
"Nijmegen",
"Österreichische Nationalbibliothek",
"Staatsbibliothek",
"Arnhem",
"Guelders"
] |
|
13223_NT
|
Hours of Maria d'Harcourt
|
Focus on this artwork and explore the abstract.
|
The Hours of Maria d'Harcourt is an illuminated book of hours produced in 1415 in Arnhem (the text) and Nijmegen (the illuminations) in the Duchy of Guelders. It follows the Roman liturgy, with 6 full-page miniatures and 86 smaller miniatures, with stylised borders. It is divided into two volumes, the larger of which is held in Berlin at the Staatsbibliothek, the smaller is held in Vienna by the Österreichische Nationalbibliothek.
|
[
"Maria d'Harcourt",
"Duchy of Guelders",
"book of hours",
"Nijmegen",
"Österreichische Nationalbibliothek",
"Staatsbibliothek",
"Arnhem",
"Guelders"
] |
|
13224_T
|
Hours of Maria d'Harcourt
|
Focus on Hours of Maria d'Harcourt and explain the Description.
|
The scribe finished the manuscript in 1415, which had been written over the course of decade at the monastery Marienborn. In the 17th century one part was owned by the Elector of Brandenburg. That is now in the Berlin State Library, Prussian Cultural Heritage Foundation under the signature ms. germ. quart. 42. The second part was held by the Habsburgs and is now in the Austrian National Library in Vienna under the signature Cod. 1908. The two parts were together in the 1962 exhibition "European art around 1400", in Vienna and described in the catalog (Nos. 207-208, pp 217–218).
|
[
"Marienborn",
"Berlin State Library",
"Austrian National Library",
"Elector of Brandenburg"
] |
|
13224_NT
|
Hours of Maria d'Harcourt
|
Focus on this artwork and explain the Description.
|
The scribe finished the manuscript in 1415, which had been written over the course of decade at the monastery Marienborn. In the 17th century one part was owned by the Elector of Brandenburg. That is now in the Berlin State Library, Prussian Cultural Heritage Foundation under the signature ms. germ. quart. 42. The second part was held by the Habsburgs and is now in the Austrian National Library in Vienna under the signature Cod. 1908. The two parts were together in the 1962 exhibition "European art around 1400", in Vienna and described in the catalog (Nos. 207-208, pp 217–218).
|
[
"Marienborn",
"Berlin State Library",
"Austrian National Library",
"Elector of Brandenburg"
] |
|
13225_T
|
Hours of Maria d'Harcourt
|
Explore the Maria d'Harcourt, Duchess of Guelders and Jülich of this artwork, Hours of Maria d'Harcourt.
|
Maria d'Harcourt was the daughter of John VI, the Count of Harcourt and Aumale (1342–1389), and Catherine de Bourbon (1342–1427), Princess of France. Her maternal uncle was Louis II, Duke of Bourbon (1337–1410). On the 5 May 1405 she married Reinald IV, Duke of Guelders and Jülich. The proclamation page in her book of hours is French in appearance and is in such a striking contrast to the other miniatures of this German-Dutch handwriting that she must have intended its insertion. But this is not just a nostalgic remembrance of their home. Their political role and the making of heir to confirm the support of Orléans by Guelders were implied conditions of their marriage; also was a big part of her dowry, about 30,000 Ecus, been paid by the Duke of Orleans with the condition that they would have to be repaid in the absence of male heirs. Maria d'Harcourt died childless 1425th
Other women without sons asked for in their hours books Mary's help and the appropriate saint, z. B. Marguerite de Foix and Anne of Brittany . Maria von Geldern went one step further than they identified himself directly with the Blessed Mother.
|
[
"Maria d'Harcourt",
"Louis II, Duke of Bourbon",
"book of hours",
"John VI, the Count of Harcourt and Aumale",
"Reinald IV, Duke of Guelders and Jülich",
"Guelders"
] |
|
13225_NT
|
Hours of Maria d'Harcourt
|
Explore the Maria d'Harcourt, Duchess of Guelders and Jülich of this artwork.
|
Maria d'Harcourt was the daughter of John VI, the Count of Harcourt and Aumale (1342–1389), and Catherine de Bourbon (1342–1427), Princess of France. Her maternal uncle was Louis II, Duke of Bourbon (1337–1410). On the 5 May 1405 she married Reinald IV, Duke of Guelders and Jülich. The proclamation page in her book of hours is French in appearance and is in such a striking contrast to the other miniatures of this German-Dutch handwriting that she must have intended its insertion. But this is not just a nostalgic remembrance of their home. Their political role and the making of heir to confirm the support of Orléans by Guelders were implied conditions of their marriage; also was a big part of her dowry, about 30,000 Ecus, been paid by the Duke of Orleans with the condition that they would have to be repaid in the absence of male heirs. Maria d'Harcourt died childless 1425th
Other women without sons asked for in their hours books Mary's help and the appropriate saint, z. B. Marguerite de Foix and Anne of Brittany . Maria von Geldern went one step further than they identified himself directly with the Blessed Mother.
|
[
"Maria d'Harcourt",
"Louis II, Duke of Bourbon",
"book of hours",
"John VI, the Count of Harcourt and Aumale",
"Reinald IV, Duke of Guelders and Jülich",
"Guelders"
] |
|
13226_T
|
Hours of Maria d'Harcourt
|
Focus on Hours of Maria d'Harcourt and discuss the Artist.
|
In the Vigil of the Feast of St. Matthew is stated that the manuscript whose text is written in Low German, for the Duchess on February 23, 1415 in Marienborn Convent (Arnhem) between Oosterbeek and Arnhem was completed by brother Helmich de Leev,
|
[
"Marienborn",
"Arnhem"
] |
|
13226_NT
|
Hours of Maria d'Harcourt
|
Focus on this artwork and discuss the Artist.
|
In the Vigil of the Feast of St. Matthew is stated that the manuscript whose text is written in Low German, for the Duchess on February 23, 1415 in Marienborn Convent (Arnhem) between Oosterbeek and Arnhem was completed by brother Helmich de Leev,
|
[
"Marienborn",
"Arnhem"
] |
|
13227_T
|
Sun Circle (sculpture)
|
How does Sun Circle (sculpture) elucidate its abstract?
|
The Sun Circle is a sculpture located within the Rillito River Park, a Pima County linear park running along the banks of the Rillito River north of Tucson, Arizona. Inspired by the archaeoastronomy of the southwestern United States Ancestral Puebloans in locations such as Chaco Canyon, Sun Circle uses astronomical alignments to cast shadows and light through apertures (windows) to align with corresponding windows on equinoxes and solstices at sunrise and sunset.
|
[
"southwestern United States",
"Chaco Canyon",
"Arizona",
"linear park",
"Tucson, Arizona",
"sunset",
"Pima County",
"equinox",
"sculpture",
"aperture",
"solstice",
"Rillito River",
"Rillito River Park",
"sunrise",
"archaeoastronomy",
"Ancestral Puebloans",
"Tucson"
] |
|
13227_NT
|
Sun Circle (sculpture)
|
How does this artwork elucidate its abstract?
|
The Sun Circle is a sculpture located within the Rillito River Park, a Pima County linear park running along the banks of the Rillito River north of Tucson, Arizona. Inspired by the archaeoastronomy of the southwestern United States Ancestral Puebloans in locations such as Chaco Canyon, Sun Circle uses astronomical alignments to cast shadows and light through apertures (windows) to align with corresponding windows on equinoxes and solstices at sunrise and sunset.
|
[
"southwestern United States",
"Chaco Canyon",
"Arizona",
"linear park",
"Tucson, Arizona",
"sunset",
"Pima County",
"equinox",
"sculpture",
"aperture",
"solstice",
"Rillito River",
"Rillito River Park",
"sunrise",
"archaeoastronomy",
"Ancestral Puebloans",
"Tucson"
] |
|
13228_T
|
Sun Circle (sculpture)
|
Focus on Sun Circle (sculpture) and analyze the Description.
|
The sculpture is an outdoor circular concrete pad 50 feet (15.2 m) in diameter circumscribed by eight walls 7 feet (2.1 m) high by 12 feet (3.7 m) wide. Four of the walls are in the cardinal directions, with four adjacent walls situated at angular distances of 23.4 degrees (corresponding with the axial tilt of the Earth) north and south of the east and west walls. The cardinal East and West walls have square windows, the four adjacent walls have isosceles trapezoid windows.
At sunrise of any given day, the sunlight hitting the eastern walls will cast shadows across the circle, as light passes through the windows. As the Sun rises the shadows will shorten, appearing to shrink away from the western walls until the Sun reaches solar noon. The shadows of the three western walls then grow towards the eastern walls as the Sun continues west.On the day of a summer solstice at daybreak sunlight passing through the window of the northeastern wall also passes through the window of the southwestern wall. As the Sun rises the light through the window travels down a path sandblasted into the southwestern wall and then travels along a line marked in the circular concrete pad. At late afternoon the sunlight through the window travels up a sandblasted path in the northeastern wall until at sunset the sunlight passes through both the northwestern and southeastern windows.Winter solstice is similar except the sunlight first passes through the southeastern and northwestern windows at daybreak and passes through the southwestern and northeastern windows at sunset.On the Equinox sunlight passing through all three eastern windows passes through the three corresponding western windows at daybreak and through the three western windows to the three corresponding windows at sunset.
|
[
"cardinal directions",
"square",
"sunset",
"sculpture",
"solstice",
"concrete",
"sunlight",
"circumscribed",
"solar noon",
"sunrise",
"Equinox",
"angular distance",
"isosceles trapezoid",
"axial tilt"
] |
|
13228_NT
|
Sun Circle (sculpture)
|
Focus on this artwork and analyze the Description.
|
The sculpture is an outdoor circular concrete pad 50 feet (15.2 m) in diameter circumscribed by eight walls 7 feet (2.1 m) high by 12 feet (3.7 m) wide. Four of the walls are in the cardinal directions, with four adjacent walls situated at angular distances of 23.4 degrees (corresponding with the axial tilt of the Earth) north and south of the east and west walls. The cardinal East and West walls have square windows, the four adjacent walls have isosceles trapezoid windows.
At sunrise of any given day, the sunlight hitting the eastern walls will cast shadows across the circle, as light passes through the windows. As the Sun rises the shadows will shorten, appearing to shrink away from the western walls until the Sun reaches solar noon. The shadows of the three western walls then grow towards the eastern walls as the Sun continues west.On the day of a summer solstice at daybreak sunlight passing through the window of the northeastern wall also passes through the window of the southwestern wall. As the Sun rises the light through the window travels down a path sandblasted into the southwestern wall and then travels along a line marked in the circular concrete pad. At late afternoon the sunlight through the window travels up a sandblasted path in the northeastern wall until at sunset the sunlight passes through both the northwestern and southeastern windows.Winter solstice is similar except the sunlight first passes through the southeastern and northwestern windows at daybreak and passes through the southwestern and northeastern windows at sunset.On the Equinox sunlight passing through all three eastern windows passes through the three corresponding western windows at daybreak and through the three western windows to the three corresponding windows at sunset.
|
[
"cardinal directions",
"square",
"sunset",
"sculpture",
"solstice",
"concrete",
"sunlight",
"circumscribed",
"solar noon",
"sunrise",
"Equinox",
"angular distance",
"isosceles trapezoid",
"axial tilt"
] |
|
13229_T
|
The Archangel Raphael and Tobias (Titian)
|
In The Archangel Raphael and Tobias (Titian), how is the abstract discussed?
|
The Archangel Raphael and Tobias (Italian: Arcangelo Raffaele e Tobiolo) is an oil painting by Titian, dated to about 1512 to 1514, which is now in the Gallerie dell'Accademia in Venice. Another painting by Titian on the same theme, entitled Tobias and the Angel (Tobiolo e l'angelo), and dated to about 1540 to 1545, is preserved in the church of the Madonna dell'Orto in Venice.
|
[
"Tobias",
"Tobias and the Angel",
"Titian",
"Gallerie dell'Accademia",
"Madonna dell'Orto"
] |
|
13229_NT
|
The Archangel Raphael and Tobias (Titian)
|
In this artwork, how is the abstract discussed?
|
The Archangel Raphael and Tobias (Italian: Arcangelo Raffaele e Tobiolo) is an oil painting by Titian, dated to about 1512 to 1514, which is now in the Gallerie dell'Accademia in Venice. Another painting by Titian on the same theme, entitled Tobias and the Angel (Tobiolo e l'angelo), and dated to about 1540 to 1545, is preserved in the church of the Madonna dell'Orto in Venice.
|
[
"Tobias",
"Tobias and the Angel",
"Titian",
"Gallerie dell'Accademia",
"Madonna dell'Orto"
] |
|
13230_T
|
The Archangel Raphael and Tobias (Titian)
|
Focus on The Archangel Raphael and Tobias (Titian) and explore the The Archangel Raphael and Tobias.
|
This early, Giorgionesque work of Tobias and the Angel is recorded in a print by Lefèbre. The painting comes from the church of Santa Caterina, Venice, and was formerly thought by some scholars to be a copy of a lost original.The picture is attested—starting from Boschini, writing in 1664—on an altar dedicated to the Angel Raphael on the right side of the church. The presence of the Bembo coat of arms opens the hypothesis that the painting was commissioned by a member of the family of the humanist scholar Pietro Bembo.
|
[
"Tobias",
"Bembo",
"Tobias and the Angel",
"Santa Caterina, Venice",
"Boschini",
"Lefèbre",
"Pietro Bembo",
"Giorgione",
"Giorgionesque"
] |
|
13230_NT
|
The Archangel Raphael and Tobias (Titian)
|
Focus on this artwork and explore the The Archangel Raphael and Tobias.
|
This early, Giorgionesque work of Tobias and the Angel is recorded in a print by Lefèbre. The painting comes from the church of Santa Caterina, Venice, and was formerly thought by some scholars to be a copy of a lost original.The picture is attested—starting from Boschini, writing in 1664—on an altar dedicated to the Angel Raphael on the right side of the church. The presence of the Bembo coat of arms opens the hypothesis that the painting was commissioned by a member of the family of the humanist scholar Pietro Bembo.
|
[
"Tobias",
"Bembo",
"Tobias and the Angel",
"Santa Caterina, Venice",
"Boschini",
"Lefèbre",
"Pietro Bembo",
"Giorgione",
"Giorgionesque"
] |
|
13231_T
|
The Archangel Raphael and Tobias (Titian)
|
Explore the History about the Tobias and the Angel of this artwork, The Archangel Raphael and Tobias (Titian).
|
Vasari relates that Titian painted it in 1507, "at the time of the war of the Emperor Maximilian, as he himself tells". Giovanni Morelli also considered this version an early work. But the style contradicts this view, and therefore the picture is put down by Crowe and Cavalcaselle to the same time as the Presentation of the Virgin. Gronau and Ricketts think that it was done a short time later, in the early 1540s.
|
[
"Ricketts",
"Titian",
"Crowe",
"Presentation of the Virgin",
"Giovanni Morelli",
"Gronau",
"Cavalcaselle"
] |
|
13231_NT
|
The Archangel Raphael and Tobias (Titian)
|
Explore the History about the Tobias and the Angel of this artwork.
|
Vasari relates that Titian painted it in 1507, "at the time of the war of the Emperor Maximilian, as he himself tells". Giovanni Morelli also considered this version an early work. But the style contradicts this view, and therefore the picture is put down by Crowe and Cavalcaselle to the same time as the Presentation of the Virgin. Gronau and Ricketts think that it was done a short time later, in the early 1540s.
|
[
"Ricketts",
"Titian",
"Crowe",
"Presentation of the Virgin",
"Giovanni Morelli",
"Gronau",
"Cavalcaselle"
] |
|
13232_T
|
The Archangel Raphael and Tobias (Titian)
|
In the context of The Archangel Raphael and Tobias (Titian), discuss the Description of the Tobias and the Angel.
|
In Tobias and the Archangel, the two figures are both put into the right half of the picture. They have advanced quite to the front walking briskly; their attention is directed to the vase which Raphael carries—the boy's eye is fixed intently upon it. As he steps along, the left leg of the Archangel is bared, his right arm is stretched out from his body, the left, which is not visible, seems to be placed round Tobias to protect him. A little dog runs in front and leads the way. The left half of the picture is filled by the entrance to a wood, in the shadow of which a kneeling man’s figure (perhaps John the Baptist) is to be seen. This dark mass of trees serves to bring out the two figures strongly to the front.
|
[
"Tobias"
] |
|
13232_NT
|
The Archangel Raphael and Tobias (Titian)
|
In the context of this artwork, discuss the Description of the Tobias and the Angel.
|
In Tobias and the Archangel, the two figures are both put into the right half of the picture. They have advanced quite to the front walking briskly; their attention is directed to the vase which Raphael carries—the boy's eye is fixed intently upon it. As he steps along, the left leg of the Archangel is bared, his right arm is stretched out from his body, the left, which is not visible, seems to be placed round Tobias to protect him. A little dog runs in front and leads the way. The left half of the picture is filled by the entrance to a wood, in the shadow of which a kneeling man’s figure (perhaps John the Baptist) is to be seen. This dark mass of trees serves to bring out the two figures strongly to the front.
|
[
"Tobias"
] |
|
13233_T
|
The Archangel Raphael and Tobias (Titian)
|
In The Archangel Raphael and Tobias (Titian), how is the Analysis of the Tobias and the Angel elucidated?
|
According to Georg Gronau, the Annunciation and Tobias and the Archangel exhibit similar artistic tendencies, especially in colour, to the Presentation of Mary in the Temple. Ricketts is critical the first two pictures mentioned: "Both are sadly darkened owing to neglect—neither is quite worthy of Titian—both suggest an earlier type of design executed at a period when the painter's technique had changed and become unsuited to the character of the composition." Gronau thinks the little dog in the Tobias "very badly painted if we think of the great animal painters of the succeeding century".
|
[
"Tobias",
"Presentation of Mary in the Temple",
"Georg Gronau",
"Ricketts",
"Titian",
"Gronau"
] |
|
13233_NT
|
The Archangel Raphael and Tobias (Titian)
|
In this artwork, how is the Analysis of the Tobias and the Angel elucidated?
|
According to Georg Gronau, the Annunciation and Tobias and the Archangel exhibit similar artistic tendencies, especially in colour, to the Presentation of Mary in the Temple. Ricketts is critical the first two pictures mentioned: "Both are sadly darkened owing to neglect—neither is quite worthy of Titian—both suggest an earlier type of design executed at a period when the painter's technique had changed and become unsuited to the character of the composition." Gronau thinks the little dog in the Tobias "very badly painted if we think of the great animal painters of the succeeding century".
|
[
"Tobias",
"Presentation of Mary in the Temple",
"Georg Gronau",
"Ricketts",
"Titian",
"Gronau"
] |
|
13234_T
|
The March of the Guards to Finchley
|
Focus on The March of the Guards to Finchley and analyze the abstract.
|
The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. Hogarth was well known for his satirical works, and The March of the Guards to Finchley has been said to have given full scope to this sense of satire; it was described by Hogarth himself as "steeped in humour".The painting is a depiction of a fictional mustering of troops on the Tottenham Court Road to march north to Finchley to defend the capital from the second Jacobite rebellion of 1745, which was part of a series of uprisings that had been occurring since the late 17th century and were aimed at returning the Stuart Dynasty to the throne after the Glorious Revolution of 1688. It portrays the soldiers in a humorous light, placing exaggerated emphasis on their lack of training and respect for discipline.
The March of the Guards to Finchley was originally intended to be a gift to the incumbent King of England, George II. However, George was insulted by the apparent jab at his best troops and rejected it when it was offered to him. Upset at the King's spurning of his work, Hogarth opted to change the engraving and present the painting instead to the King of Prussia, Frederick II, who, being known for his skills as a soldier rather than an artist, was reportedly much more satisfied with the gift.
|
[
"gin",
"Finchley",
"Glorious Revolution",
"Frederick II",
"George II",
"engraving",
"Foundling Museum",
"William Hogarth",
"Prussia",
"Jacobite rebellion of 1745",
"oil-on-canvas",
"Stuart Dynasty",
"Tottenham Court Road"
] |
|
13234_NT
|
The March of the Guards to Finchley
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Focus on this artwork and analyze the abstract.
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The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. Hogarth was well known for his satirical works, and The March of the Guards to Finchley has been said to have given full scope to this sense of satire; it was described by Hogarth himself as "steeped in humour".The painting is a depiction of a fictional mustering of troops on the Tottenham Court Road to march north to Finchley to defend the capital from the second Jacobite rebellion of 1745, which was part of a series of uprisings that had been occurring since the late 17th century and were aimed at returning the Stuart Dynasty to the throne after the Glorious Revolution of 1688. It portrays the soldiers in a humorous light, placing exaggerated emphasis on their lack of training and respect for discipline.
The March of the Guards to Finchley was originally intended to be a gift to the incumbent King of England, George II. However, George was insulted by the apparent jab at his best troops and rejected it when it was offered to him. Upset at the King's spurning of his work, Hogarth opted to change the engraving and present the painting instead to the King of Prussia, Frederick II, who, being known for his skills as a soldier rather than an artist, was reportedly much more satisfied with the gift.
|
[
"gin",
"Finchley",
"Glorious Revolution",
"Frederick II",
"George II",
"engraving",
"Foundling Museum",
"William Hogarth",
"Prussia",
"Jacobite rebellion of 1745",
"oil-on-canvas",
"Stuart Dynasty",
"Tottenham Court Road"
] |
|
13235_T
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The March of the Guards to Finchley
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In The March of the Guards to Finchley, how is the Historical background discussed?
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The Jacobite risings were a series of rebellions affecting all of the British Isles except for Wales and that occurred between 1688 and 1746, four years before the painting of March of the Guards to Finchley. Centred on attempts by Jacobites to restore James II and his descendants, the House of Stuart, to the throne, there were two major uprisings, referred to as the "First" (1715) and "Second" (1745) "Jacobite Rebellions". This painting shows a fictional incident during the second rising.
The "'45" was the product of the disappointment of Charles Edward Stuart, the exiled Jacobite pretender, with the French's unwillingness to invade England to restore the House of Stuart to power. In 1744, Charles decided to finance the military and social costs of an uprising, believing that he would be able to take the kingdom. With the support of various Scottish Highland clans, Stuart was initially successful. The rebels defeated government forces at the Battle of Prestonpans, and captured Edinburgh. The Stuart army invaded England, passing through Carlisle and reaching Derby on 4 December 1745. However, promised support from France failed to arrive, and, in the absence of an English popular uprising, Charles assented to the demand of his Council of War to return to Scotland. Eventually, the Stuart army was comprehensively defeated at Culloden Moor on 16 April 1746.
|
[
"Finchley",
"Carlisle",
"pretender",
"Wales",
"Culloden Moor",
"James II",
"Highland",
"Edinburgh",
"Derby",
"Battle of Prestonpans",
"House of Stuart",
"Charles Edward Stuart"
] |
|
13235_NT
|
The March of the Guards to Finchley
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In this artwork, how is the Historical background discussed?
|
The Jacobite risings were a series of rebellions affecting all of the British Isles except for Wales and that occurred between 1688 and 1746, four years before the painting of March of the Guards to Finchley. Centred on attempts by Jacobites to restore James II and his descendants, the House of Stuart, to the throne, there were two major uprisings, referred to as the "First" (1715) and "Second" (1745) "Jacobite Rebellions". This painting shows a fictional incident during the second rising.
The "'45" was the product of the disappointment of Charles Edward Stuart, the exiled Jacobite pretender, with the French's unwillingness to invade England to restore the House of Stuart to power. In 1744, Charles decided to finance the military and social costs of an uprising, believing that he would be able to take the kingdom. With the support of various Scottish Highland clans, Stuart was initially successful. The rebels defeated government forces at the Battle of Prestonpans, and captured Edinburgh. The Stuart army invaded England, passing through Carlisle and reaching Derby on 4 December 1745. However, promised support from France failed to arrive, and, in the absence of an English popular uprising, Charles assented to the demand of his Council of War to return to Scotland. Eventually, the Stuart army was comprehensively defeated at Culloden Moor on 16 April 1746.
|
[
"Finchley",
"Carlisle",
"pretender",
"Wales",
"Culloden Moor",
"James II",
"Highland",
"Edinburgh",
"Derby",
"Battle of Prestonpans",
"House of Stuart",
"Charles Edward Stuart"
] |
|
13236_T
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The March of the Guards to Finchley
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In the context of The March of the Guards to Finchley, explain the Background of the Painting.
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Hogarth completed March of the Guards to Finchley in 1750. The work was initially meant as a gift to George II, and a print was sent before the release of the painting to the Royal Palace for his approval. However, George II had been expecting an artwork that honoured his most favoured guards, not mocked them – accounts state he was offended by what he considered an insult on Hogarth's part. The following dialogue is said to have taken place between George II and the deliverer of the portrait, the Earl of Harrington, when the painting was taken to the King for inspection:"Pray, who is this Hogarth?"
"A painter, my liege."
"I hate painting and poetry too! Neither the one nor the other ever did any good!"
"The picture, please your majesty, must undoubtedly be considered as a burlesque!"
"What? A painter burlesque a soldier? He deserves to be picketed for his insolence! Take this trumpery out of my sight."Soon thereafter, the painting was returned to Hogarth, who was reportedly mortified by the King's response to what he considered to be one of his finest works. Hogarth later modified the inscription to read "the King of Prussia", rather than "the King of England", before presenting the work to Frederick II of Prussia, who met the work with more enthusiasm and acknowledgement of its artistry. However, Frederick II was certainly no expert on the arts, and he was more known on the battlefield; some have speculated that this explains his positive reception to a work depicting the English military in poor form.The patriotism of the painting provides a satirical counterpoint to Hogarth's overt antipathy to the French, evident in his painting The Gate of Calais, completed in 1748. Hogarth's later dedication of March to the King of Prussia further enforces this view; Frederick II was a renowned military strategist, but not an art connoisseur. The composition of the picture may have been inspired by Jean-Antoine Watteau's Départ de Garnison.
An engraved version, by Hogarth's assistant, Luke Sullivan, was published shortly after the painting was completed, though Hogarth made further alterations to the engraving ten years later. The engraving was unusual in that it was not a reversed image of the original painting. Hogarth priced the published artwork for a price of seven shillings and sixpence each copy, rising to half a Guinea after the subscription closed. In advertisements for the painting, Hogarth referred to a subscription-based extra whereby buyers who deposited another three shillings on top of the seven and sixpence would be considered in a lottery for the ownership of the original copy, which would be delivered to the winning subscriber after the engraving had been finished. Hogarth's engraving of A Stand of Arms, Musical Instruments, Etc. served as the subscription and lottery ticket. As noted by Hogarth in the 1 May 1750 edition of The General Advertiser, this subscription offer ended on 30 April 1750. At the day of closure, there were 1843 chances sold and 167 chances still remaining in Hogarth's lottery, and he gave this remainder to the Foundling Hospital, an establishment to which he had, in the past, been a lucrative donor. Holding almost 10% of the tickets, the Hospital won the lottery and the original; Hogarth scholar Ronald Paulson considers the lottery was rigged from the start. Today the painting is owned by and on display at the Foundling Museum.
|
[
"gin",
"Finchley",
"Antoine Watteau",
"The Gate of Calais",
"Frederick II",
"Foundling Hospital",
"picket",
"Luke Sullivan",
"George II",
"engraving",
"Foundling Museum",
"engraved",
"Prussia",
"Frederick II of Prussia",
"Jean-Antoine Watteau"
] |
|
13236_NT
|
The March of the Guards to Finchley
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In the context of this artwork, explain the Background of the Painting.
|
Hogarth completed March of the Guards to Finchley in 1750. The work was initially meant as a gift to George II, and a print was sent before the release of the painting to the Royal Palace for his approval. However, George II had been expecting an artwork that honoured his most favoured guards, not mocked them – accounts state he was offended by what he considered an insult on Hogarth's part. The following dialogue is said to have taken place between George II and the deliverer of the portrait, the Earl of Harrington, when the painting was taken to the King for inspection:"Pray, who is this Hogarth?"
"A painter, my liege."
"I hate painting and poetry too! Neither the one nor the other ever did any good!"
"The picture, please your majesty, must undoubtedly be considered as a burlesque!"
"What? A painter burlesque a soldier? He deserves to be picketed for his insolence! Take this trumpery out of my sight."Soon thereafter, the painting was returned to Hogarth, who was reportedly mortified by the King's response to what he considered to be one of his finest works. Hogarth later modified the inscription to read "the King of Prussia", rather than "the King of England", before presenting the work to Frederick II of Prussia, who met the work with more enthusiasm and acknowledgement of its artistry. However, Frederick II was certainly no expert on the arts, and he was more known on the battlefield; some have speculated that this explains his positive reception to a work depicting the English military in poor form.The patriotism of the painting provides a satirical counterpoint to Hogarth's overt antipathy to the French, evident in his painting The Gate of Calais, completed in 1748. Hogarth's later dedication of March to the King of Prussia further enforces this view; Frederick II was a renowned military strategist, but not an art connoisseur. The composition of the picture may have been inspired by Jean-Antoine Watteau's Départ de Garnison.
An engraved version, by Hogarth's assistant, Luke Sullivan, was published shortly after the painting was completed, though Hogarth made further alterations to the engraving ten years later. The engraving was unusual in that it was not a reversed image of the original painting. Hogarth priced the published artwork for a price of seven shillings and sixpence each copy, rising to half a Guinea after the subscription closed. In advertisements for the painting, Hogarth referred to a subscription-based extra whereby buyers who deposited another three shillings on top of the seven and sixpence would be considered in a lottery for the ownership of the original copy, which would be delivered to the winning subscriber after the engraving had been finished. Hogarth's engraving of A Stand of Arms, Musical Instruments, Etc. served as the subscription and lottery ticket. As noted by Hogarth in the 1 May 1750 edition of The General Advertiser, this subscription offer ended on 30 April 1750. At the day of closure, there were 1843 chances sold and 167 chances still remaining in Hogarth's lottery, and he gave this remainder to the Foundling Hospital, an establishment to which he had, in the past, been a lucrative donor. Holding almost 10% of the tickets, the Hospital won the lottery and the original; Hogarth scholar Ronald Paulson considers the lottery was rigged from the start. Today the painting is owned by and on display at the Foundling Museum.
|
[
"gin",
"Finchley",
"Antoine Watteau",
"The Gate of Calais",
"Frederick II",
"Foundling Hospital",
"picket",
"Luke Sullivan",
"George II",
"engraving",
"Foundling Museum",
"engraved",
"Prussia",
"Frederick II of Prussia",
"Jean-Antoine Watteau"
] |
|
13237_T
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The March of the Guards to Finchley
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Explore the Analysis about the Painting of this artwork, The March of the Guards to Finchley.
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The painting depicts a scene on Tottenham Court Road, a bustling street on the north side of London. The King's guard have rendezvoused there on their way to engage the rebels, and numerous soldiers are caught amongst the crowd. Orderly lines of soldiers march away in the distance; meanwhile, a disarrayed, misshapen mass of soldiers engaging in a range of unbecoming behaviours crowds the foreground. Paradoxically, the work both highlights the dissolute and disreputable nature of the guardsmen and shows that they can be transformed into a disciplined fighting force, with the drummer and boy fifer summoning the soldiers to their duty.In the approximate centre of the piece, two women apparently quarrel fiercely over the courtship of a grenadier. The woman to his right, a pregnant ballad-seller, carries a basket full of copies of "God Save the King", while the older woman to his left, dressed in dark priest's robes with a crucifix swinging around the neck, holds a rolled Jacobite newspaper above her head. Some critics have seen Hogarth's incorporation of the "God Save the King" text to represent public support for the Crown: English musician and author Percy Scholes said the painting symbolises the nation "wavering between the Hanoverian Protestant Succession and Stuart Romanist Succession", with "God Save the King" "thoroughly associated with the former."Behind the three, another soldier and a milkmaid are caught in a passionate embrace. A drummer standing to the left is similarly the centre of feminine attention – perhaps his wife and child; behind, a man urinates against the tavern wall, pained by his venereal infection. Further to the right, near the edge of the painting, a drunken soldier has collapsed to the ground from his own intoxication; despite his state, he rejects the water his comrade behind him is offering him, and instead reaches for another measure of gin from the woman to his left. Soldiers directly behind him – one of whom clenches an upturned knife – are robbing the civilians. Nearby, a hungry guard gladly takes food from the platter of a pieman. To the left-hand-side of the middleground, a boxing match between two soldiers is underway, with an eager group of spectators onlooking. Across the street, numerous prostitutes holler down to the men from open windows of Mother Douglas's house, as do soldiers to their cohorts.According to Hogarth, several of the more prominent soldiers featured in the painting – such as the grenadier, the drummer and the drunkard – were based from models observed before the creation of the artwork. Notable in particular among these is Lord Albemarle Bertie, who was used as the model for the man seen standing with fists clenched behind the two boxers.
|
[
"gin",
"right",
"venereal infection",
"pie",
"left",
"God Save the King",
"Percy Scholes",
"courtship",
"grenadier",
"Mother Douglas",
"crucifix",
"Tottenham Court Road",
"milkmaid"
] |
|
13237_NT
|
The March of the Guards to Finchley
|
Explore the Analysis about the Painting of this artwork.
|
The painting depicts a scene on Tottenham Court Road, a bustling street on the north side of London. The King's guard have rendezvoused there on their way to engage the rebels, and numerous soldiers are caught amongst the crowd. Orderly lines of soldiers march away in the distance; meanwhile, a disarrayed, misshapen mass of soldiers engaging in a range of unbecoming behaviours crowds the foreground. Paradoxically, the work both highlights the dissolute and disreputable nature of the guardsmen and shows that they can be transformed into a disciplined fighting force, with the drummer and boy fifer summoning the soldiers to their duty.In the approximate centre of the piece, two women apparently quarrel fiercely over the courtship of a grenadier. The woman to his right, a pregnant ballad-seller, carries a basket full of copies of "God Save the King", while the older woman to his left, dressed in dark priest's robes with a crucifix swinging around the neck, holds a rolled Jacobite newspaper above her head. Some critics have seen Hogarth's incorporation of the "God Save the King" text to represent public support for the Crown: English musician and author Percy Scholes said the painting symbolises the nation "wavering between the Hanoverian Protestant Succession and Stuart Romanist Succession", with "God Save the King" "thoroughly associated with the former."Behind the three, another soldier and a milkmaid are caught in a passionate embrace. A drummer standing to the left is similarly the centre of feminine attention – perhaps his wife and child; behind, a man urinates against the tavern wall, pained by his venereal infection. Further to the right, near the edge of the painting, a drunken soldier has collapsed to the ground from his own intoxication; despite his state, he rejects the water his comrade behind him is offering him, and instead reaches for another measure of gin from the woman to his left. Soldiers directly behind him – one of whom clenches an upturned knife – are robbing the civilians. Nearby, a hungry guard gladly takes food from the platter of a pieman. To the left-hand-side of the middleground, a boxing match between two soldiers is underway, with an eager group of spectators onlooking. Across the street, numerous prostitutes holler down to the men from open windows of Mother Douglas's house, as do soldiers to their cohorts.According to Hogarth, several of the more prominent soldiers featured in the painting – such as the grenadier, the drummer and the drunkard – were based from models observed before the creation of the artwork. Notable in particular among these is Lord Albemarle Bertie, who was used as the model for the man seen standing with fists clenched behind the two boxers.
|
[
"gin",
"right",
"venereal infection",
"pie",
"left",
"God Save the King",
"Percy Scholes",
"courtship",
"grenadier",
"Mother Douglas",
"crucifix",
"Tottenham Court Road",
"milkmaid"
] |
|
13238_T
|
The March of the Guards to Finchley
|
In the context of The March of the Guards to Finchley, discuss the Reception of the Painting.
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Critics have likened the chaotic scene of The March of the Guards to Finchley to the narrative of English satirist Henry Fielding's Tom Jones. In his Hogarth's Literary Relationships, Robert E. Moore states that the "elements" of comedy" in The March of the Guards to Finchley are "the very essence of Fielding's comedy as well":
At a first hasty glance the multiplicity of characters and action in Tom Jones, once the story has taken to the road, suggests a chaos just like the wild disorder of the "March to Finchley" [...] the structure of Tom Jones is well-nigh perfect, one of the marvels of English fiction. Likewise, in the field of painting, there has seldom been a more ordered chaos than that of the "March to Finchley".
|
[
"Finchley",
"Tom Jones",
"Henry Fielding"
] |
|
13238_NT
|
The March of the Guards to Finchley
|
In the context of this artwork, discuss the Reception of the Painting.
|
Critics have likened the chaotic scene of The March of the Guards to Finchley to the narrative of English satirist Henry Fielding's Tom Jones. In his Hogarth's Literary Relationships, Robert E. Moore states that the "elements" of comedy" in The March of the Guards to Finchley are "the very essence of Fielding's comedy as well":
At a first hasty glance the multiplicity of characters and action in Tom Jones, once the story has taken to the road, suggests a chaos just like the wild disorder of the "March to Finchley" [...] the structure of Tom Jones is well-nigh perfect, one of the marvels of English fiction. Likewise, in the field of painting, there has seldom been a more ordered chaos than that of the "March to Finchley".
|
[
"Finchley",
"Tom Jones",
"Henry Fielding"
] |
|
13239_T
|
Tragic Prelude
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How does Tragic Prelude elucidate its abstract?
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Tragic Prelude is a mural painted by Kansan John Steuart Curry for the Kansas State Capitol building in Topeka, Kansas. It is located on the east side of the second floor rotunda. On the north wall it depicts abolitionist Kansan John Brown with a Bible in one hand, on which the Greek letters alpha and omega of Revelation 1:8 can be seen. In his other hand he holds a rifle, referred to as the "Beecher's Bibles". He is in front of Union and Confederate soldiers, living and dead, with a tornado and a prairie fire approaching. Emigrants with covered wagons travel from east to west.
The "tragic prelude" is the Bleeding Kansas period of 1854–1860, seen as a prelude to or dress rehearsal for the Civil War, a period of which John Brown was at the center, fighting to prevent Kansas from being made a slave state. The term "tragic prelude" for this period of Kansas history is attributed by Curry to his champion, the newspaper editor William Allen White.
However, the mural has other figures in addition to Brown, as it turns a corner and continues on another wall, making it difficult to photograph in its entirety. The three figures are rarely discussed as part of the work. Chronologically from right to left are the Franciscan missionary Fray Juan de Padilla and the conquistador Coronado, the first Europeans to visit the land that became Kansas, followed by a plainsman, who has just killed a buffalo.
It is by far Curry's most famous work; the only work of his to have a book devoted to it.
|
[
"Juan de Padilla",
"tornado",
"Civil War",
"alpha and omega",
"slave state",
"Kansas State Capitol",
"William Allen White",
"conquistador",
"buffalo",
"plainsman",
"Union",
"prairie fire",
"covered wagons",
"Confederate",
"abolitionist",
"Franciscan",
"John Steuart Curry",
"Bleeding Kansas",
"Topeka, Kansas",
"Beecher's Bible",
"dress rehearsal",
"Revelation",
"rotunda",
"Beecher's Bibles",
"Coronado",
"Kansas",
"John Brown"
] |
|
13239_NT
|
Tragic Prelude
|
How does this artwork elucidate its abstract?
|
Tragic Prelude is a mural painted by Kansan John Steuart Curry for the Kansas State Capitol building in Topeka, Kansas. It is located on the east side of the second floor rotunda. On the north wall it depicts abolitionist Kansan John Brown with a Bible in one hand, on which the Greek letters alpha and omega of Revelation 1:8 can be seen. In his other hand he holds a rifle, referred to as the "Beecher's Bibles". He is in front of Union and Confederate soldiers, living and dead, with a tornado and a prairie fire approaching. Emigrants with covered wagons travel from east to west.
The "tragic prelude" is the Bleeding Kansas period of 1854–1860, seen as a prelude to or dress rehearsal for the Civil War, a period of which John Brown was at the center, fighting to prevent Kansas from being made a slave state. The term "tragic prelude" for this period of Kansas history is attributed by Curry to his champion, the newspaper editor William Allen White.
However, the mural has other figures in addition to Brown, as it turns a corner and continues on another wall, making it difficult to photograph in its entirety. The three figures are rarely discussed as part of the work. Chronologically from right to left are the Franciscan missionary Fray Juan de Padilla and the conquistador Coronado, the first Europeans to visit the land that became Kansas, followed by a plainsman, who has just killed a buffalo.
It is by far Curry's most famous work; the only work of his to have a book devoted to it.
|
[
"Juan de Padilla",
"tornado",
"Civil War",
"alpha and omega",
"slave state",
"Kansas State Capitol",
"William Allen White",
"conquistador",
"buffalo",
"plainsman",
"Union",
"prairie fire",
"covered wagons",
"Confederate",
"abolitionist",
"Franciscan",
"John Steuart Curry",
"Bleeding Kansas",
"Topeka, Kansas",
"Beecher's Bible",
"dress rehearsal",
"Revelation",
"rotunda",
"Beecher's Bibles",
"Coronado",
"Kansas",
"John Brown"
] |
|
13240_T
|
Tragic Prelude
|
Focus on Tragic Prelude and analyze the History.
|
Emporia Gazette editor William Allen White began the campaign to get Curry to paint murals for his native Kansas rather than Wisconsin (whose university offered him employment he could not find in Kansas). Other newspapers joined in, and the result was the Kansas Murals Commission. Chaired by Governor Walter Huxman, it was charged with choosing a Kansas artist or artists to create murals for the Capitol, as Missouri artist Thomas Hart Benton had done in the Missouri State Capitol.: 37–39 Benton's very large mural was on the topic of, and titled, A Social History of Missouri. The Commission decided, not without some controversy, that in contrast with the Missouri Capitol, where Benton was one of several artists, Curry would be the sole artist to create murals for the Kansas Capitol, on the theme of Kansas history.: 37–39 No state money was involved; White led a fundraising campaign that easily succeeded in raising the money to hire Curry.: 39 Curry painted Tragic Prelude from 1937 to 1942, using egg tempera and oils. It is 11 feet 4 inches (350 cm) tall, and 31 feet (940 cm) long.
|
[
"William Allen White",
"egg tempera",
"Missouri State Capitol",
"Emporia Gazette",
"Thomas Hart Benton",
"Walter Huxman",
"Kansas"
] |
|
13240_NT
|
Tragic Prelude
|
Focus on this artwork and analyze the History.
|
Emporia Gazette editor William Allen White began the campaign to get Curry to paint murals for his native Kansas rather than Wisconsin (whose university offered him employment he could not find in Kansas). Other newspapers joined in, and the result was the Kansas Murals Commission. Chaired by Governor Walter Huxman, it was charged with choosing a Kansas artist or artists to create murals for the Capitol, as Missouri artist Thomas Hart Benton had done in the Missouri State Capitol.: 37–39 Benton's very large mural was on the topic of, and titled, A Social History of Missouri. The Commission decided, not without some controversy, that in contrast with the Missouri Capitol, where Benton was one of several artists, Curry would be the sole artist to create murals for the Kansas Capitol, on the theme of Kansas history.: 37–39 No state money was involved; White led a fundraising campaign that easily succeeded in raising the money to hire Curry.: 39 Curry painted Tragic Prelude from 1937 to 1942, using egg tempera and oils. It is 11 feet 4 inches (350 cm) tall, and 31 feet (940 cm) long.
|
[
"William Allen White",
"egg tempera",
"Missouri State Capitol",
"Emporia Gazette",
"Thomas Hart Benton",
"Walter Huxman",
"Kansas"
] |
|
13241_T
|
Tragic Prelude
|
In Tragic Prelude, how is the Curry's description discussed?
|
Curry later described the work as follows:Centered on the north wall (31′ x 11′6″ [9.4m x 3.5m]) is the gigantic figure of John Brown. In his outstretched left hand the word of God and in the right a “Beecher's Bible." Beside him facing each other are the contending free soil and pro-slavery forces. At their feet, two figures symbolic of the million and a half dead of the North and South. In this group is expressed the fratricidal fury that first flamed on the plains of Kansas, the Tragic Prelude to the last bloody feud of the English-speaking people. Back of this group are the pioneers and their wagons on the endless trek to the West, and back of all the tornado and the raging prairie fire, fitting symbols of the destruction of the coming Civil War.
In a newspaper interview of 1939, he explained that "I wanted to paint him as a fanatic, for John Brown was a fanatic. He had the wild zeal of the extremist, the fanatic for his cause—and we had the Civil War, with its untold misery." Later, he wrote in a letter: "I think he is the prototype of a great many Kansans. Someone described a Kansan as one who went about wreaking good on humanity. This might be the kernel of my conception."
|
[
"tornado",
"Civil War",
"prairie fire",
"Beecher's Bible",
"Kansas",
"John Brown"
] |
|
13241_NT
|
Tragic Prelude
|
In this artwork, how is the Curry's description discussed?
|
Curry later described the work as follows:Centered on the north wall (31′ x 11′6″ [9.4m x 3.5m]) is the gigantic figure of John Brown. In his outstretched left hand the word of God and in the right a “Beecher's Bible." Beside him facing each other are the contending free soil and pro-slavery forces. At their feet, two figures symbolic of the million and a half dead of the North and South. In this group is expressed the fratricidal fury that first flamed on the plains of Kansas, the Tragic Prelude to the last bloody feud of the English-speaking people. Back of this group are the pioneers and their wagons on the endless trek to the West, and back of all the tornado and the raging prairie fire, fitting symbols of the destruction of the coming Civil War.
In a newspaper interview of 1939, he explained that "I wanted to paint him as a fanatic, for John Brown was a fanatic. He had the wild zeal of the extremist, the fanatic for his cause—and we had the Civil War, with its untold misery." Later, he wrote in a letter: "I think he is the prototype of a great many Kansans. Someone described a Kansan as one who went about wreaking good on humanity. This might be the kernel of my conception."
|
[
"tornado",
"Civil War",
"prairie fire",
"Beecher's Bible",
"Kansas",
"John Brown"
] |
|
13242_T
|
Tragic Prelude
|
Focus on Tragic Prelude and explore the Rejection of Tragic Prelude.
|
The Kansas Legislature rejected the mural and refused to hang it in the Capitol as planned. Curry left Kansas in disgust, abandoning the rest of his Capitol project, and did not sign this or the other completed work, Kansas Pastoral, because he considered the project incomplete. It was hung in the Capitol after his death. His planned first-floor rotunda panels never got beyond preliminary sketches. Much to the displeasure of some Kansans, and reflecting the views of agronomists at his employer, the Agricultural College of the University of Wisconsin, one panel blamed poor farming practices for the erosion and dust storms of the 1930s.: 124
|
[
"agronomist",
"University of Wisconsin",
"Kansas Legislature",
"dust storms of the 1930s",
"rotunda",
"Kansas"
] |
|
13242_NT
|
Tragic Prelude
|
Focus on this artwork and explore the Rejection of Tragic Prelude.
|
The Kansas Legislature rejected the mural and refused to hang it in the Capitol as planned. Curry left Kansas in disgust, abandoning the rest of his Capitol project, and did not sign this or the other completed work, Kansas Pastoral, because he considered the project incomplete. It was hung in the Capitol after his death. His planned first-floor rotunda panels never got beyond preliminary sketches. Much to the displeasure of some Kansans, and reflecting the views of agronomists at his employer, the Agricultural College of the University of Wisconsin, one panel blamed poor farming practices for the erosion and dust storms of the 1930s.: 124
|
[
"agronomist",
"University of Wisconsin",
"Kansas Legislature",
"dust storms of the 1930s",
"rotunda",
"Kansas"
] |
|
13243_T
|
Tragic Prelude
|
Explore the In popular culture of this artwork, Tragic Prelude.
|
The image was used as the album cover of Kansas (1974), the debut album of the rock band Kansas.Poster recreations and T-shirts were made every year for the annual "Border War" between the University of Kansas and the University of Missouri.
|
[
"University of Kansas",
"University of Missouri",
"Border War",
"Kansas"
] |
|
13243_NT
|
Tragic Prelude
|
Explore the In popular culture of this artwork.
|
The image was used as the album cover of Kansas (1974), the debut album of the rock band Kansas.Poster recreations and T-shirts were made every year for the annual "Border War" between the University of Kansas and the University of Missouri.
|
[
"University of Kansas",
"University of Missouri",
"Border War",
"Kansas"
] |
|
13244_T
|
Berlin (sculpture)
|
Focus on Berlin (sculpture) and discuss the History.
|
Berlin was one of eight sculptures designed during "Skulpturenboulevard Kurfürstendamm" (Boulevard of Sculptures: Kurfürstendamm), an event commissioned by the city of West Berlin to celebrate Berlin's 750th anniversary in 1987. Of the eight sculptures unveiled, three were allowed to remain past the anniversary year (Berlin, Pyramide, and Cadillacs in Form der nackten Maja); the city and Deutsche Bank acquired Berlin after its original lease had expired.For the event, the sculptors were allowed free rein to decide where on or around the Kurfürstendamm to erect their work. The Matschinsky-Denninghoffs chose the Tauentzienstraße in front of the Kaiser-Wilhelm-Gedächtniskirche, which was heavily damaged during the Bombing of Berlin in World War II, as the place to build and unveil their sculpture.
The sculpture consists of four steel tubes extending upwards. Each is about two meters in diameter, reinforced with a concrete base. For about half a meter, one of the two ends on each side tilt, then change direction completely, looping but not touching, symbolizing the closeness and isolation between the two sides of Berlin. The surface of the tubes are covered by chrome nickel steel, which can darken or shine depending on the time of day.Describing the meaning and impact intended by the Berlin sculpture, Brigitte Matschinsky-Denninghoff said, "The sculpture is accessible from all sides and thus perceivable to viewers. [What is] emphasized is the direction West-East and East-West. Our sculpture is specifically designed as a big, 'organically grown' gate, forming a double arch which is not just necessary and practical, [but an] invigorating emphasis...we are trying to communicate something of Berlin's situation in a symbolic way."
|
[
"Tauentzienstraße",
"Berlin",
"chrome",
"sculpture",
"concrete",
"West Berlin",
"West",
"Matschinsky-Denninghoff",
"Sculpture",
"Kurfürstendamm",
"anniversary",
"Deutsche Bank",
"Kaiser-Wilhelm-Gedächtniskirche",
"Bombing of Berlin in World War II",
"nickel"
] |
|
13244_NT
|
Berlin (sculpture)
|
Focus on this artwork and discuss the History.
|
Berlin was one of eight sculptures designed during "Skulpturenboulevard Kurfürstendamm" (Boulevard of Sculptures: Kurfürstendamm), an event commissioned by the city of West Berlin to celebrate Berlin's 750th anniversary in 1987. Of the eight sculptures unveiled, three were allowed to remain past the anniversary year (Berlin, Pyramide, and Cadillacs in Form der nackten Maja); the city and Deutsche Bank acquired Berlin after its original lease had expired.For the event, the sculptors were allowed free rein to decide where on or around the Kurfürstendamm to erect their work. The Matschinsky-Denninghoffs chose the Tauentzienstraße in front of the Kaiser-Wilhelm-Gedächtniskirche, which was heavily damaged during the Bombing of Berlin in World War II, as the place to build and unveil their sculpture.
The sculpture consists of four steel tubes extending upwards. Each is about two meters in diameter, reinforced with a concrete base. For about half a meter, one of the two ends on each side tilt, then change direction completely, looping but not touching, symbolizing the closeness and isolation between the two sides of Berlin. The surface of the tubes are covered by chrome nickel steel, which can darken or shine depending on the time of day.Describing the meaning and impact intended by the Berlin sculpture, Brigitte Matschinsky-Denninghoff said, "The sculpture is accessible from all sides and thus perceivable to viewers. [What is] emphasized is the direction West-East and East-West. Our sculpture is specifically designed as a big, 'organically grown' gate, forming a double arch which is not just necessary and practical, [but an] invigorating emphasis...we are trying to communicate something of Berlin's situation in a symbolic way."
|
[
"Tauentzienstraße",
"Berlin",
"chrome",
"sculpture",
"concrete",
"West Berlin",
"West",
"Matschinsky-Denninghoff",
"Sculpture",
"Kurfürstendamm",
"anniversary",
"Deutsche Bank",
"Kaiser-Wilhelm-Gedächtniskirche",
"Bombing of Berlin in World War II",
"nickel"
] |
|
13245_T
|
Salome with the Head of John the Baptist (Caravaggio, Madrid)
|
How does Salome with the Head of John the Baptist (Caravaggio, Madrid) elucidate its abstract?
|
Salome with the Head of John the Baptist (Madrid), c. 1609, is a painting by the Italian master Caravaggio in the Royal Collections Gallery, Madrid.The early Caravaggio biographer Giovanni Bellori, writing in 1672, records the artist sending a Salome with the Head of John the Baptist from Naples to the Grand Master of the Knights of Malta, Fra Alof de Wignacourt, in the hope of regaining favour after having been expelled from the Order in 1608. It seems likely that this is the work, according to Caravaggio scholar John Gash. Gash also notes that the executioner, looking down at the severed head, helps transform the painting "from a provocative spectacle into a profound meditation on death and human malevolence."
|
[
"Salome",
"Knights of Malta",
"Naples",
"John the Baptist",
"Giovanni Bellori",
"Caravaggio",
"Italian",
"Royal Collections Gallery",
"Alof de Wignacourt",
"Madrid"
] |
|
13245_NT
|
Salome with the Head of John the Baptist (Caravaggio, Madrid)
|
How does this artwork elucidate its abstract?
|
Salome with the Head of John the Baptist (Madrid), c. 1609, is a painting by the Italian master Caravaggio in the Royal Collections Gallery, Madrid.The early Caravaggio biographer Giovanni Bellori, writing in 1672, records the artist sending a Salome with the Head of John the Baptist from Naples to the Grand Master of the Knights of Malta, Fra Alof de Wignacourt, in the hope of regaining favour after having been expelled from the Order in 1608. It seems likely that this is the work, according to Caravaggio scholar John Gash. Gash also notes that the executioner, looking down at the severed head, helps transform the painting "from a provocative spectacle into a profound meditation on death and human malevolence."
|
[
"Salome",
"Knights of Malta",
"Naples",
"John the Baptist",
"Giovanni Bellori",
"Caravaggio",
"Italian",
"Royal Collections Gallery",
"Alof de Wignacourt",
"Madrid"
] |
|
13246_T
|
The Concert (ter Borch)
|
Focus on The Concert (ter Borch) and analyze the abstract.
|
The Concert is an oil on panel painting by the Dutch artist Gerard ter Borch, created c. 1673–1675. The work is held in the Gemäldegalerie, in Berlin.
|
[
"Gerard ter Borch",
"Gemäldegalerie",
"Berlin"
] |
|
13246_NT
|
The Concert (ter Borch)
|
Focus on this artwork and analyze the abstract.
|
The Concert is an oil on panel painting by the Dutch artist Gerard ter Borch, created c. 1673–1675. The work is held in the Gemäldegalerie, in Berlin.
|
[
"Gerard ter Borch",
"Gemäldegalerie",
"Berlin"
] |
|
13247_T
|
The Concert (ter Borch)
|
In The Concert (ter Borch), how is the History and description discussed?
|
Ter Borch was a painter who paid a lot of attention to the narrative aspects in his paintings. In psychologically suggestive scenes, he calls for interpretation about the depicted event and the interaction that takes place within. He consciously appeals to a certain curiosity about the thoughts or state of mind of the characters. He hardly gives any indications, not even in the titles, about what happens in the scene. Viewers are allowed to construct their own story. Its also the case in the present work.
The Concert depicts two young women playing musical instruments in a domestic environment. The woman in the foreground plays the cello, while the young lady in the background plays the harpsichord. The mutual relationship between the two figures remains uncertain. The cellist, promintely depicted, is seated with her back to the viewer. She also attracts most of attention with her clothing in contrasting bright white and red tones. The carefully rendered textures and the metallic reflection of her white dress and red jacket are characteristic of Ter Borch's method. However, several other stylistic aspects in this work are not, such as the remarkably brightly lit room, the figure placed in the background, depicted in a loose brush, and the use of broad brushstrokes elsewhere. This apparent break in the artist style is largely due to two radical changes that the painting suffered since its creation.Ter Borch himself made a first change in the painting by changing the gender of the figure playing the harpsichord, who was originally a young man, to a woman. This is apparent in the X-ray examinations and can also be established on the basis of a faithful copy that the painter probably himself made, which now hangs in the Stedelijk Museum, in Zwolle, with the title Couple Making Music. The reason for this conversion is not known for sure, it might have to do with the creation of a desired narrative aspect, but possibly also with the client's wish. In view of the much work that was needed, the action did not seem to have gone easily, or at least not to have been quickly satisfied.A second change took place in 1893, when the Berlin professor Hauser radically restored the work, who was then in a poor condition, greatly enhancing the colours. Hauser, however, went further than might be considered acceptable among restorers from a point of view of authenticity. In particular, he decided on a drastic reworking of the female figure in the background, where her dress was completely revised. Hauser also painted over other parts of the work with his own loose, broad brushwork, including the large surface of the background. As a result, the work lost its typical smooth and refined structure, and acquired an almost impressionistic character.
What is more special about this work, however, is that it carries a strong quality in itself, even in its perhaps too drastically restored condition. This underlines how close the classical 17th-century Dutch painting was to more contemporary and realistic movements such as impressionism, as well as how the keynote of a painting can be changed radically with just a few adjustments.
|
[
"impressionism",
"Zwolle",
"Berlin"
] |
|
13247_NT
|
The Concert (ter Borch)
|
In this artwork, how is the History and description discussed?
|
Ter Borch was a painter who paid a lot of attention to the narrative aspects in his paintings. In psychologically suggestive scenes, he calls for interpretation about the depicted event and the interaction that takes place within. He consciously appeals to a certain curiosity about the thoughts or state of mind of the characters. He hardly gives any indications, not even in the titles, about what happens in the scene. Viewers are allowed to construct their own story. Its also the case in the present work.
The Concert depicts two young women playing musical instruments in a domestic environment. The woman in the foreground plays the cello, while the young lady in the background plays the harpsichord. The mutual relationship between the two figures remains uncertain. The cellist, promintely depicted, is seated with her back to the viewer. She also attracts most of attention with her clothing in contrasting bright white and red tones. The carefully rendered textures and the metallic reflection of her white dress and red jacket are characteristic of Ter Borch's method. However, several other stylistic aspects in this work are not, such as the remarkably brightly lit room, the figure placed in the background, depicted in a loose brush, and the use of broad brushstrokes elsewhere. This apparent break in the artist style is largely due to two radical changes that the painting suffered since its creation.Ter Borch himself made a first change in the painting by changing the gender of the figure playing the harpsichord, who was originally a young man, to a woman. This is apparent in the X-ray examinations and can also be established on the basis of a faithful copy that the painter probably himself made, which now hangs in the Stedelijk Museum, in Zwolle, with the title Couple Making Music. The reason for this conversion is not known for sure, it might have to do with the creation of a desired narrative aspect, but possibly also with the client's wish. In view of the much work that was needed, the action did not seem to have gone easily, or at least not to have been quickly satisfied.A second change took place in 1893, when the Berlin professor Hauser radically restored the work, who was then in a poor condition, greatly enhancing the colours. Hauser, however, went further than might be considered acceptable among restorers from a point of view of authenticity. In particular, he decided on a drastic reworking of the female figure in the background, where her dress was completely revised. Hauser also painted over other parts of the work with his own loose, broad brushwork, including the large surface of the background. As a result, the work lost its typical smooth and refined structure, and acquired an almost impressionistic character.
What is more special about this work, however, is that it carries a strong quality in itself, even in its perhaps too drastically restored condition. This underlines how close the classical 17th-century Dutch painting was to more contemporary and realistic movements such as impressionism, as well as how the keynote of a painting can be changed radically with just a few adjustments.
|
[
"impressionism",
"Zwolle",
"Berlin"
] |
|
13248_T
|
Roman Carts
|
Focus on Roman Carts and explore the abstract.
|
Roman Carts (Italian - Barrocci romani) is a tempera on canvas painting by Giovanni Fattori, painted during a stay in Rome, c. 1872-1873. It is now in the Galleria d'Arte Moderna, in the Palazzo Pitti, in Florence.
|
[
"Giovanni Fattori",
"Galleria d'Arte Moderna",
"Palazzo Pitti",
"Florence"
] |
|
13248_NT
|
Roman Carts
|
Focus on this artwork and explore the abstract.
|
Roman Carts (Italian - Barrocci romani) is a tempera on canvas painting by Giovanni Fattori, painted during a stay in Rome, c. 1872-1873. It is now in the Galleria d'Arte Moderna, in the Palazzo Pitti, in Florence.
|
[
"Giovanni Fattori",
"Galleria d'Arte Moderna",
"Palazzo Pitti",
"Florence"
] |
|
13249_T
|
Roman Carts
|
Focus on Roman Carts and explain the Description.
|
Made during his stay in Rome in 1873, the canvas represents an environment in which there are four exhausted and panting horses, after having work hard in a Summer's day. Of the various horses, one is sitting on the ground, another has a saddle and the last two are still pulling the barroccio, a two-wheeled vehicle used for the transport of goods. There is only one man in the scene, portrayed in the background: he is the master of the horses and he is caught while he is resting, exhausted like the beasts.
In the background there is a yellowish wall calcined by the sun, seen in transversal perspective, which schematically cuts the horizon and highlights the vastness of the space. The wall, characterized by a perfect geometry, presents a great volumetric tension and being suddenly interrupted, it restores the idea of a blocked time.
From a technical point of view, the characters, described in light and uniform tones, are volumetrically highlighted by the relationship between the drawing and the brushstrokes. The scene is shown on a very intense light and the sensation that derives from it, motionless and sad, is that of suspending life during a sultry summer day.
|
[] |
|
13249_NT
|
Roman Carts
|
Focus on this artwork and explain the Description.
|
Made during his stay in Rome in 1873, the canvas represents an environment in which there are four exhausted and panting horses, after having work hard in a Summer's day. Of the various horses, one is sitting on the ground, another has a saddle and the last two are still pulling the barroccio, a two-wheeled vehicle used for the transport of goods. There is only one man in the scene, portrayed in the background: he is the master of the horses and he is caught while he is resting, exhausted like the beasts.
In the background there is a yellowish wall calcined by the sun, seen in transversal perspective, which schematically cuts the horizon and highlights the vastness of the space. The wall, characterized by a perfect geometry, presents a great volumetric tension and being suddenly interrupted, it restores the idea of a blocked time.
From a technical point of view, the characters, described in light and uniform tones, are volumetrically highlighted by the relationship between the drawing and the brushstrokes. The scene is shown on a very intense light and the sensation that derives from it, motionless and sad, is that of suspending life during a sultry summer day.
|
[] |
|
13250_T
|
Borghese Gladiators
|
Explore the abstract of this artwork, Borghese Gladiators.
|
The Borghese Gladiators (German: Borghesischer Fechter) are a pair of statues outside Charlottenburg Palace in Berlin, Germany.
|
[
"Borghese Gladiator",
"Charlottenburg Palace",
"Berlin"
] |
|
13250_NT
|
Borghese Gladiators
|
Explore the abstract of this artwork.
|
The Borghese Gladiators (German: Borghesischer Fechter) are a pair of statues outside Charlottenburg Palace in Berlin, Germany.
|
[
"Borghese Gladiator",
"Charlottenburg Palace",
"Berlin"
] |
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