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|---|---|---|---|---|---|
13251_T
|
Map (painting)
|
Focus on Map (painting) and discuss the abstract.
|
Map is a 1961 oil-on-canvas painting by Jasper Johns. It represents the overall proportions and shapes of the states of the United States and parts of Mexico and Canada, although executed with a more "energetic application of paint" than found in cartography. The names of the states and ocean areas are stencilled.
|
[
"canvas",
"stencil",
"Jasper Johns",
"cartography"
] |
|
13251_NT
|
Map (painting)
|
Focus on this artwork and discuss the abstract.
|
Map is a 1961 oil-on-canvas painting by Jasper Johns. It represents the overall proportions and shapes of the states of the United States and parts of Mexico and Canada, although executed with a more "energetic application of paint" than found in cartography. The names of the states and ocean areas are stencilled.
|
[
"canvas",
"stencil",
"Jasper Johns",
"cartography"
] |
|
13252_T
|
Map (painting)
|
How does Map (painting) elucidate its Description?
|
The painting measures 198.2 centimetres (78.0 in) by 314.7 centimetres (123.9 in). Johns was inspired by a gift from Robert Rauschenberg of some mimeographed outline maps of US states, of the sort that can be colored in by schoolchildren. Johns was attracted to an image that is ubiquitous but "seen and not looked at, not examined", effectively a found object. He copied the outlines to a large canvas, to which he added bright splashes of red, yellow, and blue, sometimes mixed, with accents of black and white. His rough brushwork resembles an Abstract Expressionist style or the late works of Cézanne. Although the outlines of the states are recognizable, the colors do not always respect state borders, perhaps suggesting the blurring of boundaries and homogenization of post-war American society, reinforced by the mass-produced effect of the stencilled names. It has been suggested that the painting may be a visual pun, as Johns "deliberately put American painting on the map" in the 1950s. Johns considered that he was painting a map, not making a painting of a map.
|
[
"canvas",
"stencil",
"Robert Rauschenberg",
"Cézanne",
"mimeograph",
"US states",
"Abstract Expressionist",
"found object"
] |
|
13252_NT
|
Map (painting)
|
How does this artwork elucidate its Description?
|
The painting measures 198.2 centimetres (78.0 in) by 314.7 centimetres (123.9 in). Johns was inspired by a gift from Robert Rauschenberg of some mimeographed outline maps of US states, of the sort that can be colored in by schoolchildren. Johns was attracted to an image that is ubiquitous but "seen and not looked at, not examined", effectively a found object. He copied the outlines to a large canvas, to which he added bright splashes of red, yellow, and blue, sometimes mixed, with accents of black and white. His rough brushwork resembles an Abstract Expressionist style or the late works of Cézanne. Although the outlines of the states are recognizable, the colors do not always respect state borders, perhaps suggesting the blurring of boundaries and homogenization of post-war American society, reinforced by the mass-produced effect of the stencilled names. It has been suggested that the painting may be a visual pun, as Johns "deliberately put American painting on the map" in the 1950s. Johns considered that he was painting a map, not making a painting of a map.
|
[
"canvas",
"stencil",
"Robert Rauschenberg",
"Cézanne",
"mimeograph",
"US states",
"Abstract Expressionist",
"found object"
] |
|
13253_T
|
Map (painting)
|
Focus on Map (painting) and analyze the Provenance.
|
The painting was donated by Mr. and Mrs. Robert C. Scull to the Museum of Modern Art in New York City. Johns continued to make map paintings through the 1960s, including gray versions in 1962 and 1963, a white map in 1965, and a mural 33 feet (10 m) wide and 15 feet (4.6 m) high for Expo 67 in Montreal. Other map paintings by Johns employ encaustic in place of oil paint.
|
[
"oil paint",
"New York City",
"encaustic",
"Robert C. Scull",
"Expo 67",
"New York",
"Museum of Modern Art"
] |
|
13253_NT
|
Map (painting)
|
Focus on this artwork and analyze the Provenance.
|
The painting was donated by Mr. and Mrs. Robert C. Scull to the Museum of Modern Art in New York City. Johns continued to make map paintings through the 1960s, including gray versions in 1962 and 1963, a white map in 1965, and a mural 33 feet (10 m) wide and 15 feet (4.6 m) high for Expo 67 in Montreal. Other map paintings by Johns employ encaustic in place of oil paint.
|
[
"oil paint",
"New York City",
"encaustic",
"Robert C. Scull",
"Expo 67",
"New York",
"Museum of Modern Art"
] |
|
13254_T
|
Statue of Theodor Mommsen
|
In Statue of Theodor Mommsen, how is the abstract discussed?
|
The statue of Theodor Mommsen by Adolf Brütt is located at Humboldt University of Berlin in Berlin-Mitte, Germany.
|
[
"Adolf Brütt",
"Humboldt University of Berlin",
"Berlin",
"Theodor Mommsen"
] |
|
13254_NT
|
Statue of Theodor Mommsen
|
In this artwork, how is the abstract discussed?
|
The statue of Theodor Mommsen by Adolf Brütt is located at Humboldt University of Berlin in Berlin-Mitte, Germany.
|
[
"Adolf Brütt",
"Humboldt University of Berlin",
"Berlin",
"Theodor Mommsen"
] |
|
13255_T
|
Bathsheba at Her Bath (Rembrandt)
|
Focus on Bathsheba at Her Bath (Rembrandt) and explore the Biblical account and variation.
|
The Second Book of Samuel (11:2-4) gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.Prior to Bathsheba at Her Bath, the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers. Such was the design Rembrandt's earlier The Toilet of Bathsheba, dated 1643. By eliminating David, his messengers and most of the traditional narrative elements from the picture—the only anecdotal references included are the letter from David (not actually mentioned in Samuel) and the presence of an attendant drying her foot—Rembrandt's presentation of Bathsheba is both intimate and monumental. As a result, the moralistic theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur.
The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.
|
[
"Second Book of Samuel",
"Rembrandt",
"Willem Drost",
"David",
"King David",
"Bathsheba",
"Eliam",
"Louvre",
"Uriah the Hittite"
] |
|
13255_NT
|
Bathsheba at Her Bath (Rembrandt)
|
Focus on this artwork and explore the Biblical account and variation.
|
The Second Book of Samuel (11:2-4) gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.Prior to Bathsheba at Her Bath, the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers. Such was the design Rembrandt's earlier The Toilet of Bathsheba, dated 1643. By eliminating David, his messengers and most of the traditional narrative elements from the picture—the only anecdotal references included are the letter from David (not actually mentioned in Samuel) and the presence of an attendant drying her foot—Rembrandt's presentation of Bathsheba is both intimate and monumental. As a result, the moralistic theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur.
The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.
|
[
"Second Book of Samuel",
"Rembrandt",
"Willem Drost",
"David",
"King David",
"Bathsheba",
"Eliam",
"Louvre",
"Uriah the Hittite"
] |
|
13256_T
|
Bathsheba at Her Bath (Rembrandt)
|
Focus on Bathsheba at Her Bath (Rembrandt) and explain the Composition.
|
Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns and ochers that impart a golden warmth. Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure. X-radiographs show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, and it is also possible that her lap, thighs, and right arm were once draped.
Despite its classical references, the characterization of the figure is unconventional, and the depictions of her large stomach, hands and feet are derived from observation rather than respect for the idealised form. Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies (an impossibly twisted left arm, the length of the right arm, an unnatural twist of the torso, and the elongated distance from breast to groin) and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness. As a result, her expression is profound enough to suggest not only her sense of resignation, but the broader narrative as well. As a conception of the nude figure suffused with complexity of thought, Bathsheba at Her Bath is nearly unique in art.
|
[
"Tobias Stimmer",
"canvas",
"relief",
"Rembrandt",
"left",
"David",
"Bathsheba"
] |
|
13256_NT
|
Bathsheba at Her Bath (Rembrandt)
|
Focus on this artwork and explain the Composition.
|
Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns and ochers that impart a golden warmth. Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure. X-radiographs show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, and it is also possible that her lap, thighs, and right arm were once draped.
Despite its classical references, the characterization of the figure is unconventional, and the depictions of her large stomach, hands and feet are derived from observation rather than respect for the idealised form. Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies (an impossibly twisted left arm, the length of the right arm, an unnatural twist of the torso, and the elongated distance from breast to groin) and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness. As a result, her expression is profound enough to suggest not only her sense of resignation, but the broader narrative as well. As a conception of the nude figure suffused with complexity of thought, Bathsheba at Her Bath is nearly unique in art.
|
[
"Tobias Stimmer",
"canvas",
"relief",
"Rembrandt",
"left",
"David",
"Bathsheba"
] |
|
13257_T
|
Bathsheba at Her Bath (Rembrandt)
|
Explore the Model of this artwork, Bathsheba at Her Bath (Rembrandt).
|
The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years.In "The medical enigma of Rembrandt's Bathsheba" Paolo Zamboni professor of Vascular Surgery University of Ferrara, solves the mystery of the model's breast. According to Zamboni the model was effected by thrombophlebitis of a superficial vein of the breast, a condition described by Mondor in 1939. So not mastitis or carcinoma, as believed for centuries. This diagnosis became real thanks to the analysis of a Zamboni patient's right breast after confirmed by an ultrasound check. As proof, mammography was negative for both cancer and mastitis, confirming the validity of the diagnosis on canvas proposed by Paolo Zamboni. The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy (she gave birth to a daughter in October 1654), Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. An alternative hypothesis for the model's identity has suggested that Stoffels' head was placed on the body of another model, which is consistent with the result derived from x-rays that Bathsheba's head had been repainted.
|
[
"tuberculosis",
"Paolo Zamboni",
"canvas",
"breast cancer",
"mastitis",
"Rembrandt",
"left",
"Bathsheba",
"Hendrickje Stoffels"
] |
|
13257_NT
|
Bathsheba at Her Bath (Rembrandt)
|
Explore the Model of this artwork.
|
The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years.In "The medical enigma of Rembrandt's Bathsheba" Paolo Zamboni professor of Vascular Surgery University of Ferrara, solves the mystery of the model's breast. According to Zamboni the model was effected by thrombophlebitis of a superficial vein of the breast, a condition described by Mondor in 1939. So not mastitis or carcinoma, as believed for centuries. This diagnosis became real thanks to the analysis of a Zamboni patient's right breast after confirmed by an ultrasound check. As proof, mammography was negative for both cancer and mastitis, confirming the validity of the diagnosis on canvas proposed by Paolo Zamboni. The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy (she gave birth to a daughter in October 1654), Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. An alternative hypothesis for the model's identity has suggested that Stoffels' head was placed on the body of another model, which is consistent with the result derived from x-rays that Bathsheba's head had been repainted.
|
[
"tuberculosis",
"Paolo Zamboni",
"canvas",
"breast cancer",
"mastitis",
"Rembrandt",
"left",
"Bathsheba",
"Hendrickje Stoffels"
] |
|
13258_T
|
Bathsheba at Her Bath (Rembrandt)
|
Focus on Bathsheba at Her Bath (Rembrandt) and discuss the Artistic responses.
|
Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph (1859–61), an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed (c. 1885) has been compared to Bathsheba for similarities in the model's attitude; Degas' father was an acquaintance of Louis La Caze, who owned Bathsheba prior to bequeathing it to the Louvre in 1869.Frédéric Bazille recalled Bathsheba in his La Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.
|
[
"Edgar Degas",
"Paris Salon",
"Louis La Caze",
"Frédéric Bazille",
"Rembrandt",
"Picasso",
"Salon",
"Bathsheba",
"Louvre",
"Édouard Manet",
"Paris"
] |
|
13258_NT
|
Bathsheba at Her Bath (Rembrandt)
|
Focus on this artwork and discuss the Artistic responses.
|
Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph (1859–61), an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed (c. 1885) has been compared to Bathsheba for similarities in the model's attitude; Degas' father was an acquaintance of Louis La Caze, who owned Bathsheba prior to bequeathing it to the Louvre in 1869.Frédéric Bazille recalled Bathsheba in his La Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.
|
[
"Edgar Degas",
"Paris Salon",
"Louis La Caze",
"Frédéric Bazille",
"Rembrandt",
"Picasso",
"Salon",
"Bathsheba",
"Louvre",
"Édouard Manet",
"Paris"
] |
|
13259_T
|
Bathsheba at Her Bath (Rembrandt)
|
How does Bathsheba at Her Bath (Rembrandt) elucidate its In popular culture?
|
The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.
The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker (Catherine Zeta-Jones), but stolen from her by another art thief Robert "Mac" MacDougal (Sean Connery).
|
[
"Murdoch Mysteries"
] |
|
13259_NT
|
Bathsheba at Her Bath (Rembrandt)
|
How does this artwork elucidate its In popular culture?
|
The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.
The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker (Catherine Zeta-Jones), but stolen from her by another art thief Robert "Mac" MacDougal (Sean Connery).
|
[
"Murdoch Mysteries"
] |
|
13260_T
|
Statue of Mother Joseph
|
Focus on Statue of Mother Joseph and analyze the abstract.
|
Mother Joseph is a bronze sculpture depicting Mother Joseph Pariseau by Felix de Weldon, installed in the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Washington in 1980.
|
[
"Felix de Weldon",
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Washington",
"Mother Joseph Pariseau",
"U.S. state",
"United States Capitol"
] |
|
13260_NT
|
Statue of Mother Joseph
|
Focus on this artwork and analyze the abstract.
|
Mother Joseph is a bronze sculpture depicting Mother Joseph Pariseau by Felix de Weldon, installed in the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Washington in 1980.
|
[
"Felix de Weldon",
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Washington",
"Mother Joseph Pariseau",
"U.S. state",
"United States Capitol"
] |
|
13261_T
|
Le Rêve Transformé
|
In Le Rêve Transformé, how is the abstract discussed?
|
Le Rêve Transformé (transl. 'The Transformed Dream') is a 1913 painting by the Italian metaphysical painter Giorgio de Chirico. This work contains the classic Chirico's images of an empty urban scene at late evening with a ghostly train on the horizon. In this case in the foreground is an arrangement of bananas, pineapples and a Greek sculpture.
|
[
"Giorgio de Chirico",
"metaphysical painter"
] |
|
13261_NT
|
Le Rêve Transformé
|
In this artwork, how is the abstract discussed?
|
Le Rêve Transformé (transl. 'The Transformed Dream') is a 1913 painting by the Italian metaphysical painter Giorgio de Chirico. This work contains the classic Chirico's images of an empty urban scene at late evening with a ghostly train on the horizon. In this case in the foreground is an arrangement of bananas, pineapples and a Greek sculpture.
|
[
"Giorgio de Chirico",
"metaphysical painter"
] |
|
13262_T
|
Imperial Fritillaries in a Copper Vase
|
Focus on Imperial Fritillaries in a Copper Vase and explore the abstract.
|
Imperial Fritillaries in a Copper Vase is an oil painting on canvas created by the post-impressionist painter Vincent van Gogh in Paris, 1887. The painting is now part of the collection of the Musée d'Orsay in Paris, France. This work was made at a time of the life of Van Gogh when he first encountered influences from Impressionists and became aware of light and color, implementing it in his paintings. This painting presages some of his most famous subsequent works, and stands out from other still lifes because of the implementation of mixed techniques and complementary colors.
|
[
"Musée d'Orsay",
"Vincent van Gogh",
"post-impressionist"
] |
|
13262_NT
|
Imperial Fritillaries in a Copper Vase
|
Focus on this artwork and explore the abstract.
|
Imperial Fritillaries in a Copper Vase is an oil painting on canvas created by the post-impressionist painter Vincent van Gogh in Paris, 1887. The painting is now part of the collection of the Musée d'Orsay in Paris, France. This work was made at a time of the life of Van Gogh when he first encountered influences from Impressionists and became aware of light and color, implementing it in his paintings. This painting presages some of his most famous subsequent works, and stands out from other still lifes because of the implementation of mixed techniques and complementary colors.
|
[
"Musée d'Orsay",
"Vincent van Gogh",
"post-impressionist"
] |
|
13263_T
|
Imperial Fritillaries in a Copper Vase
|
Focus on Imperial Fritillaries in a Copper Vase and explain the Description.
|
Imperial Fritillaries in a Copper Vase is an oil painting on canvas measuring 73.5 by 60.5 cm which was painted in Paris in 1887. It depicts a bouquet of golden imperial fritillaries in a copper vase, the shiny patina of which (surrounded by lavender highlights) "reflects the color of the flowers as the motted wall stands out with a combination of blue, green and yellow shades" with flecks of white like "sparkling lights." The "moody blues" and "vibrant golds" in the painting can also be appreciated in other of Van Gogh's works such as The Starry Night and Bedroom at Arles. This painting with its "thickly applied paint and convoluted brushstrokes" presages Van Gogh´s famous Sunflowers. Color was an important element in his work at the time it was painted, as it expresses the artist´s "elevated mood" during the period he lived with his brother Theo in Montmartre in Paris (1886-1888). This piece has been described as a "riotous celebration of color, texture and light," as it shows how Van Gogh accomplished light and the varied ways in which he applied the paint with "dashes in the background, directional brushstrokes on the table, impasto highlights on the metal vase".Vincent, as mentioned by the Scottish painter, Archibald Standish Hartrick, was interested in a theory that stated that "the eye carried a portion of the last sensation it had enjoyed into the next, so that something of both must be included in every picture made". The inspiration for the selection of complementary colors (orange and blue in this painting), came from noticing that "when entering a lamplit room out of the night increases the orange effect of the light, and in the contrary case, the blue." As Vincent wrote, he tried to "render intense colour and not a grey harmony." Eugène Murer, the Impressionist painter contemporaneous with Van Gogh who owned the Fritillaries in a Copper Vase painting, considered him "the greatest colorist of the century after Renoir." Van Gogh was always open minded about trying new painting techniques and even liked to use several in a same work. This painting is an example of this, as it mixes Pointillism in the background as "expression of the nature of the central focus of the painting" and Impressionism in the brushstrokes of the flowers and vase. Van Gogh applied these techniques inspired by Impressionists and Neo-Impressionists of the time, that would be later used in other pieces, mainly portraits and self-portraits.
|
[
"Pointillism",
"imperial fritillaries",
"Montmartre",
"Bedroom at Arles",
"Sunflowers",
"The Starry Night"
] |
|
13263_NT
|
Imperial Fritillaries in a Copper Vase
|
Focus on this artwork and explain the Description.
|
Imperial Fritillaries in a Copper Vase is an oil painting on canvas measuring 73.5 by 60.5 cm which was painted in Paris in 1887. It depicts a bouquet of golden imperial fritillaries in a copper vase, the shiny patina of which (surrounded by lavender highlights) "reflects the color of the flowers as the motted wall stands out with a combination of blue, green and yellow shades" with flecks of white like "sparkling lights." The "moody blues" and "vibrant golds" in the painting can also be appreciated in other of Van Gogh's works such as The Starry Night and Bedroom at Arles. This painting with its "thickly applied paint and convoluted brushstrokes" presages Van Gogh´s famous Sunflowers. Color was an important element in his work at the time it was painted, as it expresses the artist´s "elevated mood" during the period he lived with his brother Theo in Montmartre in Paris (1886-1888). This piece has been described as a "riotous celebration of color, texture and light," as it shows how Van Gogh accomplished light and the varied ways in which he applied the paint with "dashes in the background, directional brushstrokes on the table, impasto highlights on the metal vase".Vincent, as mentioned by the Scottish painter, Archibald Standish Hartrick, was interested in a theory that stated that "the eye carried a portion of the last sensation it had enjoyed into the next, so that something of both must be included in every picture made". The inspiration for the selection of complementary colors (orange and blue in this painting), came from noticing that "when entering a lamplit room out of the night increases the orange effect of the light, and in the contrary case, the blue." As Vincent wrote, he tried to "render intense colour and not a grey harmony." Eugène Murer, the Impressionist painter contemporaneous with Van Gogh who owned the Fritillaries in a Copper Vase painting, considered him "the greatest colorist of the century after Renoir." Van Gogh was always open minded about trying new painting techniques and even liked to use several in a same work. This painting is an example of this, as it mixes Pointillism in the background as "expression of the nature of the central focus of the painting" and Impressionism in the brushstrokes of the flowers and vase. Van Gogh applied these techniques inspired by Impressionists and Neo-Impressionists of the time, that would be later used in other pieces, mainly portraits and self-portraits.
|
[
"Pointillism",
"imperial fritillaries",
"Montmartre",
"Bedroom at Arles",
"Sunflowers",
"The Starry Night"
] |
|
13264_T
|
Imperial Fritillaries in a Copper Vase
|
Explore the Signature about the Description of this artwork, Imperial Fritillaries in a Copper Vase.
|
Out of 900 works, Van Gogh signed only about 130, Imperial Fritillaries in a Copper Vase among them (upper left corner). This means that he considered it a potential work that could be sold. The signature in the picture reads "Vincent", as he signed since he arrived to Paris and from then on. It is said that this was because French people could not pronounce his last name. Another theory states that he wanted to get away from the Van Gogh name as his ancestors were more conservative than him. He wanted to be recognized as an individual to be "unique".
|
[] |
|
13264_NT
|
Imperial Fritillaries in a Copper Vase
|
Explore the Signature about the Description of this artwork.
|
Out of 900 works, Van Gogh signed only about 130, Imperial Fritillaries in a Copper Vase among them (upper left corner). This means that he considered it a potential work that could be sold. The signature in the picture reads "Vincent", as he signed since he arrived to Paris and from then on. It is said that this was because French people could not pronounce his last name. Another theory states that he wanted to get away from the Van Gogh name as his ancestors were more conservative than him. He wanted to be recognized as an individual to be "unique".
|
[] |
|
13265_T
|
Imperial Fritillaries in a Copper Vase
|
Focus on Imperial Fritillaries in a Copper Vase and discuss the Imperial fritillaries.
|
Imperial fritillaries (Fritillaria imperialis) are bulbs that were grown in France and Germany at the end of the 19th century, nowadays they are generally seen in gardens in Europe during spring (April and May). Because of this it is assumed that Van Gogh painted this work at that time of year. The orange-red flower is also known as the imperial crown or kaiser's crown. Each bulb grows between three and ten flowers, so Van Gogh used one or two bulbs to make the bouquet depicted in this picture.
|
[
"Fritillaria imperialis"
] |
|
13265_NT
|
Imperial Fritillaries in a Copper Vase
|
Focus on this artwork and discuss the Imperial fritillaries.
|
Imperial fritillaries (Fritillaria imperialis) are bulbs that were grown in France and Germany at the end of the 19th century, nowadays they are generally seen in gardens in Europe during spring (April and May). Because of this it is assumed that Van Gogh painted this work at that time of year. The orange-red flower is also known as the imperial crown or kaiser's crown. Each bulb grows between three and ten flowers, so Van Gogh used one or two bulbs to make the bouquet depicted in this picture.
|
[
"Fritillaria imperialis"
] |
|
13266_T
|
Lamentation (The Mourning of Christ)
|
How does Lamentation (The Mourning of Christ) elucidate its abstract?
|
Lamentation (The Mourning of Christ) is a fresco painted c.1305 by the Italian artist Giotto as part of his cycle of the Life of Christ on the interior walls of the Scrovegni Chapel in Padua, Italy. The Scrovegni Chapel was built as a private chapel next to the Eremitani Monastery by the wealthy Scrovegni family and consecrated in 1305. Between 1304 and 1306, Giotto decorated the interior walls of the chapel with a series of frescoes depicting scenes from the Life of Jesus. The upper sections of the walls also include stories of Joachim and Anna, parents of the Virgin Mary. The works are considered a masterpiece.
Both the monastery and the chapel now form part of the Musei Civici di Padova. Giotto is described as a Proto-Renaissance artist, preceding and paving the way for the early Florentine Renaissance painters, breaking the artistic mold of the Byzantine period by introducing naturalism and depth into his work.
In the painting, the body of the crucified Christ has been lowered from the cross and laid on the ground, surrounded by his grieving mother and disciples. His head is held by Mary, his mother, and his feet by Mary Magdelene. John the Apostle throws his arms wide in despair. To the right, Nicodemus and Joseph of Arimathea wait to prepare the body to be laid in a tomb. (John 19:38–42)
|
[
"Byzantine period",
"Scrovegni Chapel",
"Proto-Renaissance",
"Padua",
"Giotto",
"Life of Christ",
"Mary Magdelene",
"Florentine Renaissance",
"Nicodemus",
"Joseph of Arimathea",
"Musei Civici di Padova",
"John the Apostle",
"fresco"
] |
|
13266_NT
|
Lamentation (The Mourning of Christ)
|
How does this artwork elucidate its abstract?
|
Lamentation (The Mourning of Christ) is a fresco painted c.1305 by the Italian artist Giotto as part of his cycle of the Life of Christ on the interior walls of the Scrovegni Chapel in Padua, Italy. The Scrovegni Chapel was built as a private chapel next to the Eremitani Monastery by the wealthy Scrovegni family and consecrated in 1305. Between 1304 and 1306, Giotto decorated the interior walls of the chapel with a series of frescoes depicting scenes from the Life of Jesus. The upper sections of the walls also include stories of Joachim and Anna, parents of the Virgin Mary. The works are considered a masterpiece.
Both the monastery and the chapel now form part of the Musei Civici di Padova. Giotto is described as a Proto-Renaissance artist, preceding and paving the way for the early Florentine Renaissance painters, breaking the artistic mold of the Byzantine period by introducing naturalism and depth into his work.
In the painting, the body of the crucified Christ has been lowered from the cross and laid on the ground, surrounded by his grieving mother and disciples. His head is held by Mary, his mother, and his feet by Mary Magdelene. John the Apostle throws his arms wide in despair. To the right, Nicodemus and Joseph of Arimathea wait to prepare the body to be laid in a tomb. (John 19:38–42)
|
[
"Byzantine period",
"Scrovegni Chapel",
"Proto-Renaissance",
"Padua",
"Giotto",
"Life of Christ",
"Mary Magdelene",
"Florentine Renaissance",
"Nicodemus",
"Joseph of Arimathea",
"Musei Civici di Padova",
"John the Apostle",
"fresco"
] |
|
13267_T
|
Equestrian statue of Joan of Arc (New York City)
|
Focus on Equestrian statue of Joan of Arc (New York City) and analyze the abstract.
|
Joan of Arc is a 1915 bronze equestrian statue on a granite base, sculpted by Anna Hyatt Huntington. The statue is located in Manhattan, New York City, on Riverside Drive and 93rd Street. It depicts the Roman Catholic saint and French folk heroine Joan of Arc.
|
[
"New York City",
"bronze",
"Riverside Drive",
"granite",
"equestrian statue",
"folk heroine",
"Anna Hyatt Huntington",
"93rd Street",
"Manhattan",
"Joan of Arc"
] |
|
13267_NT
|
Equestrian statue of Joan of Arc (New York City)
|
Focus on this artwork and analyze the abstract.
|
Joan of Arc is a 1915 bronze equestrian statue on a granite base, sculpted by Anna Hyatt Huntington. The statue is located in Manhattan, New York City, on Riverside Drive and 93rd Street. It depicts the Roman Catholic saint and French folk heroine Joan of Arc.
|
[
"New York City",
"bronze",
"Riverside Drive",
"granite",
"equestrian statue",
"folk heroine",
"Anna Hyatt Huntington",
"93rd Street",
"Manhattan",
"Joan of Arc"
] |
|
13268_T
|
Equestrian statue of Joan of Arc (New York City)
|
In Equestrian statue of Joan of Arc (New York City), how is the Awards discussed?
|
The plaster model, which she made at the studio of Jules Dalou, earned her Honorable Mention at the 1910 Paris Salon.
One of the works of art credited to the City Beautiful movement.
Earned Anna Hyatt Huntington the Legion of Honor.
|
[
"Paris Salon",
"Anna Hyatt Huntington",
"Jules Dalou",
"plaster",
"City Beautiful movement"
] |
|
13268_NT
|
Equestrian statue of Joan of Arc (New York City)
|
In this artwork, how is the Awards discussed?
|
The plaster model, which she made at the studio of Jules Dalou, earned her Honorable Mention at the 1910 Paris Salon.
One of the works of art credited to the City Beautiful movement.
Earned Anna Hyatt Huntington the Legion of Honor.
|
[
"Paris Salon",
"Anna Hyatt Huntington",
"Jules Dalou",
"plaster",
"City Beautiful movement"
] |
|
13269_T
|
The Valley of Wyoming
|
Focus on The Valley of Wyoming and explore the abstract.
|
The Valley of Wyoming is an 1865 painting by American painter Jasper Francis Cropsey. Cropsey, a prominent landscape painter, rendered Valley so as to depict the Wyoming Valley in Northeastern Pennsylvania. The painting was commissioned by Milton Courtright, who was born in the valley, for $3,500. The work is in the collection of the Metropolitan Museum of Art.
|
[
"Jasper Francis Cropsey",
"Wyoming Valley",
"Metropolitan Museum of Art",
"Milton Courtright"
] |
|
13269_NT
|
The Valley of Wyoming
|
Focus on this artwork and explore the abstract.
|
The Valley of Wyoming is an 1865 painting by American painter Jasper Francis Cropsey. Cropsey, a prominent landscape painter, rendered Valley so as to depict the Wyoming Valley in Northeastern Pennsylvania. The painting was commissioned by Milton Courtright, who was born in the valley, for $3,500. The work is in the collection of the Metropolitan Museum of Art.
|
[
"Jasper Francis Cropsey",
"Wyoming Valley",
"Metropolitan Museum of Art",
"Milton Courtright"
] |
|
13270_T
|
Donut Revenge
|
Focus on Donut Revenge and explain the Exhibitions.
|
Donut Revenge has been exhibited at the following art institutions:Basquiat Paintings at Gallery Schlesinger in New York, November 1988.
Beautiful Losers at Contemporary Arts Center in Cincinnati; Yerba Buena Center for the Arts in Santa Barbara, March – October 2004.
Jean-Michel Basquiat: Made in Japan at Mori Arts Center Gallery in Tokyo, September – November, 2019.
|
[
"Contemporary Arts Center",
"Yerba Buena Center for the Arts",
"Jean-Michel Basquiat"
] |
|
13270_NT
|
Donut Revenge
|
Focus on this artwork and explain the Exhibitions.
|
Donut Revenge has been exhibited at the following art institutions:Basquiat Paintings at Gallery Schlesinger in New York, November 1988.
Beautiful Losers at Contemporary Arts Center in Cincinnati; Yerba Buena Center for the Arts in Santa Barbara, March – October 2004.
Jean-Michel Basquiat: Made in Japan at Mori Arts Center Gallery in Tokyo, September – November, 2019.
|
[
"Contemporary Arts Center",
"Yerba Buena Center for the Arts",
"Jean-Michel Basquiat"
] |
|
13271_T
|
Stele of Avile Tite
|
Explore the abstract of this artwork, Stele of Avile Tite.
|
The Stele of Avile Tite is a monumental Etruscan limestone stele, 1.7 m high, which is kept in the Museo Guarnacci in Volterra.
|
[
"Etruscan",
"Museo Guarnacci",
"Volterra"
] |
|
13271_NT
|
Stele of Avile Tite
|
Explore the abstract of this artwork.
|
The Stele of Avile Tite is a monumental Etruscan limestone stele, 1.7 m high, which is kept in the Museo Guarnacci in Volterra.
|
[
"Etruscan",
"Museo Guarnacci",
"Volterra"
] |
|
13272_T
|
Stele of Avile Tite
|
Focus on Stele of Avile Tite and discuss the History and description.
|
The stele is a notable artefact, datable to c.550 BC and discovered in two fragments. It shows a warrior in relief within a border with an inscription (which says "I belong to Avile Tites, ...uchsie donated me" TLE2 386), typical of central northern Etruria, with Greco-oriental influences.
The warrior, to whom the stele was dedicated as a tombstone, is represented in profile in full armour, facing left, with his legs split as if he was in motion. He wears a short tunica, a cuirass (lorica), shoulder armour, and greaves on his shins and is armed with a lance and a dagger with a curved hilt. His body is depicted in profile, like his face, which has a pointy beard, layered hair, elongated eyes and lips bent in a smile.
The style of the stela is influenced by a taste for full, monumental forms, typical of the late Ionic style. The hairstyle, of the"Daedalic" type, demonstrates the provincial scope of the warrior, on account of a use which must now be dated to the period.
|
[
"lorica",
"greave"
] |
|
13272_NT
|
Stele of Avile Tite
|
Focus on this artwork and discuss the History and description.
|
The stele is a notable artefact, datable to c.550 BC and discovered in two fragments. It shows a warrior in relief within a border with an inscription (which says "I belong to Avile Tites, ...uchsie donated me" TLE2 386), typical of central northern Etruria, with Greco-oriental influences.
The warrior, to whom the stele was dedicated as a tombstone, is represented in profile in full armour, facing left, with his legs split as if he was in motion. He wears a short tunica, a cuirass (lorica), shoulder armour, and greaves on his shins and is armed with a lance and a dagger with a curved hilt. His body is depicted in profile, like his face, which has a pointy beard, layered hair, elongated eyes and lips bent in a smile.
The style of the stela is influenced by a taste for full, monumental forms, typical of the late Ionic style. The hairstyle, of the"Daedalic" type, demonstrates the provincial scope of the warrior, on account of a use which must now be dated to the period.
|
[
"lorica",
"greave"
] |
|
13273_T
|
Gare Saint-Lazare (Monet series)
|
How does Gare Saint-Lazare (Monet series) elucidate its abstract?
|
Gare Saint-Lazare is a series of oil paintings by the French artist Claude Monet. The paintings depict the smoky interior of this railway station in varied atmospheric conditions and from various points of view. The series contains twelve paintings, all created in 1877 in Paris. This was Monet's first series of paintings concentrating on a single theme.
This Impressionist series was deeply influenced by modernization and industrialization in the nineteenth century, presenting a busy train station in different times of a day. Monet finished the Gare Saint-Lazare series in the first half of 1877 and exhibited seven of the twelve paintings at the Third Impressionist Exhibition in the same year. Today, the Gare Saint-Lazare paintings are scattered in institutions all over the world, including Musée d'Orsay, Fogg Art Museum, Art Institute of Chicago, National Gallery, Musée Marmottan Monet, Pola Museum of Art, Lower Saxony State Museum, and other private collections.
|
[
"Art Institute of Chicago",
"Fogg Art Museum",
"Impressionist",
"Chicago",
"National Gallery",
"Lower Saxony State Museum",
"Musée d'Orsay",
"industrialization",
"Pola Museum of Art",
"Claude Monet",
"Paris",
"Gare Saint-Lazare",
"Musée Marmottan Monet"
] |
|
13273_NT
|
Gare Saint-Lazare (Monet series)
|
How does this artwork elucidate its abstract?
|
Gare Saint-Lazare is a series of oil paintings by the French artist Claude Monet. The paintings depict the smoky interior of this railway station in varied atmospheric conditions and from various points of view. The series contains twelve paintings, all created in 1877 in Paris. This was Monet's first series of paintings concentrating on a single theme.
This Impressionist series was deeply influenced by modernization and industrialization in the nineteenth century, presenting a busy train station in different times of a day. Monet finished the Gare Saint-Lazare series in the first half of 1877 and exhibited seven of the twelve paintings at the Third Impressionist Exhibition in the same year. Today, the Gare Saint-Lazare paintings are scattered in institutions all over the world, including Musée d'Orsay, Fogg Art Museum, Art Institute of Chicago, National Gallery, Musée Marmottan Monet, Pola Museum of Art, Lower Saxony State Museum, and other private collections.
|
[
"Art Institute of Chicago",
"Fogg Art Museum",
"Impressionist",
"Chicago",
"National Gallery",
"Lower Saxony State Museum",
"Musée d'Orsay",
"industrialization",
"Pola Museum of Art",
"Claude Monet",
"Paris",
"Gare Saint-Lazare",
"Musée Marmottan Monet"
] |
|
13274_T
|
Gare Saint-Lazare (Monet series)
|
Focus on Gare Saint-Lazare (Monet series) and analyze the Background.
|
Gare Saint-Lazare station is the terminus of the first railway in Paris and one of the six largest terminuses in Paris, which opened in 1837. During the 1850s and 1860s, the station had expanded at an exponential rate due to industrialization, and it attracted contemporary painters including Monet, Manet, and Caillebotte. In the 1870s, contemporary artists started to draw inspiration from trains, stations, and railways. One critic felt compelled to call the entire Impressionist movement “the School of the place de l’Europe,” which referred to Gare Saint-Lazare's square.
|
[
"Gare Saint-Lazare station",
"Impressionist",
"Caillebotte",
"terminuses",
"Manet",
"Impressionist movement",
"industrialization",
"Paris",
"Gare Saint-Lazare"
] |
|
13274_NT
|
Gare Saint-Lazare (Monet series)
|
Focus on this artwork and analyze the Background.
|
Gare Saint-Lazare station is the terminus of the first railway in Paris and one of the six largest terminuses in Paris, which opened in 1837. During the 1850s and 1860s, the station had expanded at an exponential rate due to industrialization, and it attracted contemporary painters including Monet, Manet, and Caillebotte. In the 1870s, contemporary artists started to draw inspiration from trains, stations, and railways. One critic felt compelled to call the entire Impressionist movement “the School of the place de l’Europe,” which referred to Gare Saint-Lazare's square.
|
[
"Gare Saint-Lazare station",
"Impressionist",
"Caillebotte",
"terminuses",
"Manet",
"Impressionist movement",
"industrialization",
"Paris",
"Gare Saint-Lazare"
] |
|
13275_T
|
Gare Saint-Lazare (Monet series)
|
In Gare Saint-Lazare (Monet series), how is the Creation discussed?
|
In the 1870s, Monet rented a studio not far from the Gare Saint-Lazare and gained permission from the director of the Compagnie des Chemins de fer de l'Ouest to paint from the station concourse and beside the track.Painting on site, Monet had to deal with the incoming and outgoing trains and crowds of passengers. When he sketched and started painting, his view must have been blocked by steam and smoke. In 1889, critic Hugues Le Roux recalled Monet's working process in the Gare Saint-Lazare: “[Monet] was doggedly painting the departing locomotives. He wanted to show how they looked as they moved through the hot air that shimmered around them. Though the station workers were in his way, he sat there patiently, like a hunter, brush at the ready, waiting for the minute when he could put paint to canvas."Similar to most contemporary artists, Monet did not paint entirely in the station: all of the paintings were finished in his studio. Due to the handful of preliminary sketches Monet did for this series, we can surmise that he did not have an abundant window of time at the station. Monet sketched first and then transferred some of the drawing features onto the under layers of the paintings. Conservator Kirk Vuillemot studied the version from Art Institute of Chicago and found that the painting consisted of two layers and was built up from a broadly applied lay-in. Monet developed the main compositional elements wet-on-wet after the under layers had dried. He created a varied surface texture by juxtaposing multifarious brushstrokes. Vuillemot described the resulting effect as “smooth, fluid paint and low impasto, and lightly dragged and dry-brush strokes that skip across the surface of the painting.”Monet started this series in early January 1877 and exhibited seven of the pictures at the Third Impressionist Exhibition in same year on April 5. He finished twelve paintings in roughly four months.
|
[
"Art Institute of Chicago",
"Hugues Le Roux",
"locomotive",
"Impressionist",
"Chicago",
"Compagnie des Chemins de fer de l'Ouest",
"Chemins de fer de l'Ouest",
"wet-on-wet",
"Gare Saint-Lazare"
] |
|
13275_NT
|
Gare Saint-Lazare (Monet series)
|
In this artwork, how is the Creation discussed?
|
In the 1870s, Monet rented a studio not far from the Gare Saint-Lazare and gained permission from the director of the Compagnie des Chemins de fer de l'Ouest to paint from the station concourse and beside the track.Painting on site, Monet had to deal with the incoming and outgoing trains and crowds of passengers. When he sketched and started painting, his view must have been blocked by steam and smoke. In 1889, critic Hugues Le Roux recalled Monet's working process in the Gare Saint-Lazare: “[Monet] was doggedly painting the departing locomotives. He wanted to show how they looked as they moved through the hot air that shimmered around them. Though the station workers were in his way, he sat there patiently, like a hunter, brush at the ready, waiting for the minute when he could put paint to canvas."Similar to most contemporary artists, Monet did not paint entirely in the station: all of the paintings were finished in his studio. Due to the handful of preliminary sketches Monet did for this series, we can surmise that he did not have an abundant window of time at the station. Monet sketched first and then transferred some of the drawing features onto the under layers of the paintings. Conservator Kirk Vuillemot studied the version from Art Institute of Chicago and found that the painting consisted of two layers and was built up from a broadly applied lay-in. Monet developed the main compositional elements wet-on-wet after the under layers had dried. He created a varied surface texture by juxtaposing multifarious brushstrokes. Vuillemot described the resulting effect as “smooth, fluid paint and low impasto, and lightly dragged and dry-brush strokes that skip across the surface of the painting.”Monet started this series in early January 1877 and exhibited seven of the pictures at the Third Impressionist Exhibition in same year on April 5. He finished twelve paintings in roughly four months.
|
[
"Art Institute of Chicago",
"Hugues Le Roux",
"locomotive",
"Impressionist",
"Chicago",
"Compagnie des Chemins de fer de l'Ouest",
"Chemins de fer de l'Ouest",
"wet-on-wet",
"Gare Saint-Lazare"
] |
|
13276_T
|
Gare Saint-Lazare (Monet series)
|
Focus on Gare Saint-Lazare (Monet series) and explore the Description.
|
Each of the twelve paintings did not maintain a consistent point of view. Monet shifted position in almost every painting: some were set inside the massive glass shed, some were out, and some were painted underneath the pont de l’Europe, which created a compressed angle to show the rush of two approaching trains.Some of his paintings depicted the speeding and unstoppable trains rushing towards the end of the track, while others showed the massive locomotive waiting patiently before setting off. Despite the different compositions, all of the works show the station filled with thick clouds of steam and the pungent plumes of smoke from the burning coal. The smoke obscured objects in the distance, dissolving forms through suffused light. Monet mixed different degrees of sharp and blurry brush strokes and the steam left by passing trains to create this sense of fleetingness.Despite the harsh conditions, Monet still successfully depicted temporal factors like trains and passengers speeding by. Train signals announce departures and arrivals; switchmen are scattered around, timing everyone's actions; and the smoke and steam imply the movement of heavy machine.Critics in 1877 claimed Monet captured the arrival and departure of trains and their stages of movement precisely. As Baron Grimm said: “The artist wanted to demonstrate step by step the impression of a train during departure, the impression of a train about to depart, and he has tried, ultimately, to give us the disagreeable impression that results when several locomotives whistle at the same time.”
|
[
"pont de l’Europe",
"locomotive",
"switchmen",
"Baron Grimm"
] |
|
13276_NT
|
Gare Saint-Lazare (Monet series)
|
Focus on this artwork and explore the Description.
|
Each of the twelve paintings did not maintain a consistent point of view. Monet shifted position in almost every painting: some were set inside the massive glass shed, some were out, and some were painted underneath the pont de l’Europe, which created a compressed angle to show the rush of two approaching trains.Some of his paintings depicted the speeding and unstoppable trains rushing towards the end of the track, while others showed the massive locomotive waiting patiently before setting off. Despite the different compositions, all of the works show the station filled with thick clouds of steam and the pungent plumes of smoke from the burning coal. The smoke obscured objects in the distance, dissolving forms through suffused light. Monet mixed different degrees of sharp and blurry brush strokes and the steam left by passing trains to create this sense of fleetingness.Despite the harsh conditions, Monet still successfully depicted temporal factors like trains and passengers speeding by. Train signals announce departures and arrivals; switchmen are scattered around, timing everyone's actions; and the smoke and steam imply the movement of heavy machine.Critics in 1877 claimed Monet captured the arrival and departure of trains and their stages of movement precisely. As Baron Grimm said: “The artist wanted to demonstrate step by step the impression of a train during departure, the impression of a train about to depart, and he has tried, ultimately, to give us the disagreeable impression that results when several locomotives whistle at the same time.”
|
[
"pont de l’Europe",
"locomotive",
"switchmen",
"Baron Grimm"
] |
|
13277_T
|
Gare Saint-Lazare (Monet series)
|
Focus on Gare Saint-Lazare (Monet series) and explain the Interpretation.
|
Scholars have generally seen the Gare Saint-Lazare series as Monet's attempt to depict the industrial age from his perspective. Trains, steam, and smoke convey the concepts of mobility and speed. The vaporized forms are consistent with Impressionism's credo that matter should appear to be in a constant state of motion. Coinciding with Impressionists’ preoccupation with instantaneous and atmospheric change is the ever changing shape and rapid dissipation of steam, a substance that embodies these characteristics in a way that nothing else can. As the critic Jules Janin once wrote: “The poetry of the nineteenth century […] is steam.”Scholars have also proposed that Monet portrayed how time itself was being modernized and industrialized. Industrialization required to the unification and coordination of time, and this unification could be clearly seen at the synchronized train-schedules and precisely timed operations done by switchmen. Monet highlighted the “instant” in painting, showing the standardization of time was the core around which industrialized society revolves.
|
[
"Impressionist",
"switchmen",
"Impressionism",
"Jules Janin",
"Gare Saint-Lazare"
] |
|
13277_NT
|
Gare Saint-Lazare (Monet series)
|
Focus on this artwork and explain the Interpretation.
|
Scholars have generally seen the Gare Saint-Lazare series as Monet's attempt to depict the industrial age from his perspective. Trains, steam, and smoke convey the concepts of mobility and speed. The vaporized forms are consistent with Impressionism's credo that matter should appear to be in a constant state of motion. Coinciding with Impressionists’ preoccupation with instantaneous and atmospheric change is the ever changing shape and rapid dissipation of steam, a substance that embodies these characteristics in a way that nothing else can. As the critic Jules Janin once wrote: “The poetry of the nineteenth century […] is steam.”Scholars have also proposed that Monet portrayed how time itself was being modernized and industrialized. Industrialization required to the unification and coordination of time, and this unification could be clearly seen at the synchronized train-schedules and precisely timed operations done by switchmen. Monet highlighted the “instant” in painting, showing the standardization of time was the core around which industrialized society revolves.
|
[
"Impressionist",
"switchmen",
"Impressionism",
"Jules Janin",
"Gare Saint-Lazare"
] |
|
13278_T
|
Reliquary Cross with Relics of Saint George
|
Explore the abstract of this artwork, Reliquary Cross with Relics of Saint George.
|
The Metropolitan Museum of Art holds in its collection an Armenian reliquary cross dating to the 18th century. Crafted from a variety of valuable materiel, the cross was made for the Monastery of St. George at Lim in Western Armenia. The piece is inscribed with a warning, reading "Whoever dares to give it [the relic] as a pledge or take it away from Saint George, let them incur his vengeance."
|
[
"Armenian",
"Western Armenia",
"Metropolitan Museum of Art",
"Monastery of St. George at Lim"
] |
|
13278_NT
|
Reliquary Cross with Relics of Saint George
|
Explore the abstract of this artwork.
|
The Metropolitan Museum of Art holds in its collection an Armenian reliquary cross dating to the 18th century. Crafted from a variety of valuable materiel, the cross was made for the Monastery of St. George at Lim in Western Armenia. The piece is inscribed with a warning, reading "Whoever dares to give it [the relic] as a pledge or take it away from Saint George, let them incur his vengeance."
|
[
"Armenian",
"Western Armenia",
"Metropolitan Museum of Art",
"Monastery of St. George at Lim"
] |
|
13279_T
|
Statue of Abraham Lincoln (Lincoln Memorial)
|
Focus on Statue of Abraham Lincoln (Lincoln Memorial) and discuss the abstract.
|
Abraham Lincoln (1920) is a colossal seated figure of the 16th president of the United States, Abraham Lincoln (1809–1865), sculpted by Daniel Chester French (1850–1931) and carved by the Piccirilli Brothers. Located in the Lincoln Memorial (constructed 1914–1922), on the National Mall, Washington, D.C., United States, the statue was unveiled in 1922. The work follows in the Beaux Arts and American Renaissance style traditions.
|
[
"Piccirilli Brothers",
"ton",
"president of the United States",
"Beaux Arts",
"American Renaissance",
"Washington, D.C.",
"National Mall",
"Daniel Chester French",
"Abraham Lincoln",
"Lincoln Memorial"
] |
|
13279_NT
|
Statue of Abraham Lincoln (Lincoln Memorial)
|
Focus on this artwork and discuss the abstract.
|
Abraham Lincoln (1920) is a colossal seated figure of the 16th president of the United States, Abraham Lincoln (1809–1865), sculpted by Daniel Chester French (1850–1931) and carved by the Piccirilli Brothers. Located in the Lincoln Memorial (constructed 1914–1922), on the National Mall, Washington, D.C., United States, the statue was unveiled in 1922. The work follows in the Beaux Arts and American Renaissance style traditions.
|
[
"Piccirilli Brothers",
"ton",
"president of the United States",
"Beaux Arts",
"American Renaissance",
"Washington, D.C.",
"National Mall",
"Daniel Chester French",
"Abraham Lincoln",
"Lincoln Memorial"
] |
|
13280_T
|
Statue of Abraham Lincoln (Lincoln Memorial)
|
How does Statue of Abraham Lincoln (Lincoln Memorial) elucidate its History?
|
Daniel Chester French was selected in 1914 by the Lincoln Memorial Committee to create a Lincoln statue as part of the memorial to be designed by architect Henry Bacon (1866–1924). French was already famous for his 1874 The Minute Man statue in Concord, Massachusetts, and other works such as his 1884 John Harvard statue. He was also the personal choice of Bacon, who had already been collaborating with him for nearly 25 years. French resigned his chairmanship of the Fine Arts Commission in Washington, D.C. — a group closely affiliated with the memorial's design and creation — and commenced work in December.French had already created (1909–1912) a major memorial statue of Lincoln—this one standing—for the Nebraska State Capitol (Abraham Lincoln, 1912) in Lincoln, Nebraska. His previous studies of Lincoln—which included biographies, photographs, and a life mask of Lincoln by Leonard Volk done in 1860—had prepared him for the challenging task of the larger statue. He and Bacon decided that a large seated figure would be most appropriate for the national memorial. French started with a small clay study and subsequently created several plaster models, making subtle changes in the figure's pose or setting. He placed Lincoln not in an ordinary 19th-century seat but in a classical chair, including fasces, a Roman symbol of authority, to convey that the subject was an eminence for all the ages.Three plaster models of the Lincoln statue are at French's Chesterwood Studio, a National Trust Historic Site in Stockbridge, Massachusetts, including a plaster sketch (1915) and a six-foot plaster model (1916). The second of French's plasters, created at Chesterwood in the summer of 1916 (inscribed October 31), became the basis of the final work, which was initially envisioned as a 12-foot (3.7 m) bronze. In deciding the size of the final statue, French and Bacon took photographic enlargements of the model to the memorial under construction. Eventually, French's longtime collaborators, the firm of Piccirilli Brothers, were commissioned to do the carving of a much larger sculpture in marble from a quarry near Tate, Georgia.
French's design took a year to transfer to the massive marble blocks. French provided finishing strokes in the carvers' studio in The Bronx, New York City and after the statue was assembled in the memorial on the National Mall in 1920. Lighting the statue was a particular problem. In creating the work, French had understood that a large skylight would provide direct, natural illumination from overhead, but this was not included in the final plans. The horizontal light from the east flattened Lincoln's facial features—making him appear to stare blankly rather than wear a dignified expression—and highlighted his shins. French considered this a disaster. In the end, an arrangement of electric lights was devised to correct this situation. The work was unveiled at the memorial's formal dedication on May 30, 1922.
|
[
"Henry Bacon",
"John Harvard",
"Concord, Massachusetts",
"Piccirilli Brothers",
"ton",
"Georgia",
"Leonard Volk",
"Washington, D.C.",
"National Mall",
"The Minute Man",
"skylight",
"marble",
"The Bronx, New York City",
"fasces",
"The Bronx",
"Tate, Georgia",
"Stockbridge, Massachusetts",
"Daniel Chester French",
"Fine Arts Commission",
"Lincoln, Nebraska",
"Abraham Lincoln",
"Lincoln Memorial",
"National Trust Historic Site",
"life mask",
"Nebraska State Capitol",
"Chesterwood Studio"
] |
|
13280_NT
|
Statue of Abraham Lincoln (Lincoln Memorial)
|
How does this artwork elucidate its History?
|
Daniel Chester French was selected in 1914 by the Lincoln Memorial Committee to create a Lincoln statue as part of the memorial to be designed by architect Henry Bacon (1866–1924). French was already famous for his 1874 The Minute Man statue in Concord, Massachusetts, and other works such as his 1884 John Harvard statue. He was also the personal choice of Bacon, who had already been collaborating with him for nearly 25 years. French resigned his chairmanship of the Fine Arts Commission in Washington, D.C. — a group closely affiliated with the memorial's design and creation — and commenced work in December.French had already created (1909–1912) a major memorial statue of Lincoln—this one standing—for the Nebraska State Capitol (Abraham Lincoln, 1912) in Lincoln, Nebraska. His previous studies of Lincoln—which included biographies, photographs, and a life mask of Lincoln by Leonard Volk done in 1860—had prepared him for the challenging task of the larger statue. He and Bacon decided that a large seated figure would be most appropriate for the national memorial. French started with a small clay study and subsequently created several plaster models, making subtle changes in the figure's pose or setting. He placed Lincoln not in an ordinary 19th-century seat but in a classical chair, including fasces, a Roman symbol of authority, to convey that the subject was an eminence for all the ages.Three plaster models of the Lincoln statue are at French's Chesterwood Studio, a National Trust Historic Site in Stockbridge, Massachusetts, including a plaster sketch (1915) and a six-foot plaster model (1916). The second of French's plasters, created at Chesterwood in the summer of 1916 (inscribed October 31), became the basis of the final work, which was initially envisioned as a 12-foot (3.7 m) bronze. In deciding the size of the final statue, French and Bacon took photographic enlargements of the model to the memorial under construction. Eventually, French's longtime collaborators, the firm of Piccirilli Brothers, were commissioned to do the carving of a much larger sculpture in marble from a quarry near Tate, Georgia.
French's design took a year to transfer to the massive marble blocks. French provided finishing strokes in the carvers' studio in The Bronx, New York City and after the statue was assembled in the memorial on the National Mall in 1920. Lighting the statue was a particular problem. In creating the work, French had understood that a large skylight would provide direct, natural illumination from overhead, but this was not included in the final plans. The horizontal light from the east flattened Lincoln's facial features—making him appear to stare blankly rather than wear a dignified expression—and highlighted his shins. French considered this a disaster. In the end, an arrangement of electric lights was devised to correct this situation. The work was unveiled at the memorial's formal dedication on May 30, 1922.
|
[
"Henry Bacon",
"John Harvard",
"Concord, Massachusetts",
"Piccirilli Brothers",
"ton",
"Georgia",
"Leonard Volk",
"Washington, D.C.",
"National Mall",
"The Minute Man",
"skylight",
"marble",
"The Bronx, New York City",
"fasces",
"The Bronx",
"Tate, Georgia",
"Stockbridge, Massachusetts",
"Daniel Chester French",
"Fine Arts Commission",
"Lincoln, Nebraska",
"Abraham Lincoln",
"Lincoln Memorial",
"National Trust Historic Site",
"life mask",
"Nebraska State Capitol",
"Chesterwood Studio"
] |
|
13281_T
|
Statue of Abraham Lincoln (Lincoln Memorial)
|
Focus on Statue of Abraham Lincoln (Lincoln Memorial) and analyze the Legends.
|
It is often said that the Lincoln figure is signing his own initials in the American manual alphabet: A with his left hand, "L" with his right. The National Park Service is at best ambivalent toward the story, saying, "It takes some imagination to see signs in Lincoln's hands."
French had a deaf son
and had depicted Thomas Hopkins Gallaudet signing in the manual alphabet.
|
[
"Thomas Hopkins Gallaudet",
"American manual alphabet",
"National Park Service",
"left"
] |
|
13281_NT
|
Statue of Abraham Lincoln (Lincoln Memorial)
|
Focus on this artwork and analyze the Legends.
|
It is often said that the Lincoln figure is signing his own initials in the American manual alphabet: A with his left hand, "L" with his right. The National Park Service is at best ambivalent toward the story, saying, "It takes some imagination to see signs in Lincoln's hands."
French had a deaf son
and had depicted Thomas Hopkins Gallaudet signing in the manual alphabet.
|
[
"Thomas Hopkins Gallaudet",
"American manual alphabet",
"National Park Service",
"left"
] |
|
13282_T
|
Bacchus (Leonardo)
|
In Bacchus (Leonardo), how is the abstract discussed?
|
Bacchus, originally Saint John the Baptist, is a painting in the Musée du Louvre, Paris, France, based on a drawing by the Italian Renaissance artist Leonardo da Vinci. It is now attributed to Francesco Melzi, while in Leonardo's workshop. Sydney J. Freedberg assigns the drawing to Leonardo's second Milan period. Among the Lombard painters who have been suggested as possible authors are Cesare da Sesto, Marco d'Oggiono, Francesco Melzi, and Cesare Bernazzano. The painting shows a male figure with garlanded head and leopard skin, seated in an idyllic landscape. He points with his right hand off to his left, and with his left hand grasps his thyrsus and also points down to earth.
The painting originally depicted John the Baptist. In the late 17th century, between the years 1683 and 1693, it was overpainted and altered to serve as Bacchus.The model for the John the Baptist / Bacchus / Angelo incarnato series was Salaì.Cassiano dal Pozzo remarked of the painting in its former state, which he saw at Fontainebleau in 1625, that it had neither devotion, decorum nor similitude, the suavely beautiful, youthful and slightly androgynous Giovannino was so at variance with artistic conventions in portraying the Baptist – neither the older ascetic prophet nor the Florentine baby Giovannino, but a type of Leonardo's invention, of a disconcerting, somewhat ambiguous sensuality, familiar in Leonardo's half-length and upward-pointing Saint John the Baptist, also in the Louvre.The overpainting transformed the image of St. John into one of a pagan deity, by converting the long-handled cross-like staff of the Baptist to a Bacchic thyrsus and adding a vine wreath. The fur robe is the legacy of John the Baptist, but has been overpainted with leopard-spots relating, like the wreath, to Bacchus, the Roman god of wine and intoxication.
|
[
"Musée du Louvre",
"Cassiano dal Pozzo",
"Cesare Bernazzano",
"Salaì",
"France",
"Italian Renaissance",
"John the Baptist",
"Fontainebleau",
"Francesco Melzi",
"Cesare da Sesto",
"Saint John the Baptist",
"thyrsus",
"Angelo incarnato",
"Bacchus",
"Marco d'Oggiono",
"Sydney J. Freedberg",
"Leonardo da Vinci",
"Louvre",
"Paris"
] |
|
13282_NT
|
Bacchus (Leonardo)
|
In this artwork, how is the abstract discussed?
|
Bacchus, originally Saint John the Baptist, is a painting in the Musée du Louvre, Paris, France, based on a drawing by the Italian Renaissance artist Leonardo da Vinci. It is now attributed to Francesco Melzi, while in Leonardo's workshop. Sydney J. Freedberg assigns the drawing to Leonardo's second Milan period. Among the Lombard painters who have been suggested as possible authors are Cesare da Sesto, Marco d'Oggiono, Francesco Melzi, and Cesare Bernazzano. The painting shows a male figure with garlanded head and leopard skin, seated in an idyllic landscape. He points with his right hand off to his left, and with his left hand grasps his thyrsus and also points down to earth.
The painting originally depicted John the Baptist. In the late 17th century, between the years 1683 and 1693, it was overpainted and altered to serve as Bacchus.The model for the John the Baptist / Bacchus / Angelo incarnato series was Salaì.Cassiano dal Pozzo remarked of the painting in its former state, which he saw at Fontainebleau in 1625, that it had neither devotion, decorum nor similitude, the suavely beautiful, youthful and slightly androgynous Giovannino was so at variance with artistic conventions in portraying the Baptist – neither the older ascetic prophet nor the Florentine baby Giovannino, but a type of Leonardo's invention, of a disconcerting, somewhat ambiguous sensuality, familiar in Leonardo's half-length and upward-pointing Saint John the Baptist, also in the Louvre.The overpainting transformed the image of St. John into one of a pagan deity, by converting the long-handled cross-like staff of the Baptist to a Bacchic thyrsus and adding a vine wreath. The fur robe is the legacy of John the Baptist, but has been overpainted with leopard-spots relating, like the wreath, to Bacchus, the Roman god of wine and intoxication.
|
[
"Musée du Louvre",
"Cassiano dal Pozzo",
"Cesare Bernazzano",
"Salaì",
"France",
"Italian Renaissance",
"John the Baptist",
"Fontainebleau",
"Francesco Melzi",
"Cesare da Sesto",
"Saint John the Baptist",
"thyrsus",
"Angelo incarnato",
"Bacchus",
"Marco d'Oggiono",
"Sydney J. Freedberg",
"Leonardo da Vinci",
"Louvre",
"Paris"
] |
|
13283_T
|
Bacchus (Leonardo)
|
Focus on Bacchus (Leonardo) and explore the Copies.
|
Few copies done by Leonardeschi artists are known. One of them is attributed to Bernardino Lanino (panel, 24 x 24 cm) and is held at the National Gallery of Scotland, Edinburgh. It depicts St John the Baptist in Wilderness. However, the saint is placed to a background of grotto with some sight of high rocks, a river, riders and a hanged man. Another copy of 15th-16th centuries is held at Musee Ingres, Montauban. Another copy, attributed to follower of Cesare da Sesto was sold in auction at Christie's on 23 April 2008.
|
[
"National Gallery of Scotland",
"Bernardino Lanino",
"John the Baptist",
"Cesare da Sesto",
"Christie's",
"Leonardeschi"
] |
|
13283_NT
|
Bacchus (Leonardo)
|
Focus on this artwork and explore the Copies.
|
Few copies done by Leonardeschi artists are known. One of them is attributed to Bernardino Lanino (panel, 24 x 24 cm) and is held at the National Gallery of Scotland, Edinburgh. It depicts St John the Baptist in Wilderness. However, the saint is placed to a background of grotto with some sight of high rocks, a river, riders and a hanged man. Another copy of 15th-16th centuries is held at Musee Ingres, Montauban. Another copy, attributed to follower of Cesare da Sesto was sold in auction at Christie's on 23 April 2008.
|
[
"National Gallery of Scotland",
"Bernardino Lanino",
"John the Baptist",
"Cesare da Sesto",
"Christie's",
"Leonardeschi"
] |
|
13284_T
|
By the Fireside (Hubbell)
|
Focus on By the Fireside (Hubbell) and explain the abstract.
|
By the Fireside is a painting by American impressionist Henry Salem Hubbell, completed in 1908. Hubbell painted the work while living in Giverny, France as a part of the American Impressionism movement that had taken up residence there, alongside Claude Monet. The models for the painting were Marjory Gane and Grace Southwick, two acquaintances of Hubbell's who visited Giverny during the winter of 1908 to 1909. It displays Hubbell's Impressionistic use of loose brushstrokes and masterful colorwork in an appreciable evolution from his first known painting, Mother and Child after W. Bouguereau.The painting premiered at the 1909 Paris Salon, receiving critical acclaim. While learning under James Whistler, his teacher had stated that "one day you will be called a great colorist," and the Paris press agreed that Hubbell had reached that pinacle with this work.By the Fireside was one of Hubbell's favorite works, and he kept it for himself during his lifetime. A year before his death, he donated the painting in 1948 to his high school in Lawrence, Kansas, now Liberty Memorial Central Middle School, "to inspire future growth of the arts" there.
|
[
"Henry Salem Hubbell",
"James Whistler",
"Claude Monet",
"Giverny",
"Paris Salon",
"American Impressionism"
] |
|
13284_NT
|
By the Fireside (Hubbell)
|
Focus on this artwork and explain the abstract.
|
By the Fireside is a painting by American impressionist Henry Salem Hubbell, completed in 1908. Hubbell painted the work while living in Giverny, France as a part of the American Impressionism movement that had taken up residence there, alongside Claude Monet. The models for the painting were Marjory Gane and Grace Southwick, two acquaintances of Hubbell's who visited Giverny during the winter of 1908 to 1909. It displays Hubbell's Impressionistic use of loose brushstrokes and masterful colorwork in an appreciable evolution from his first known painting, Mother and Child after W. Bouguereau.The painting premiered at the 1909 Paris Salon, receiving critical acclaim. While learning under James Whistler, his teacher had stated that "one day you will be called a great colorist," and the Paris press agreed that Hubbell had reached that pinacle with this work.By the Fireside was one of Hubbell's favorite works, and he kept it for himself during his lifetime. A year before his death, he donated the painting in 1948 to his high school in Lawrence, Kansas, now Liberty Memorial Central Middle School, "to inspire future growth of the arts" there.
|
[
"Henry Salem Hubbell",
"James Whistler",
"Claude Monet",
"Giverny",
"Paris Salon",
"American Impressionism"
] |
|
13285_T
|
Font de Mussa Mosaic
|
Explore the Description of this artwork, Font de Mussa Mosaic.
|
It is a mosaic of opus tessellatum decorated with tesselles of marble of 6 millimeters.It presents a central decoration polychromated showing figures that represent the shepherd Faustulus and his brother in front of a cave where there is a wolf that would suckle to Romulus and Remus.The remaining decoration of the mosaic is bichromatic, in white and black. It consists of borders with plant motifs, including lobed and serrated grapevine leaves, grape pendants, and various alternating flowers with four and six petals. There are two corolla designs resembling a crater, stems with enveloping leaves, and other motifs. Additionally, there are geometric patterns that shape crosses, flowers, and stars.
A portion of the mosaic is missing, a longitudinal strip located in the central area. This loss is the result of municipal construction work carried out in the past decade. In the northwest corner, there was a white marble staircase resembling a ramp with perpendicular moldings serving as steps. This staircase provided access to a lower space where this mosaic floor was located.
|
[
"Romulus and Remus",
"mosaic",
"Faustulus",
"polychromated",
"opus tessellatum"
] |
|
13285_NT
|
Font de Mussa Mosaic
|
Explore the Description of this artwork.
|
It is a mosaic of opus tessellatum decorated with tesselles of marble of 6 millimeters.It presents a central decoration polychromated showing figures that represent the shepherd Faustulus and his brother in front of a cave where there is a wolf that would suckle to Romulus and Remus.The remaining decoration of the mosaic is bichromatic, in white and black. It consists of borders with plant motifs, including lobed and serrated grapevine leaves, grape pendants, and various alternating flowers with four and six petals. There are two corolla designs resembling a crater, stems with enveloping leaves, and other motifs. Additionally, there are geometric patterns that shape crosses, flowers, and stars.
A portion of the mosaic is missing, a longitudinal strip located in the central area. This loss is the result of municipal construction work carried out in the past decade. In the northwest corner, there was a white marble staircase resembling a ramp with perpendicular moldings serving as steps. This staircase provided access to a lower space where this mosaic floor was located.
|
[
"Romulus and Remus",
"mosaic",
"Faustulus",
"polychromated",
"opus tessellatum"
] |
|
13286_T
|
The Muses (painting)
|
Focus on The Muses (painting) and discuss the abstract.
|
The Muses is a 1578 painting by Tintoretto showing the Muses from Greek mythology.
It is recorded in the inventory of the collection of Guglielmo Gonzaga, Duke of Mantua in 1627 as hanging alongside Esther Before Ahasuerus in a passage in the Palazzo Ducale in Mantua. It was acquired from the Gonzagas by Charles I of Great Britain. On his execution it was valued at £80 and sold, before being reacquired by the royal family on the Restoration. It now hangs in Kensington Palace.
|
[
"Restoration",
"Guglielmo Gonzaga, Duke of Mantua",
"Tintoretto",
"Esther Before Ahasuerus",
"Kensington Palace",
"Muses",
"Mantua",
"Palazzo Ducale",
"Charles I of Great Britain"
] |
|
13286_NT
|
The Muses (painting)
|
Focus on this artwork and discuss the abstract.
|
The Muses is a 1578 painting by Tintoretto showing the Muses from Greek mythology.
It is recorded in the inventory of the collection of Guglielmo Gonzaga, Duke of Mantua in 1627 as hanging alongside Esther Before Ahasuerus in a passage in the Palazzo Ducale in Mantua. It was acquired from the Gonzagas by Charles I of Great Britain. On his execution it was valued at £80 and sold, before being reacquired by the royal family on the Restoration. It now hangs in Kensington Palace.
|
[
"Restoration",
"Guglielmo Gonzaga, Duke of Mantua",
"Tintoretto",
"Esther Before Ahasuerus",
"Kensington Palace",
"Muses",
"Mantua",
"Palazzo Ducale",
"Charles I of Great Britain"
] |
|
13287_T
|
Diana Returning from the Hunt
|
How does Diana Returning from the Hunt elucidate its abstract?
|
Diana Returning from the Hunt, Diana's Return from the Hunt or Diana After the Hunt is a 1745 oil-on-canvas painting by François Boucher, now in the musée Cognacq-Jay in Paris. It shows Diana and three of her nymphs refreshing themselves by a stream, with the rabbits and birds they have just hunted piled to the left.
|
[
"François Boucher",
"Paris",
"musée Cognacq-Jay",
"Diana"
] |
|
13287_NT
|
Diana Returning from the Hunt
|
How does this artwork elucidate its abstract?
|
Diana Returning from the Hunt, Diana's Return from the Hunt or Diana After the Hunt is a 1745 oil-on-canvas painting by François Boucher, now in the musée Cognacq-Jay in Paris. It shows Diana and three of her nymphs refreshing themselves by a stream, with the rabbits and birds they have just hunted piled to the left.
|
[
"François Boucher",
"Paris",
"musée Cognacq-Jay",
"Diana"
] |
|
13288_T
|
Van Gogh's family in his art
|
Focus on Van Gogh's family in his art and analyze the abstract.
|
Van Gogh's family in his art refers to works that Vincent van Gogh made for or about Van Gogh family members. In 1881, Vincent drew a portrait of his grandfather, also named Vincent van Gogh, and his sister Wil. While living in Nuenen, Vincent memorialized his father in Still Life with Bible following his death in 1885. There he also made many paintings and drawings in 1884 and 1885 of his parents' vicarage, its garden and the church. At the height of his career in Arles he made Portrait of the Artist's Mother, Memory of the Garden at Etten of his mother and sister and Novel Reader, which is thought to be of his sister, Wil.
While van Gogh was at the Saint-Paul Asylum, Saint-Remy, he made several paintings as gifts for his mother and sister, and the painting Almond Blossoms for his brother Theo and his wife Johanna to celebrate the birth of their son, whom they named Vincent.
|
[
"Saint-Paul Asylum, Saint-Remy",
"Theo",
"Johanna",
"Arles",
"Memory of the Garden at Etten",
"Almond Blossoms",
"Nuenen",
"Portrait of the Artist's Mother",
"Vincent van Gogh",
"Wil"
] |
|
13288_NT
|
Van Gogh's family in his art
|
Focus on this artwork and analyze the abstract.
|
Van Gogh's family in his art refers to works that Vincent van Gogh made for or about Van Gogh family members. In 1881, Vincent drew a portrait of his grandfather, also named Vincent van Gogh, and his sister Wil. While living in Nuenen, Vincent memorialized his father in Still Life with Bible following his death in 1885. There he also made many paintings and drawings in 1884 and 1885 of his parents' vicarage, its garden and the church. At the height of his career in Arles he made Portrait of the Artist's Mother, Memory of the Garden at Etten of his mother and sister and Novel Reader, which is thought to be of his sister, Wil.
While van Gogh was at the Saint-Paul Asylum, Saint-Remy, he made several paintings as gifts for his mother and sister, and the painting Almond Blossoms for his brother Theo and his wife Johanna to celebrate the birth of their son, whom they named Vincent.
|
[
"Saint-Paul Asylum, Saint-Remy",
"Theo",
"Johanna",
"Arles",
"Memory of the Garden at Etten",
"Almond Blossoms",
"Nuenen",
"Portrait of the Artist's Mother",
"Vincent van Gogh",
"Wil"
] |
|
13289_T
|
Van Gogh's family in his art
|
In Van Gogh's family in his art, how is the Vincent van Gogh (grandfather) discussed?
|
Vincent van Gogh's grandfather (born 1789) was also named Vincent van Gogh. According to the artist's first biographer, his sister-in-law Johanna van Gogh, the grandfather was a pastor, and the son of Johanna van der Vin of Malines and Johannes van Gogh. Johanna van Gogh writes that Johannes "was at first a gold-wire drawer like his father, but he later became a Bible teacher and a clerk in the Cloister Church at The Hague." She describes him as an intellectual, duty-bound man who was awarded prizes and testimonials for his distinguished work. A family legacy, from his great-uncle—a sculptor and a lifelong bachelor—allowed Vincent van Gogh (the elder) to study divinity at the University of Leiden. After successfully completing his studies and having become established at the parsonage of Benschop, he married E. H. Vrydag in 1810. They remained married until Elisabeth's death on 7 March 1857; the Reverend Vincent van Gogh lived until 1874.In July 1881, Vincent (the younger) made Portrait of Artist's Grandfather (F876). The work was drawn in pencil and brown ink, with opaque white watercolor and a brown wash. The drawing is owned by the Van Gogh Museum in Amsterdam.
|
[
"University of Leiden",
"Johanna",
"Malines",
"The Hague",
"Vincent van Gogh",
"Johanna van Gogh",
"Van Gogh Museum"
] |
|
13289_NT
|
Van Gogh's family in his art
|
In this artwork, how is the Vincent van Gogh (grandfather) discussed?
|
Vincent van Gogh's grandfather (born 1789) was also named Vincent van Gogh. According to the artist's first biographer, his sister-in-law Johanna van Gogh, the grandfather was a pastor, and the son of Johanna van der Vin of Malines and Johannes van Gogh. Johanna van Gogh writes that Johannes "was at first a gold-wire drawer like his father, but he later became a Bible teacher and a clerk in the Cloister Church at The Hague." She describes him as an intellectual, duty-bound man who was awarded prizes and testimonials for his distinguished work. A family legacy, from his great-uncle—a sculptor and a lifelong bachelor—allowed Vincent van Gogh (the elder) to study divinity at the University of Leiden. After successfully completing his studies and having become established at the parsonage of Benschop, he married E. H. Vrydag in 1810. They remained married until Elisabeth's death on 7 March 1857; the Reverend Vincent van Gogh lived until 1874.In July 1881, Vincent (the younger) made Portrait of Artist's Grandfather (F876). The work was drawn in pencil and brown ink, with opaque white watercolor and a brown wash. The drawing is owned by the Van Gogh Museum in Amsterdam.
|
[
"University of Leiden",
"Johanna",
"Malines",
"The Hague",
"Vincent van Gogh",
"Johanna van Gogh",
"Van Gogh Museum"
] |
|
13290_T
|
Van Gogh's family in his art
|
In the context of Van Gogh's family in his art, explain the Theodorus van Gogh of the Father and mother.
|
Theodorus van Gogh was born 8 February 1822, one of eleven children and the only one of six brothers to become a pastor like his father. Theodorus graduated from Utrecht in 1849 after successfully completing his theology program, which allowed him to secure a position as pastor in Groot-Zundert, a village in the North Brabant region of the Netherlands. He was confirmed by his father, Vincent van Gogh, in Zundert on 1 April 1849. Reverend Theodorus van Gogh was pastor of the Protestant Dutch Reformed Church, which adhered to Calvinist doctrine. In May 1851, Theodorus married Anna Cornelia Carbentus, whose father was in the book business. According to Johanna van Gogh, Theodorus was a handsome man, "he was called the handsome parson by some, he had an amiable character and fine spiritual qualities."
Vincent van Gogh made a painting of his father's Dutch Authorized Bible in Still Life with Bible (F117) months after Theodorus' sudden death in March 1885. The Bible symbolizes his father's faith, which Vincent saw as mired in convention. He painted the page open to the passage of Isaiah 53. He placed Émile Zola's novel La Joie de vivre (English: The Joy of Living) in front of the Bible which to him likely symbolized worldliness.
The burned out candle shows an extinguishment—perhaps both of the father's life and of Vincent's faith.
|
[
"English",
"Theo",
"Calvinist",
"Isaiah 53",
"Johanna",
"Dutch Reformed Church",
"Émile Zola",
"Vincent van Gogh",
"Johanna van Gogh",
"North Brabant",
"Utrecht",
"La Joie de vivre",
"Netherlands"
] |
|
13290_NT
|
Van Gogh's family in his art
|
In the context of this artwork, explain the Theodorus van Gogh of the Father and mother.
|
Theodorus van Gogh was born 8 February 1822, one of eleven children and the only one of six brothers to become a pastor like his father. Theodorus graduated from Utrecht in 1849 after successfully completing his theology program, which allowed him to secure a position as pastor in Groot-Zundert, a village in the North Brabant region of the Netherlands. He was confirmed by his father, Vincent van Gogh, in Zundert on 1 April 1849. Reverend Theodorus van Gogh was pastor of the Protestant Dutch Reformed Church, which adhered to Calvinist doctrine. In May 1851, Theodorus married Anna Cornelia Carbentus, whose father was in the book business. According to Johanna van Gogh, Theodorus was a handsome man, "he was called the handsome parson by some, he had an amiable character and fine spiritual qualities."
Vincent van Gogh made a painting of his father's Dutch Authorized Bible in Still Life with Bible (F117) months after Theodorus' sudden death in March 1885. The Bible symbolizes his father's faith, which Vincent saw as mired in convention. He painted the page open to the passage of Isaiah 53. He placed Émile Zola's novel La Joie de vivre (English: The Joy of Living) in front of the Bible which to him likely symbolized worldliness.
The burned out candle shows an extinguishment—perhaps both of the father's life and of Vincent's faith.
|
[
"English",
"Theo",
"Calvinist",
"Isaiah 53",
"Johanna",
"Dutch Reformed Church",
"Émile Zola",
"Vincent van Gogh",
"Johanna van Gogh",
"North Brabant",
"Utrecht",
"La Joie de vivre",
"Netherlands"
] |
|
13291_T
|
Van Gogh's family in his art
|
Explore the Anna van Gogh about the Father and mother of this artwork, Van Gogh's family in his art.
|
Anna Cornelia Carbentus was born 10 September 1819 at The Hague to Willem Carbentus, who was a royal bookbinder. Her younger sister Cornelia married Theodorus' brother, Vincent van Gogh, the art dealer, and her older sister married a clergyman named Stricker. Anna became a devout and helpful clergyman's wife, helping her husband in the parish. She enjoyed art and was artistically inclined, "filling notebooks with drawings of plants and flowers" and studied painting with Hendrik van de Sande Bakhuyzen. She outlived her three grown sons and her husband, yet still retained "her energy and spirit and bore her sorrow with rare courage."Portrait of the Artist's Mother (Van Gogh) (F477) was based upon a black-and-white photograph of his mother. Vincent's mother appears to be a respectable middle class woman, attentive and proud, against a green background.
Van Gogh painted Memory of the Garden at Etten (F496) to hang in his bedroom. He envisioned the older woman was his mother and the younger in a plaid shawl his sister Wil. To Wil he said he had "an impression of you like those in Dickens' novels." Wil stands behind her mother in the painting. Behind them is a woman bent over working the garden. Mother and daughter fill the foreground of the left picture frame, seemingly walking out of the scene. In a letter to his sister he described the painting: "The younger of the two ladies who are out for a walk is wearing a Scottish shawl with green and orange checks, and a red parasol. The old lady has a violet shawl, nearly black. But a bunch of dahlias, some of them citron yellow, the others pink and white mixed, are like an explosion of color on the somber figure. Behind them a few cedar shrubs and emerald-green cypresses. Behind the cypresses one sees a field of pale green and red cabbages, surrounded by a border of little white flowers. The sandy path is of a raw orange color; the foliage of the two beds of scarlet geraniums is very green. Finally, the interjacent plane, there is a maid-servant, dressed in blue, who is arranging a profusion of plants with white, pink, yellow and vermilion-red flowers."
"Here you are. I know this is hardly what one might call a likeness, but for me it renders the poetic character and the style of the garden as I feel it. All the same, let us suppose that the two ladies out for a walk are you and our mother; let us even suppose that there is not the least, absolutely not the least vulgar and fatuous resemblance – yet the deliberate choice of color, the somber violet with the blotch of violent citron yellow of the dahlias, suggests Mother's personality to me."
"The figure in the Scotch plaid with orange and green checks stands out against the somber green of the cypress, which contrast is further accentuated by the red parasol – this figure gives me an impression of you like those in Dickens's novels, a vaguely representative figure."
As he rose to the height of his career, Vincent enjoyed passing on prized paintings to his family. "Great bouquets of flowers, violet-colored irises, great bouquets of roses," went to his mother. Another example, "the most resolved and stylized of the three" paintings of women picking olives was made for his sister and mother.
|
[
"Theo",
"Portrait of the Artist's Mother (Van Gogh)",
"bookbinder",
"Memory of the Garden at Etten",
"Dickens",
"The Hague",
"Hendrik van de Sande Bakhuyzen",
"Portrait of the Artist's Mother",
"plaid",
"Vincent van Gogh",
"F496",
"Wil",
"left"
] |
|
13291_NT
|
Van Gogh's family in his art
|
Explore the Anna van Gogh about the Father and mother of this artwork.
|
Anna Cornelia Carbentus was born 10 September 1819 at The Hague to Willem Carbentus, who was a royal bookbinder. Her younger sister Cornelia married Theodorus' brother, Vincent van Gogh, the art dealer, and her older sister married a clergyman named Stricker. Anna became a devout and helpful clergyman's wife, helping her husband in the parish. She enjoyed art and was artistically inclined, "filling notebooks with drawings of plants and flowers" and studied painting with Hendrik van de Sande Bakhuyzen. She outlived her three grown sons and her husband, yet still retained "her energy and spirit and bore her sorrow with rare courage."Portrait of the Artist's Mother (Van Gogh) (F477) was based upon a black-and-white photograph of his mother. Vincent's mother appears to be a respectable middle class woman, attentive and proud, against a green background.
Van Gogh painted Memory of the Garden at Etten (F496) to hang in his bedroom. He envisioned the older woman was his mother and the younger in a plaid shawl his sister Wil. To Wil he said he had "an impression of you like those in Dickens' novels." Wil stands behind her mother in the painting. Behind them is a woman bent over working the garden. Mother and daughter fill the foreground of the left picture frame, seemingly walking out of the scene. In a letter to his sister he described the painting: "The younger of the two ladies who are out for a walk is wearing a Scottish shawl with green and orange checks, and a red parasol. The old lady has a violet shawl, nearly black. But a bunch of dahlias, some of them citron yellow, the others pink and white mixed, are like an explosion of color on the somber figure. Behind them a few cedar shrubs and emerald-green cypresses. Behind the cypresses one sees a field of pale green and red cabbages, surrounded by a border of little white flowers. The sandy path is of a raw orange color; the foliage of the two beds of scarlet geraniums is very green. Finally, the interjacent plane, there is a maid-servant, dressed in blue, who is arranging a profusion of plants with white, pink, yellow and vermilion-red flowers."
"Here you are. I know this is hardly what one might call a likeness, but for me it renders the poetic character and the style of the garden as I feel it. All the same, let us suppose that the two ladies out for a walk are you and our mother; let us even suppose that there is not the least, absolutely not the least vulgar and fatuous resemblance – yet the deliberate choice of color, the somber violet with the blotch of violent citron yellow of the dahlias, suggests Mother's personality to me."
"The figure in the Scotch plaid with orange and green checks stands out against the somber green of the cypress, which contrast is further accentuated by the red parasol – this figure gives me an impression of you like those in Dickens's novels, a vaguely representative figure."
As he rose to the height of his career, Vincent enjoyed passing on prized paintings to his family. "Great bouquets of flowers, violet-colored irises, great bouquets of roses," went to his mother. Another example, "the most resolved and stylized of the three" paintings of women picking olives was made for his sister and mother.
|
[
"Theo",
"Portrait of the Artist's Mother (Van Gogh)",
"bookbinder",
"Memory of the Garden at Etten",
"Dickens",
"The Hague",
"Hendrik van de Sande Bakhuyzen",
"Portrait of the Artist's Mother",
"plaid",
"Vincent van Gogh",
"F496",
"Wil",
"left"
] |
|
13292_T
|
Van Gogh's family in his art
|
Focus on Van Gogh's family in his art and discuss the Family.
|
Anna and Theodorus were both devoted to the communities they served, ensuring their deeds spoke as resolutely as Theodorus' Sunday sermons. Both mother and father believed that God always watched over them and encouraged their children to look for God's presence in nature, such as the shape of the clouds or in the many colors in the sunsets.Vincent said in 1889, "Whatever I think on other points, our father and mother were exemplary as married people."
|
[
"Theo"
] |
|
13292_NT
|
Van Gogh's family in his art
|
Focus on this artwork and discuss the Family.
|
Anna and Theodorus were both devoted to the communities they served, ensuring their deeds spoke as resolutely as Theodorus' Sunday sermons. Both mother and father believed that God always watched over them and encouraged their children to look for God's presence in nature, such as the shape of the clouds or in the many colors in the sunsets.Vincent said in 1889, "Whatever I think on other points, our father and mother were exemplary as married people."
|
[
"Theo"
] |
|
13293_T
|
Van Gogh's family in his art
|
In Van Gogh's family in his art, how is the Vincent van Gogh of the Family elucidated?
|
Vincent van Gogh was born on 30 March 1853, exactly one year after the stillborn delivery of Anna and Theodorus' first child who was named Vincent. As a child, he liked animals and flowers. In temperament, he was strong, energetic and strong-willed. Vincent enjoyed playing outdoors and made up games for his brothers and sisters, once rewarded with the most beautiful rose bush in the garden as his award. There were a few times that Vincent exhibited his artistic talent and upon receiving praise from his parents, he destroyed the items. He attended the local school but his interaction with the peasant boys was making him tough. As the family grew, a governess was brought in to tutor the children at the vicarage.In 1864, Vincent, aged eleven, was sent away for schooling to a nearby boarding school in Zevenbergen which led to his lifelong feelings of being an exile. In 1866, his parents decided to send him to the new and prestigious Willem II College in Tilburg. In March 1868 Van Gogh suddenly returned home. During his two years at the Willem II College the painter C.C. Huijsmans had been his art class teacher. As Van Gogh entered adulthood the divide widened. After failing as an art dealer and in the ministry, he decided to become an artist. The more his family members suggested possible alternative vocations the greater the gulf between Vincent and his family. Further, Vincent's manner of dress, behavior and unusual love life was unsettling and embarrassing to the family. By 1881 Vincent had developed his personal view of the world and religion which was very different from his parents', finding organized religion too constrictive. He wrote to his brother, Theo, "I find Father and Mother's sermons and ideas about God, people, morality and virtue a lot of stuff and nonsense."
|
[
"Theo",
"Zevenbergen",
"Willem II College",
"Vincent van Gogh",
"C.C. Huijsmans",
"Wil",
"Tilburg"
] |
|
13293_NT
|
Van Gogh's family in his art
|
In this artwork, how is the Vincent van Gogh of the Family elucidated?
|
Vincent van Gogh was born on 30 March 1853, exactly one year after the stillborn delivery of Anna and Theodorus' first child who was named Vincent. As a child, he liked animals and flowers. In temperament, he was strong, energetic and strong-willed. Vincent enjoyed playing outdoors and made up games for his brothers and sisters, once rewarded with the most beautiful rose bush in the garden as his award. There were a few times that Vincent exhibited his artistic talent and upon receiving praise from his parents, he destroyed the items. He attended the local school but his interaction with the peasant boys was making him tough. As the family grew, a governess was brought in to tutor the children at the vicarage.In 1864, Vincent, aged eleven, was sent away for schooling to a nearby boarding school in Zevenbergen which led to his lifelong feelings of being an exile. In 1866, his parents decided to send him to the new and prestigious Willem II College in Tilburg. In March 1868 Van Gogh suddenly returned home. During his two years at the Willem II College the painter C.C. Huijsmans had been his art class teacher. As Van Gogh entered adulthood the divide widened. After failing as an art dealer and in the ministry, he decided to become an artist. The more his family members suggested possible alternative vocations the greater the gulf between Vincent and his family. Further, Vincent's manner of dress, behavior and unusual love life was unsettling and embarrassing to the family. By 1881 Vincent had developed his personal view of the world and religion which was very different from his parents', finding organized religion too constrictive. He wrote to his brother, Theo, "I find Father and Mother's sermons and ideas about God, people, morality and virtue a lot of stuff and nonsense."
|
[
"Theo",
"Zevenbergen",
"Willem II College",
"Vincent van Gogh",
"C.C. Huijsmans",
"Wil",
"Tilburg"
] |
|
13294_T
|
Van Gogh's family in his art
|
In the context of Van Gogh's family in his art, analyze the Theo van Gogh of the Family.
|
Theo van Gogh (art dealer) was born in Groot Zundert on 1 May 1857, four years after his brother Vincent. He was more tender, kind and delicately built but shared his older brother's reddish fair complexion and light blue eyes. Theo and Vincent began writing letters to one another in 1872 and continued for 18 years, with 668 letters from Vincent to Theo, many of them with sketches. Theo became Vincent's key source of emotional and financial support as he pursued his artistic development. Theo, who managed an art gallery in Paris and was knowledgeable of trends in modern art, offered Vincent advice. Theo married Johanna Bonger and had a son, whom they named Vincent. Theo died six months after Vincent’s death on 25 January 1891.
The Van Gogh Museum attributes a painting generally considered a self-portrait to actually be a portrayal of his brother, Theo. In Portrait of Theo van Gogh, (F294), the museum says that the painting was made "to experiment with color, as we can see in the effect of the yellow hat against the blue background, and the range of colors in the jacket, bow-tie and background." Albert J. Lubin, author of "Stranger on the Earth: A Psychological Biography of Vincent van Gogh" claims that Vincent made no portraits of his brother.Next to this painting is one of Vincent's self-portraits (F296), also made in 1887.
Vincent made Almond Blossoms for Theo and his wife to celebrate the birth of their son, symbolizing new life in the flowers of the almond tree. Vincent wrote to his mother of the birth of Theo and Jo's baby,"How glad I was when the news came... I should have greatly preferred him to call the boy after Father, of whom I have been thinking so much these days, instead of after me; but seeing it has now been done, I started right away to make a picture for him, to hang in their bedroom, big branches of white almond blossom against a blue sky."
The bright color is reflective of the paintings made in Arles and the transformational work Vincent had on the still life genre.
|
[
"Theo",
"Johanna",
"Arles",
"Vincent’s death",
"Almond Blossoms",
"Jo's",
"Vincent van Gogh",
"Van Gogh Museum",
"Johanna Bonger",
"Theo van Gogh (art dealer)"
] |
|
13294_NT
|
Van Gogh's family in his art
|
In the context of this artwork, analyze the Theo van Gogh of the Family.
|
Theo van Gogh (art dealer) was born in Groot Zundert on 1 May 1857, four years after his brother Vincent. He was more tender, kind and delicately built but shared his older brother's reddish fair complexion and light blue eyes. Theo and Vincent began writing letters to one another in 1872 and continued for 18 years, with 668 letters from Vincent to Theo, many of them with sketches. Theo became Vincent's key source of emotional and financial support as he pursued his artistic development. Theo, who managed an art gallery in Paris and was knowledgeable of trends in modern art, offered Vincent advice. Theo married Johanna Bonger and had a son, whom they named Vincent. Theo died six months after Vincent’s death on 25 January 1891.
The Van Gogh Museum attributes a painting generally considered a self-portrait to actually be a portrayal of his brother, Theo. In Portrait of Theo van Gogh, (F294), the museum says that the painting was made "to experiment with color, as we can see in the effect of the yellow hat against the blue background, and the range of colors in the jacket, bow-tie and background." Albert J. Lubin, author of "Stranger on the Earth: A Psychological Biography of Vincent van Gogh" claims that Vincent made no portraits of his brother.Next to this painting is one of Vincent's self-portraits (F296), also made in 1887.
Vincent made Almond Blossoms for Theo and his wife to celebrate the birth of their son, symbolizing new life in the flowers of the almond tree. Vincent wrote to his mother of the birth of Theo and Jo's baby,"How glad I was when the news came... I should have greatly preferred him to call the boy after Father, of whom I have been thinking so much these days, instead of after me; but seeing it has now been done, I started right away to make a picture for him, to hang in their bedroom, big branches of white almond blossom against a blue sky."
The bright color is reflective of the paintings made in Arles and the transformational work Vincent had on the still life genre.
|
[
"Theo",
"Johanna",
"Arles",
"Vincent’s death",
"Almond Blossoms",
"Jo's",
"Vincent van Gogh",
"Van Gogh Museum",
"Johanna Bonger",
"Theo van Gogh (art dealer)"
] |
|
13295_T
|
Van Gogh's family in his art
|
Describe the characteristics of the Wil van Gogh in Van Gogh's family in his art's Family.
|
Wil, short for Wilhelmein, was the youngest of Vincent's sisters, born in 1862. She lived with her parents, and after her father died, stayed on with her mother. At times she was a governess, private nurse, social worker and religion teacher. She longed to be a writer and was enthusiastic to hear of news about Paris, its art and cultural happenings. Van Gogh and Wil wrote to each other about literature and modern art in much the same way he did with his brother, Émile Bernard and Paul Gauguin.Novel Reader is evocative of Vincent's sister. He describes it in a letter to Wil, "'Une Liseuse de Romans', the luxuriant hair very black, a green bodice, the sleeves the color of wine lees, the skirt black, the background all yellow, bookshelves with books. She is holding a yellow book in her hands." The painting was made immediately after Vincent completed a "fantasy" painting of his mother and Wil, Memory of the Garden at Etten.
Vincent made a drawing of his sister, "Portrait of Willemina Jacoba ('Willemien') van Gogh" (F849) in July 1881 with pencil and charcoal. It is owned by the Kroller-Muller Museum, Otterlo, Netherlands. The work is also said to be a "possible" portrait of Wil.In 1888 he gave two paintings to Wil for her birthday. One was Blossoming Almond Branch in a Glass with a Book, which he described to her in a letter as "a little study of a book for you." The second, Still Life with French Novels and a Rose, "on a somewhat larger scale, a flower, with a lot of books with pink, green and bright red bindings – they were my set of seven Parisian novels."During the summer of 1889, honoring his sister Wil's request, Vincent made several smaller versions of Wheat Field with Cypresses.
|
[
"Kroller-Muller Museum",
"Émile Bernard",
"Wil van Gogh",
"Memory of the Garden at Etten",
"Wheat Field with Cypresses",
"Paul Gauguin",
"Wil",
"Netherlands"
] |
|
13295_NT
|
Van Gogh's family in his art
|
Describe the characteristics of the Wil van Gogh in this artwork's Family.
|
Wil, short for Wilhelmein, was the youngest of Vincent's sisters, born in 1862. She lived with her parents, and after her father died, stayed on with her mother. At times she was a governess, private nurse, social worker and religion teacher. She longed to be a writer and was enthusiastic to hear of news about Paris, its art and cultural happenings. Van Gogh and Wil wrote to each other about literature and modern art in much the same way he did with his brother, Émile Bernard and Paul Gauguin.Novel Reader is evocative of Vincent's sister. He describes it in a letter to Wil, "'Une Liseuse de Romans', the luxuriant hair very black, a green bodice, the sleeves the color of wine lees, the skirt black, the background all yellow, bookshelves with books. She is holding a yellow book in her hands." The painting was made immediately after Vincent completed a "fantasy" painting of his mother and Wil, Memory of the Garden at Etten.
Vincent made a drawing of his sister, "Portrait of Willemina Jacoba ('Willemien') van Gogh" (F849) in July 1881 with pencil and charcoal. It is owned by the Kroller-Muller Museum, Otterlo, Netherlands. The work is also said to be a "possible" portrait of Wil.In 1888 he gave two paintings to Wil for her birthday. One was Blossoming Almond Branch in a Glass with a Book, which he described to her in a letter as "a little study of a book for you." The second, Still Life with French Novels and a Rose, "on a somewhat larger scale, a flower, with a lot of books with pink, green and bright red bindings – they were my set of seven Parisian novels."During the summer of 1889, honoring his sister Wil's request, Vincent made several smaller versions of Wheat Field with Cypresses.
|
[
"Kroller-Muller Museum",
"Émile Bernard",
"Wil van Gogh",
"Memory of the Garden at Etten",
"Wheat Field with Cypresses",
"Paul Gauguin",
"Wil",
"Netherlands"
] |
|
13296_T
|
Van Gogh's family in his art
|
In the context of Van Gogh's family in his art, explore the Anna, Elizabeth, and Cornelius of the Family.
|
Vincent did not have a close relationship with Elizabeth (Lies) or Cornelius (Cor) his youngest brother.Anna lived with Vincent in London for a period in 1874-5. Their initially warm relationship became strained; in April 1875, Anna wrote about Vincent's behaviour to Theo: "I believe that he has illusions about people and judges people before he knows them, and then when he finds out what they're really like and they don't live up to the opinion he formed of them prematurely, he's so disappointed that he throws them away like a bouquet of wilted flowers, without looking to see whether or not there are some among those wilted flowers which, when handled with care, are not quite rubbish yet." She married Joan Marius van Houten in August 1878. Vincent attended the wedding, but relations with his sister remained cool; Anna complained about his aloofness and characterized him as a "wooden lion" After their father's death in 1885 the two became estranged.
The youngest Van Gogh sibling, Cor, left the Netherlands for South Africa during the Second Boer War (1899-1902). In Pretoria, he was employed to make technical drawings for the Netherlands-South African Railway Company (Nederlandsh-Zuid-Afrikaansche Spoorweg Maatschappij). In Pretoria he married Anna Eva Catherina Fuchs, a German-born Roman Catholic, in February 1898. His wife abandoned the marriage eight months later, taking their possessions. Following that debacle, Cor joined a special "Foreigners Battalion" to fight the British. Cor and his fellow volunteers fared badly in combat. He was admitted to a Red Cross hospital with a fever. The ill-supplied hospital lacked Dutch physicians and nurses, who had just been evacuated. Cor was left in possession of his pistol when hospitalized. On 12 April 1900 he shot himself in his hospital bed, perhaps accidentally. His mother was under the impression that he had died in combat.
|
[
"Theo",
"Pretoria",
"Second Boer War",
"London",
"left",
"Netherlands"
] |
|
13296_NT
|
Van Gogh's family in his art
|
In the context of this artwork, explore the Anna, Elizabeth, and Cornelius of the Family.
|
Vincent did not have a close relationship with Elizabeth (Lies) or Cornelius (Cor) his youngest brother.Anna lived with Vincent in London for a period in 1874-5. Their initially warm relationship became strained; in April 1875, Anna wrote about Vincent's behaviour to Theo: "I believe that he has illusions about people and judges people before he knows them, and then when he finds out what they're really like and they don't live up to the opinion he formed of them prematurely, he's so disappointed that he throws them away like a bouquet of wilted flowers, without looking to see whether or not there are some among those wilted flowers which, when handled with care, are not quite rubbish yet." She married Joan Marius van Houten in August 1878. Vincent attended the wedding, but relations with his sister remained cool; Anna complained about his aloofness and characterized him as a "wooden lion" After their father's death in 1885 the two became estranged.
The youngest Van Gogh sibling, Cor, left the Netherlands for South Africa during the Second Boer War (1899-1902). In Pretoria, he was employed to make technical drawings for the Netherlands-South African Railway Company (Nederlandsh-Zuid-Afrikaansche Spoorweg Maatschappij). In Pretoria he married Anna Eva Catherina Fuchs, a German-born Roman Catholic, in February 1898. His wife abandoned the marriage eight months later, taking their possessions. Following that debacle, Cor joined a special "Foreigners Battalion" to fight the British. Cor and his fellow volunteers fared badly in combat. He was admitted to a Red Cross hospital with a fever. The ill-supplied hospital lacked Dutch physicians and nurses, who had just been evacuated. Cor was left in possession of his pistol when hospitalized. On 12 April 1900 he shot himself in his hospital bed, perhaps accidentally. His mother was under the impression that he had died in combat.
|
[
"Theo",
"Pretoria",
"Second Boer War",
"London",
"left",
"Netherlands"
] |
|
13297_T
|
Van Gogh's family in his art
|
In the context of Van Gogh's family in his art, explain the Anton Mauve of the Family.
|
Anton Mauve was married to Vincent's cousin Ariëtte (Jet) Sophia Jeannette Carbentus and was a major influence on the artist. He is mentioned directly in 152 of Vincent's surviving letters. Vincent spent three weeks at Mauve's studio at the end of 1881 and during that time he made his first experiments in painting under Mauve's tutelage, first in oils and then early the next year in watercolour (previously he had concentrated on drawing). Mauve continued to encourage him and lent him money to rent and furnish a studio but later grew cold towards him and did not return a number of letters.In a letter to his brother Theo dated 7 May 1882, Vincent describes "a very regrettable conversation" in which Mauve told him their association was "over and done with" adding by way of explanation that Van Gogh had a vicious character. Vincent continued his letter by expressing his sorrow and then defiantly launches into a defense of his relationship with Clasina (Sien) Maria Hoornik, a pregnant prostitute he had befriended.
|
[
"Theo",
"Anton Mauve",
"Vincent's surviving letters",
"Clasina (Sien) Maria Hoornik"
] |
|
13297_NT
|
Van Gogh's family in his art
|
In the context of this artwork, explain the Anton Mauve of the Family.
|
Anton Mauve was married to Vincent's cousin Ariëtte (Jet) Sophia Jeannette Carbentus and was a major influence on the artist. He is mentioned directly in 152 of Vincent's surviving letters. Vincent spent three weeks at Mauve's studio at the end of 1881 and during that time he made his first experiments in painting under Mauve's tutelage, first in oils and then early the next year in watercolour (previously he had concentrated on drawing). Mauve continued to encourage him and lent him money to rent and furnish a studio but later grew cold towards him and did not return a number of letters.In a letter to his brother Theo dated 7 May 1882, Vincent describes "a very regrettable conversation" in which Mauve told him their association was "over and done with" adding by way of explanation that Van Gogh had a vicious character. Vincent continued his letter by expressing his sorrow and then defiantly launches into a defense of his relationship with Clasina (Sien) Maria Hoornik, a pregnant prostitute he had befriended.
|
[
"Theo",
"Anton Mauve",
"Vincent's surviving letters",
"Clasina (Sien) Maria Hoornik"
] |
|
13298_T
|
Van Gogh's family in his art
|
Explore the Vicarage and church of this artwork, Van Gogh's family in his art.
|
In 1882 Vincent's father became pastor in Nuenen situated in the North Brabant province of the Netherlands. Having been in Drenthe for several months, Vincent came to live with his parents in December 1883 and stayed there until May 1885. The laundry room at the back of the house was turned into a studio for him. Theo's father wrote to him: "We do not think it’s really suitable, but we have had a proper stove installed... I wanted to put in a large window as well, but he prefers not to have one."A simple two-story stone building, the parsonage sat on the main street of Nuenen. The second story provided Vincent beautiful views, including a church tower in the distance. The laundry room became his studio. Vincent recorded the changing seasons in his paintings of the garden, which was enclosed by a high stone wall and included a duck pond with a boat dock, paths and hedges, flower and vegetable garden plots and an orchard.
Congregation Leaving the Reformed Church in Nuenen (F25) was made early 1884 for his parents, his father the pastor of the church since 1882. Vincent's mother, Anna van Gogh, was healing from a broken thighbone. Vincent wrote to his brother, "Taking her difficult situation into consideration, I am glad to say Mother's spirits are very even and bright. And she is amused by trifles. The other day I painted for her a little church with the hedge and the trees." The letter included a sketch with one person in front of the church, a peasant with a spade. X-rays of the painting indicate that Vincent later added church members and autumn leaves to the previously bare trees, which made the work more colorful. The changes were not likely made before the fall of 1885. Vincent may have added the woman in mourning and congregation members for his mother as a memorial for his father's death. The painting was stolen from the Van Gogh Museum on 7 December 2002. The painting was recovered in Naples, Italy in September 2016.The Rectory Garden in Nuenen in the Snow (F194) depicts a worker shoveling a path in the snow of the Vincent's garden. The winter scene of bare-branched trees and gloomy sky hints of the preceding fall by a few remaining red leaves. Vincent wrote to Theo: "The life and death of peasants remain forever the same, withering regularly, like the grass and flowers growing in that churchyard." The Norton Simon Museum reports that X-ray of the painting shows that underneath this painting is a painting of a woman at her spinning wheel.
|
[
"Theo",
"Nuenen",
"North Brabant",
"Van Gogh Museum",
"Drenthe",
"Congregation Leaving the Reformed Church in Nuenen",
"Norton Simon Museum",
"Netherlands"
] |
|
13298_NT
|
Van Gogh's family in his art
|
Explore the Vicarage and church of this artwork.
|
In 1882 Vincent's father became pastor in Nuenen situated in the North Brabant province of the Netherlands. Having been in Drenthe for several months, Vincent came to live with his parents in December 1883 and stayed there until May 1885. The laundry room at the back of the house was turned into a studio for him. Theo's father wrote to him: "We do not think it’s really suitable, but we have had a proper stove installed... I wanted to put in a large window as well, but he prefers not to have one."A simple two-story stone building, the parsonage sat on the main street of Nuenen. The second story provided Vincent beautiful views, including a church tower in the distance. The laundry room became his studio. Vincent recorded the changing seasons in his paintings of the garden, which was enclosed by a high stone wall and included a duck pond with a boat dock, paths and hedges, flower and vegetable garden plots and an orchard.
Congregation Leaving the Reformed Church in Nuenen (F25) was made early 1884 for his parents, his father the pastor of the church since 1882. Vincent's mother, Anna van Gogh, was healing from a broken thighbone. Vincent wrote to his brother, "Taking her difficult situation into consideration, I am glad to say Mother's spirits are very even and bright. And she is amused by trifles. The other day I painted for her a little church with the hedge and the trees." The letter included a sketch with one person in front of the church, a peasant with a spade. X-rays of the painting indicate that Vincent later added church members and autumn leaves to the previously bare trees, which made the work more colorful. The changes were not likely made before the fall of 1885. Vincent may have added the woman in mourning and congregation members for his mother as a memorial for his father's death. The painting was stolen from the Van Gogh Museum on 7 December 2002. The painting was recovered in Naples, Italy in September 2016.The Rectory Garden in Nuenen in the Snow (F194) depicts a worker shoveling a path in the snow of the Vincent's garden. The winter scene of bare-branched trees and gloomy sky hints of the preceding fall by a few remaining red leaves. Vincent wrote to Theo: "The life and death of peasants remain forever the same, withering regularly, like the grass and flowers growing in that churchyard." The Norton Simon Museum reports that X-ray of the painting shows that underneath this painting is a painting of a woman at her spinning wheel.
|
[
"Theo",
"Nuenen",
"North Brabant",
"Van Gogh Museum",
"Drenthe",
"Congregation Leaving the Reformed Church in Nuenen",
"Norton Simon Museum",
"Netherlands"
] |
|
13299_T
|
Horses in Landscape
|
Focus on Horses in Landscape and discuss the abstract.
|
Horses in Landscape is a watercolour with pencil on paper by the German painter Franz Marc, executed in 1911. It is probably a study, which was thought to be lost, for the painting Blue Horses (1911). The painting became known worldwide on the occasion of the Schwabing art discovery in November 2013. It was one of the first eleven works to be shown at a press conference by the Augsburg public prosecutor. The small-format work measures 12.1 × 19.6 cm.
|
[
"Franz Marc",
"Augsburg",
"Blue Horses"
] |
|
13299_NT
|
Horses in Landscape
|
Focus on this artwork and discuss the abstract.
|
Horses in Landscape is a watercolour with pencil on paper by the German painter Franz Marc, executed in 1911. It is probably a study, which was thought to be lost, for the painting Blue Horses (1911). The painting became known worldwide on the occasion of the Schwabing art discovery in November 2013. It was one of the first eleven works to be shown at a press conference by the Augsburg public prosecutor. The small-format work measures 12.1 × 19.6 cm.
|
[
"Franz Marc",
"Augsburg",
"Blue Horses"
] |
|
13300_T
|
Horses in Landscape
|
How does Horses in Landscape elucidate its Description?
|
The three horses in the study, painted in a sideways position or from behind, are brown-blue in colour. They stand with their heads bowed to the left, in front of a mountainous landscape, which is vaulted by a sky with white clouds. The outlines of the horses reflect the mountains. The two knotless, white tree trunks in the foreground and background, which look like a diagonal, are striking. The front trunk is touched by the horse in the foreground. The watercolour was made on brown paper, and its edges appear irregular. It is signed on the left edge of the picture without specifying the year.
|
[] |
|
13300_NT
|
Horses in Landscape
|
How does this artwork elucidate its Description?
|
The three horses in the study, painted in a sideways position or from behind, are brown-blue in colour. They stand with their heads bowed to the left, in front of a mountainous landscape, which is vaulted by a sky with white clouds. The outlines of the horses reflect the mountains. The two knotless, white tree trunks in the foreground and background, which look like a diagonal, are striking. The front trunk is touched by the horse in the foreground. The watercolour was made on brown paper, and its edges appear irregular. It is signed on the left edge of the picture without specifying the year.
|
[] |
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