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|---|---|---|---|---|---|
13301_T
|
Horses in Landscape
|
Focus on Horses in Landscape and analyze the Variation.
|
The famous Marc painting from the same year, Blue Horses created after this study in oil on canvas, has the dimensions 106 × 181 cm and shows the same motif, with only the colours changed significantly. The horse's bodies are held in a strong blue, the landscape and sky have red and purple tones that do not correspond to reality. The paintings Blue Horse I and Blue Horse II were also created in 1911. In all of the horse pictures of this time, Marc turns blue from an “appearance colour” to an “essential colour”. The colour blue stood for the male principle in his own colour theory. With the animal image he found a symbol for a “spiritualization of the world”. The blue horses push like the blue flower searching out for deliverance from earthly weight and material bondage. In 1913 he created the painting The Tower of Blue Horses, again with blue horses as a motif, whose whereabouts have been unknown since 1945.
|
[
"The Tower of Blue Horses",
"Blue Horse I",
"Blue Horses"
] |
|
13301_NT
|
Horses in Landscape
|
Focus on this artwork and analyze the Variation.
|
The famous Marc painting from the same year, Blue Horses created after this study in oil on canvas, has the dimensions 106 × 181 cm and shows the same motif, with only the colours changed significantly. The horse's bodies are held in a strong blue, the landscape and sky have red and purple tones that do not correspond to reality. The paintings Blue Horse I and Blue Horse II were also created in 1911. In all of the horse pictures of this time, Marc turns blue from an “appearance colour” to an “essential colour”. The colour blue stood for the male principle in his own colour theory. With the animal image he found a symbol for a “spiritualization of the world”. The blue horses push like the blue flower searching out for deliverance from earthly weight and material bondage. In 1913 he created the painting The Tower of Blue Horses, again with blue horses as a motif, whose whereabouts have been unknown since 1945.
|
[
"The Tower of Blue Horses",
"Blue Horse I",
"Blue Horses"
] |
|
13302_T
|
Horses in Landscape
|
In Horses in Landscape, how is the Provenance discussed?
|
On 5 November 2013 a televised press conference by art historian Meike Hoffmann, on the Schwabing Art Find (Gurlitt Collection), presented the current painting alongside Max Liebermann's work Two Riders on the Beach, and nine other paintings. Like the other works shown, it came from the collection of the art dealer Hildebrand Gurlitt, which was inherited by his son Cornelius Gurlitt. The Augsburg public prosecutor's office under the direction of Reinhard Nemetz confiscated its collection in February 2012. The case was made known to the public in a report on November 3, 2013.
The former owner of the watercolour until 1937 was the Moritzburg Art and Industry Museum in Halle, and it had been acquired by its director Max Sauerlandt in 1914. A former employee of the museum recognized the coloured painting, which had previously only been documented in black and white. The expressionist work was considered "degenerate" by the Nazi regimen, removed and confiscated from the museum and came afterwards into the possession of Hildebrand Gurlitt. The museum in Moritzburg aims to return it.
|
[
"Gurlitt Collection",
"Max Liebermann",
"Two Riders on the Beach",
"Hildebrand Gurlitt",
"Cornelius Gurlitt",
"Augsburg",
"Halle"
] |
|
13302_NT
|
Horses in Landscape
|
In this artwork, how is the Provenance discussed?
|
On 5 November 2013 a televised press conference by art historian Meike Hoffmann, on the Schwabing Art Find (Gurlitt Collection), presented the current painting alongside Max Liebermann's work Two Riders on the Beach, and nine other paintings. Like the other works shown, it came from the collection of the art dealer Hildebrand Gurlitt, which was inherited by his son Cornelius Gurlitt. The Augsburg public prosecutor's office under the direction of Reinhard Nemetz confiscated its collection in February 2012. The case was made known to the public in a report on November 3, 2013.
The former owner of the watercolour until 1937 was the Moritzburg Art and Industry Museum in Halle, and it had been acquired by its director Max Sauerlandt in 1914. A former employee of the museum recognized the coloured painting, which had previously only been documented in black and white. The expressionist work was considered "degenerate" by the Nazi regimen, removed and confiscated from the museum and came afterwards into the possession of Hildebrand Gurlitt. The museum in Moritzburg aims to return it.
|
[
"Gurlitt Collection",
"Max Liebermann",
"Two Riders on the Beach",
"Hildebrand Gurlitt",
"Cornelius Gurlitt",
"Augsburg",
"Halle"
] |
|
13303_T
|
Nu Couché au coussin Bleu
|
Focus on Nu Couché au coussin Bleu and explore the abstract.
|
Nu Couché au coussin Bleu (Reclining Nude on Blue Cushion) is an oil on canvas painting by Italian artist Amedeo Modigliani created in 1916. The painting is one of the dozens of nudes created by Modigliani between 1916 and 1919.
|
[
"Amedeo Modigliani"
] |
|
13303_NT
|
Nu Couché au coussin Bleu
|
Focus on this artwork and explore the abstract.
|
Nu Couché au coussin Bleu (Reclining Nude on Blue Cushion) is an oil on canvas painting by Italian artist Amedeo Modigliani created in 1916. The painting is one of the dozens of nudes created by Modigliani between 1916 and 1919.
|
[
"Amedeo Modigliani"
] |
|
13304_T
|
Nu Couché au coussin Bleu
|
Focus on Nu Couché au coussin Bleu and explain the Description.
|
The nudes of this period are "displayed boldly, with only the faintest suggestion of setting.... neither demure nor provocative, they are depicted with a degree of objectivity. Yet the uniformly thick, rough application of paint—as if applied by a sculptor's hand—is more concerned with mass and the visceral perception of the female body than with titillation and the re-creation of translucent, tactile flesh". Simultaneously abstracted and erotically detailed, they exhibit a formal grace, referencing nude figures of the Italian Renaissance while at the same time objectifying their subjects' sexuality; they "exemplify his position between tradition and modernism".
|
[
"Italian Renaissance"
] |
|
13304_NT
|
Nu Couché au coussin Bleu
|
Focus on this artwork and explain the Description.
|
The nudes of this period are "displayed boldly, with only the faintest suggestion of setting.... neither demure nor provocative, they are depicted with a degree of objectivity. Yet the uniformly thick, rough application of paint—as if applied by a sculptor's hand—is more concerned with mass and the visceral perception of the female body than with titillation and the re-creation of translucent, tactile flesh". Simultaneously abstracted and erotically detailed, they exhibit a formal grace, referencing nude figures of the Italian Renaissance while at the same time objectifying their subjects' sexuality; they "exemplify his position between tradition and modernism".
|
[
"Italian Renaissance"
] |
|
13305_T
|
Nu Couché au coussin Bleu
|
Explore the Provenance of this artwork, Nu Couché au coussin Bleu.
|
In 2012, the painting was acquired by Russian businessman and collector Dmitry Rybolovlev from billionaire Stephen Cohen of S.A.C. Capital Advisors for $118 million.
|
[
"Dmitry Rybolovlev",
"S.A.C. Capital Advisors"
] |
|
13305_NT
|
Nu Couché au coussin Bleu
|
Explore the Provenance of this artwork.
|
In 2012, the painting was acquired by Russian businessman and collector Dmitry Rybolovlev from billionaire Stephen Cohen of S.A.C. Capital Advisors for $118 million.
|
[
"Dmitry Rybolovlev",
"S.A.C. Capital Advisors"
] |
|
13306_T
|
The Calling of St Matthew
|
Focus on The Calling of St Matthew and discuss the abstract.
|
The Calling of Saint Matthew is an oil painting by Caravaggio that depicts the moment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew (painted around the same time as the Calling) and The Inspiration of Saint Matthew (1602).
|
[
"Saint Matthew",
"The Martyrdom of Saint Matthew",
"The Inspiration of Saint Matthew",
"moment Jesus Christ calls on the tax collector Matthew to follow him",
"Rome",
"Caravaggio",
"San Luigi dei Francesi",
"Matthew",
"Contarelli Chapel"
] |
|
13306_NT
|
The Calling of St Matthew
|
Focus on this artwork and discuss the abstract.
|
The Calling of Saint Matthew is an oil painting by Caravaggio that depicts the moment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew (painted around the same time as the Calling) and The Inspiration of Saint Matthew (1602).
|
[
"Saint Matthew",
"The Martyrdom of Saint Matthew",
"The Inspiration of Saint Matthew",
"moment Jesus Christ calls on the tax collector Matthew to follow him",
"Rome",
"Caravaggio",
"San Luigi dei Francesi",
"Matthew",
"Contarelli Chapel"
] |
|
13307_T
|
The Calling of St Matthew
|
How does The Calling of St Matthew elucidate its Identity of Matthew?
|
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.
|
[
"Saint Matthew",
"The Martyrdom of Saint Matthew",
"The Inspiration of Saint Matthew",
"Matthew"
] |
|
13307_NT
|
The Calling of St Matthew
|
How does this artwork elucidate its Identity of Matthew?
|
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.
|
[
"Saint Matthew",
"The Martyrdom of Saint Matthew",
"The Inspiration of Saint Matthew",
"Matthew"
] |
|
13308_T
|
The Calling of St Matthew
|
Focus on The Calling of St Matthew and analyze the Identity of Christ.
|
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand in The Creation of Adam by Michelangelo, the namesake of Caravaggio. Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".
|
[
"Caravaggio",
"Last Adam",
"Matthew"
] |
|
13308_NT
|
The Calling of St Matthew
|
Focus on this artwork and analyze the Identity of Christ.
|
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand in The Creation of Adam by Michelangelo, the namesake of Caravaggio. Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".
|
[
"Caravaggio",
"Last Adam",
"Matthew"
] |
|
13309_T
|
The Calling of St Matthew
|
In The Calling of St Matthew, how is the Style discussed?
|
"This clear legibility, so different from many Mannerist paintings, ... accounted for the work's enormous popularity."[1] The position of Christ's hand, however, reflects that of Adam's in the Sistine Chapel; the Church considered Christ to be the Second Adam. But instead of being gifted life, as the first Adam was, Christ is instead the one who bestows it, calling Levi to a new life as Matthew.
|
[
"Mannerist",
"Matthew"
] |
|
13309_NT
|
The Calling of St Matthew
|
In this artwork, how is the Style discussed?
|
"This clear legibility, so different from many Mannerist paintings, ... accounted for the work's enormous popularity."[1] The position of Christ's hand, however, reflects that of Adam's in the Sistine Chapel; the Church considered Christ to be the Second Adam. But instead of being gifted life, as the first Adam was, Christ is instead the one who bestows it, calling Levi to a new life as Matthew.
|
[
"Mannerist",
"Matthew"
] |
|
13310_T
|
The Calling of St Matthew
|
Focus on The Calling of St Matthew and explore the Responses.
|
Pope Francis has said that he often went to San Luigi as a young man to contemplate the painting. Referring both to Christ's outstretched arm and Matthew's response, Francis said, "This is me, a sinner on whom the Lord has turned his gaze."
|
[
"Pope Francis",
"Matthew"
] |
|
13310_NT
|
The Calling of St Matthew
|
Focus on this artwork and explore the Responses.
|
Pope Francis has said that he often went to San Luigi as a young man to contemplate the painting. Referring both to Christ's outstretched arm and Matthew's response, Francis said, "This is me, a sinner on whom the Lord has turned his gaze."
|
[
"Pope Francis",
"Matthew"
] |
|
13311_T
|
The Calling of St Matthew
|
Focus on The Calling of St Matthew and explain the Other paintings of the same topic.
|
There are many other early modern representations of the calling of Matthew. Two were painted prior to Caravaggio's but it is unlikely that Caravaggio would have encountered them.
Carpaccio's version in the Accademia in Venice
Marinus van Reymerswaele's version (1536)
Giovanni Lanfranco's derivative version (1626–28)
Spanish painter Juan de Pareja's version (1661) found in the Prado Museum in Madrid.
Hendrick ter Brugghen
Bernardo Strozzi's version (1620) in the Art Museum in Worcester, Massachusetts
Other related paintings of cardsharps include the Caravaggisti depiction of Valentin de Boulogne in the National Gallery of Art in Washington D.C.
|
[
"Prado Museum",
"early modern",
"Marinus van Reymerswaele",
"Caravaggisti",
"Worcester, Massachusetts",
"Bernardo Strozzi",
"Carpaccio",
"Juan de Pareja",
"Caravaggio",
"Accademia",
"Worcester",
"Hendrick ter Brugghen",
"Venice",
"Matthew",
"Giovanni Lanfranco"
] |
|
13311_NT
|
The Calling of St Matthew
|
Focus on this artwork and explain the Other paintings of the same topic.
|
There are many other early modern representations of the calling of Matthew. Two were painted prior to Caravaggio's but it is unlikely that Caravaggio would have encountered them.
Carpaccio's version in the Accademia in Venice
Marinus van Reymerswaele's version (1536)
Giovanni Lanfranco's derivative version (1626–28)
Spanish painter Juan de Pareja's version (1661) found in the Prado Museum in Madrid.
Hendrick ter Brugghen
Bernardo Strozzi's version (1620) in the Art Museum in Worcester, Massachusetts
Other related paintings of cardsharps include the Caravaggisti depiction of Valentin de Boulogne in the National Gallery of Art in Washington D.C.
|
[
"Prado Museum",
"early modern",
"Marinus van Reymerswaele",
"Caravaggisti",
"Worcester, Massachusetts",
"Bernardo Strozzi",
"Carpaccio",
"Juan de Pareja",
"Caravaggio",
"Accademia",
"Worcester",
"Hendrick ter Brugghen",
"Venice",
"Matthew",
"Giovanni Lanfranco"
] |
|
13312_T
|
Characters and Caricaturas
|
Explore the Picture of this artwork, Characters and Caricaturas.
|
Hogarth's earlier pictures had come under fire from critics for portraying characters in an exaggerated fashion, by reflecting their morality directly in their features, clothes and surroundings. In his book on art, The Analysis of Beauty, Hogarth claimed that the critics had branded all his women as harlots and all his men as caricatures, and complained:…the whole nest of Phizmongers were upon my back every one of whome has his friends and were all taught to run em down.
To rectify what he saw as an egregious mistake on the part of his critics, and being "perpetually plagued, from the mistakes made among the illiterate, by the similitude in the sound of the words character and caricatura", he designed the subscription ticket for Marriage à-la-mode to clearly illustrate their error. Untitled at the time of issue, it is now known as Characters and Caricaturas or just Characters Caricaturas. At the foot of the picture, Hogarth illustrated the difference between characterisation and caricature by reproducing three character figures from the works of Raphael, and four caricatures: Due Filosofi from Annibale Carracci; a head originally by Pier Leone Ghezzi, but here copied from Arthur Pond's Caricatures; and a Leonardo da Vinci grotesque reproduced from the French Têtes de Charactêres. The images from Raphael are easy to identify as being from his Cartoons (even if they were not labelled Cartons Urbin Raphael Pinx below) but John Ireland commented that the originals' "grandeur, elevation and simplicity are totally evaporated" in Hogarth's rendering. Hogarth also added a line drawing in the space above the second caricature to indicate the simplicity with which caricatures can be produced. Above this demonstration, he filled the remaining space with 100 profiles of "characters", which clearly shows his work has more in common with the work of Raphael than the caricatures produced by the other Italian artists. Hogarth later wrote that he was careful to vary the features of these heads at random to prevent any of the portraits from being identified as a real individual, but the sheer number of profiles inevitably meant this was not entirely successful, since "a general character will always bear some resemblance to a particular one".Though Hogarth claimed in the inscription to The Bench that "there are hardly any two things more different" than character and caricature, modern commentators suggest that his division of the category of comic portraiture, if not artificial, was at least innovative: Hogarth invented the categories merely to be able to place himself in a line of artistic succession that descended from Raphael and to distance himself from the caricaturists of his day—such as Arthur Pond—who, despite lacking artistic training, were tackling much the same subject matter that Hogarth was himself addressing.Below the picture, Hogarth added a rider: "For a further Explanation of the Difference Betwixt Character & Caricature See ye Preface to Joh. Andrews". Here he is referring to his friend Henry Fielding's 1742 work, Joseph Andrews, in which Fielding explains that a character portrait requires attention to detail and a degree of realism, while caricature allows for any degree of exaggeration. Fielding positions himself as a "Comic Writer" and Hogarth as a "Comic Painter", and dismisses the caricaturists as he dismisses the writers of burlesques. Fielding wrote in defence of Hogarth in the preface:He who should call the Ingenious Hogarth a Burlesque Painter, would, in my Opinion, do him very little Honour; for sure it is much easier, much less the Subject of Admiration, to paint a Man with a Nose, or any other Feature of a preposterous Size, or to expose him in some absurd or monstrous Attitude, than to express the Affections of Men on Canvas. It hath been thought a vast Commendation of a Painter, to say his Figures seem to breathe; but surely, it is a much greater and nobler Applause, that they appear to think.
On the original subscription ticket, a further section detailed the forthcoming issue of Marriage à-la-mode with details of its content, price and issue date. A copy of the ticket finished with Hogarth's signature, a wax seal and an acknowledgement of receipt from a "Mr McMillan" is held by the British Library. In 1822, the print was re-issued in its own right, minus the subscription details, by William Heath.
|
[
"Joseph Andrews",
"British Library",
"Annibale Carracci",
"John Ireland",
"Raphael",
"Pier Leone Ghezzi",
"Marriage à-la-mode",
"The Analysis of Beauty",
"The Bench",
"Henry Fielding",
"Caricature",
"Arthur Pond",
"Leonardo da Vinci",
"caricature",
"Cartoons"
] |
|
13312_NT
|
Characters and Caricaturas
|
Explore the Picture of this artwork.
|
Hogarth's earlier pictures had come under fire from critics for portraying characters in an exaggerated fashion, by reflecting their morality directly in their features, clothes and surroundings. In his book on art, The Analysis of Beauty, Hogarth claimed that the critics had branded all his women as harlots and all his men as caricatures, and complained:…the whole nest of Phizmongers were upon my back every one of whome has his friends and were all taught to run em down.
To rectify what he saw as an egregious mistake on the part of his critics, and being "perpetually plagued, from the mistakes made among the illiterate, by the similitude in the sound of the words character and caricatura", he designed the subscription ticket for Marriage à-la-mode to clearly illustrate their error. Untitled at the time of issue, it is now known as Characters and Caricaturas or just Characters Caricaturas. At the foot of the picture, Hogarth illustrated the difference between characterisation and caricature by reproducing three character figures from the works of Raphael, and four caricatures: Due Filosofi from Annibale Carracci; a head originally by Pier Leone Ghezzi, but here copied from Arthur Pond's Caricatures; and a Leonardo da Vinci grotesque reproduced from the French Têtes de Charactêres. The images from Raphael are easy to identify as being from his Cartoons (even if they were not labelled Cartons Urbin Raphael Pinx below) but John Ireland commented that the originals' "grandeur, elevation and simplicity are totally evaporated" in Hogarth's rendering. Hogarth also added a line drawing in the space above the second caricature to indicate the simplicity with which caricatures can be produced. Above this demonstration, he filled the remaining space with 100 profiles of "characters", which clearly shows his work has more in common with the work of Raphael than the caricatures produced by the other Italian artists. Hogarth later wrote that he was careful to vary the features of these heads at random to prevent any of the portraits from being identified as a real individual, but the sheer number of profiles inevitably meant this was not entirely successful, since "a general character will always bear some resemblance to a particular one".Though Hogarth claimed in the inscription to The Bench that "there are hardly any two things more different" than character and caricature, modern commentators suggest that his division of the category of comic portraiture, if not artificial, was at least innovative: Hogarth invented the categories merely to be able to place himself in a line of artistic succession that descended from Raphael and to distance himself from the caricaturists of his day—such as Arthur Pond—who, despite lacking artistic training, were tackling much the same subject matter that Hogarth was himself addressing.Below the picture, Hogarth added a rider: "For a further Explanation of the Difference Betwixt Character & Caricature See ye Preface to Joh. Andrews". Here he is referring to his friend Henry Fielding's 1742 work, Joseph Andrews, in which Fielding explains that a character portrait requires attention to detail and a degree of realism, while caricature allows for any degree of exaggeration. Fielding positions himself as a "Comic Writer" and Hogarth as a "Comic Painter", and dismisses the caricaturists as he dismisses the writers of burlesques. Fielding wrote in defence of Hogarth in the preface:He who should call the Ingenious Hogarth a Burlesque Painter, would, in my Opinion, do him very little Honour; for sure it is much easier, much less the Subject of Admiration, to paint a Man with a Nose, or any other Feature of a preposterous Size, or to expose him in some absurd or monstrous Attitude, than to express the Affections of Men on Canvas. It hath been thought a vast Commendation of a Painter, to say his Figures seem to breathe; but surely, it is a much greater and nobler Applause, that they appear to think.
On the original subscription ticket, a further section detailed the forthcoming issue of Marriage à-la-mode with details of its content, price and issue date. A copy of the ticket finished with Hogarth's signature, a wax seal and an acknowledgement of receipt from a "Mr McMillan" is held by the British Library. In 1822, the print was re-issued in its own right, minus the subscription details, by William Heath.
|
[
"Joseph Andrews",
"British Library",
"Annibale Carracci",
"John Ireland",
"Raphael",
"Pier Leone Ghezzi",
"Marriage à-la-mode",
"The Analysis of Beauty",
"The Bench",
"Henry Fielding",
"Caricature",
"Arthur Pond",
"Leonardo da Vinci",
"caricature",
"Cartoons"
] |
|
13313_T
|
Bonaparte Crossing the Alps
|
Focus on Bonaparte Crossing the Alps and discuss the abstract.
|
Bonaparte Crossing the Alps (sometimes called Napoleon Crossing the Alps, which is also the title of Jacques-Louis David's better-known version of the subject) is a 1848–1850 oil painting by French artist Paul Delaroche. The painting depicts Napoleon Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800 in an attempt to surprise the Austrian army in Italy.
Several versions of this painting exist: in the Louvre- Lens and the Walker Art Gallery in Liverpool, England. Queen Victoria owned a small version of it.The work was inspired by Jacques-Louis David's series of five paintings of Napoleon Crossing the Alps (1801–1805), which present a glorified vision of Napoleon "calm on a spirited horse" rather than a mule, crossing Great St. Bernard Pass.
|
[
"Napoleon",
"Napoleon Crossing the Alps",
"Louvre- Lens",
"Great St. Bernard Pass",
"Paul Delaroche",
"version",
"Liverpool",
"Walker Art Gallery",
"Napoleon Bonaparte",
"Louvre",
"Jacques-Louis David",
"Alps"
] |
|
13313_NT
|
Bonaparte Crossing the Alps
|
Focus on this artwork and discuss the abstract.
|
Bonaparte Crossing the Alps (sometimes called Napoleon Crossing the Alps, which is also the title of Jacques-Louis David's better-known version of the subject) is a 1848–1850 oil painting by French artist Paul Delaroche. The painting depicts Napoleon Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800 in an attempt to surprise the Austrian army in Italy.
Several versions of this painting exist: in the Louvre- Lens and the Walker Art Gallery in Liverpool, England. Queen Victoria owned a small version of it.The work was inspired by Jacques-Louis David's series of five paintings of Napoleon Crossing the Alps (1801–1805), which present a glorified vision of Napoleon "calm on a spirited horse" rather than a mule, crossing Great St. Bernard Pass.
|
[
"Napoleon",
"Napoleon Crossing the Alps",
"Louvre- Lens",
"Great St. Bernard Pass",
"Paul Delaroche",
"version",
"Liverpool",
"Walker Art Gallery",
"Napoleon Bonaparte",
"Louvre",
"Jacques-Louis David",
"Alps"
] |
|
13314_T
|
Bonaparte Crossing the Alps
|
In the context of Bonaparte Crossing the Alps, analyze the Historical background of the Painting.
|
As part of his 1798 campaign during the French Revolutionary Wars, Napoleon prepared to invade and conquer Egypt, which was at the time a province of the Ottoman Empire. Such a military action promised numerous benefits, including securing French trade interests, and inhibiting British access to India. By 1 July 1798, Napoleon had landed on the shores of Egypt. After a lengthy chain of conflicts with heavy casualties, the campaign resulted in an Ottoman-British victory. Napoleon received news from France that Austrian forces had retaken Italy and he decided to return to Paris.In order to regain the upper hand, he planned to launch a surprise assault on the Austrian army stationed in the Cisalpine Republic. Based on the assumption the Austrians would never expect Napoleon's large force to be able to traverse the Alps, he chose that as his route. He selected the shortest route through the Alps, the Great St Bernard Pass, which would enable him to reach his destination as quickly as possible.On 15 May 1800, Napoleon and his army of 40,000—not including the field artillery and baggage trains—(35,000 light artillery and infantry, 5,000 cavalry) began the arduous journey through the mountains. During the five days spent traversing the pass, Napoleon's army consumed almost 22,000 bottles of wine, more than a tonne and a half of cheese, and around 800 kilograms of meat.
After crossing the Alps, Napoleon commenced military operations against the Austrian army. Despite an inauspicious start to the campaign, the Austrian forces were driven back to Marengo after nearly a month. There, a large battle took place on 14 June, which resulted in the Austrian evacuation of Italy.
|
[
"Napoleon",
"infantry",
"cavalry",
"Ottoman Empire",
"a large battle",
"Egypt",
"light artillery",
"French Revolutionary Wars",
"chain of conflicts",
"field artillery",
"Great St Bernard Pass",
"Cisalpine Republic",
"1798 campaign",
"Alps"
] |
|
13314_NT
|
Bonaparte Crossing the Alps
|
In the context of this artwork, analyze the Historical background of the Painting.
|
As part of his 1798 campaign during the French Revolutionary Wars, Napoleon prepared to invade and conquer Egypt, which was at the time a province of the Ottoman Empire. Such a military action promised numerous benefits, including securing French trade interests, and inhibiting British access to India. By 1 July 1798, Napoleon had landed on the shores of Egypt. After a lengthy chain of conflicts with heavy casualties, the campaign resulted in an Ottoman-British victory. Napoleon received news from France that Austrian forces had retaken Italy and he decided to return to Paris.In order to regain the upper hand, he planned to launch a surprise assault on the Austrian army stationed in the Cisalpine Republic. Based on the assumption the Austrians would never expect Napoleon's large force to be able to traverse the Alps, he chose that as his route. He selected the shortest route through the Alps, the Great St Bernard Pass, which would enable him to reach his destination as quickly as possible.On 15 May 1800, Napoleon and his army of 40,000—not including the field artillery and baggage trains—(35,000 light artillery and infantry, 5,000 cavalry) began the arduous journey through the mountains. During the five days spent traversing the pass, Napoleon's army consumed almost 22,000 bottles of wine, more than a tonne and a half of cheese, and around 800 kilograms of meat.
After crossing the Alps, Napoleon commenced military operations against the Austrian army. Despite an inauspicious start to the campaign, the Austrian forces were driven back to Marengo after nearly a month. There, a large battle took place on 14 June, which resulted in the Austrian evacuation of Italy.
|
[
"Napoleon",
"infantry",
"cavalry",
"Ottoman Empire",
"a large battle",
"Egypt",
"light artillery",
"French Revolutionary Wars",
"chain of conflicts",
"field artillery",
"Great St Bernard Pass",
"Cisalpine Republic",
"1798 campaign",
"Alps"
] |
|
13315_T
|
Bonaparte Crossing the Alps
|
Describe the characteristics of the Artist and commission in Bonaparte Crossing the Alps's Painting.
|
Delaroche, who studied with Antoine-Jean Gros, a protege of David, was a popular French painter of portraits and grand subjects from history and the Bible.The Liverpool painting was commissioned by Arthur George, Third Earl of Onslow, after Delaroche and George reportedly visited the Louvre in Paris, where they saw David's version of the famous event. It had only recently been re-hung in the museum after a resurgence of interest in Napoleon, nearly 40 years after he was exiled. Agreeing that the painting was unrealistic, George, who owned a sizable collection of Napoleonic paraphernalia, commissioned Delaroche to create a more realistic depiction. Elizabeth Foucart-Walker asserts that in fact the painting that hangs in the Louvre-Lens was produced first as it was already in America by 1850, when the Liverpool painting was produced. Stephen Bann suggests that Arthur George's meeting with Delaroche may have occurred, but Delaroche chose to produce two works that are almost identical and send one to America.
|
[
"Napoleon",
"Bible",
"Antoine-Jean Gros",
"Earl of Onslow",
"version",
"Liverpool",
"Louvre-Lens",
"Arthur George",
"Louvre",
"Third Earl of Onslow"
] |
|
13315_NT
|
Bonaparte Crossing the Alps
|
Describe the characteristics of the Artist and commission in this artwork's Painting.
|
Delaroche, who studied with Antoine-Jean Gros, a protege of David, was a popular French painter of portraits and grand subjects from history and the Bible.The Liverpool painting was commissioned by Arthur George, Third Earl of Onslow, after Delaroche and George reportedly visited the Louvre in Paris, where they saw David's version of the famous event. It had only recently been re-hung in the museum after a resurgence of interest in Napoleon, nearly 40 years after he was exiled. Agreeing that the painting was unrealistic, George, who owned a sizable collection of Napoleonic paraphernalia, commissioned Delaroche to create a more realistic depiction. Elizabeth Foucart-Walker asserts that in fact the painting that hangs in the Louvre-Lens was produced first as it was already in America by 1850, when the Liverpool painting was produced. Stephen Bann suggests that Arthur George's meeting with Delaroche may have occurred, but Delaroche chose to produce two works that are almost identical and send one to America.
|
[
"Napoleon",
"Bible",
"Antoine-Jean Gros",
"Earl of Onslow",
"version",
"Liverpool",
"Louvre-Lens",
"Arthur George",
"Louvre",
"Third Earl of Onslow"
] |
|
13316_T
|
Bonaparte Crossing the Alps
|
Focus on Bonaparte Crossing the Alps and explore the Reception.
|
The work, despite its attempt to depict Napoleon realistically, was criticised by several authorities for a variety of reasons. A few disapproved of Delaroche's choice of painting, while others disapproved of Delaroche himself, saying, in some form, that he sought the genius of Napoleon, to no avail.Soon after its completion, the work was taken to England, and there, in 1850, it was reviewed by the critic of the Atheneum, a literary magazine. The magazine's comments on the work indicated that, while they praised the painting for several of its features, they criticised Delaroche, for various reasons:An Officer in a French costume, mounted on a mule, is conducted by a rough peasant through a dangerous pass, whose traces are scarcely discernible through the deep-lying snow; and his aide-de-camp is just visible in a ravine of the towering Alps. These facts are rendered with a fidelity that has not omitted the plait of a drapery, the shaggy texture of the four-footed animal, nor a detail of the harness on his back. The drifting of the embedded snow, the pendent icicle which a solitary sun-ray in a transient moment has made-all are given with a truth which will be dear to those who exalt the Dutch School for like qualities into the foremost rank of excellence. But the lofty and daring genius that led the humble Lieutenant of Ajaccio to be ruler and arbiter of the destinies of the larger part of Europe will be sought in vain by M. Delaroche.
Some were displeased with Delaroche's work at the time in general, and, in part, Bonaparte Crossing the Alps, criticising what was described as his 'lowered standards in art'. Such critics included The Gentleman's Magazine, who wrote the following text about Delaroche:These all reveal a modification in his style, but not a happy one. His more recent works are not calculated to restore him the sympathy he had lost. It must be confessed that Delaroche is an artist of talent rather than a genius. Education and diligent study qualified him to be a painter, but not an artist, in the true sense of that word. For he has failed in the true mission of the artist-that of advancing the education of the masses; when it was in his power to give an impulse, he yielded to it; he has been a reflection, but not a light; and instead of elevating the public to himself, he has lowered himself to the public.
|
[
"Napoleon",
"the Atheneum",
"Alps",
"The Gentleman's Magazine"
] |
|
13316_NT
|
Bonaparte Crossing the Alps
|
Focus on this artwork and explore the Reception.
|
The work, despite its attempt to depict Napoleon realistically, was criticised by several authorities for a variety of reasons. A few disapproved of Delaroche's choice of painting, while others disapproved of Delaroche himself, saying, in some form, that he sought the genius of Napoleon, to no avail.Soon after its completion, the work was taken to England, and there, in 1850, it was reviewed by the critic of the Atheneum, a literary magazine. The magazine's comments on the work indicated that, while they praised the painting for several of its features, they criticised Delaroche, for various reasons:An Officer in a French costume, mounted on a mule, is conducted by a rough peasant through a dangerous pass, whose traces are scarcely discernible through the deep-lying snow; and his aide-de-camp is just visible in a ravine of the towering Alps. These facts are rendered with a fidelity that has not omitted the plait of a drapery, the shaggy texture of the four-footed animal, nor a detail of the harness on his back. The drifting of the embedded snow, the pendent icicle which a solitary sun-ray in a transient moment has made-all are given with a truth which will be dear to those who exalt the Dutch School for like qualities into the foremost rank of excellence. But the lofty and daring genius that led the humble Lieutenant of Ajaccio to be ruler and arbiter of the destinies of the larger part of Europe will be sought in vain by M. Delaroche.
Some were displeased with Delaroche's work at the time in general, and, in part, Bonaparte Crossing the Alps, criticising what was described as his 'lowered standards in art'. Such critics included The Gentleman's Magazine, who wrote the following text about Delaroche:These all reveal a modification in his style, but not a happy one. His more recent works are not calculated to restore him the sympathy he had lost. It must be confessed that Delaroche is an artist of talent rather than a genius. Education and diligent study qualified him to be a painter, but not an artist, in the true sense of that word. For he has failed in the true mission of the artist-that of advancing the education of the masses; when it was in his power to give an impulse, he yielded to it; he has been a reflection, but not a light; and instead of elevating the public to himself, he has lowered himself to the public.
|
[
"Napoleon",
"the Atheneum",
"Alps",
"The Gentleman's Magazine"
] |
|
13317_T
|
Amiable Child Monument
|
Focus on Amiable Child Monument and explain the abstract.
|
The Amiable Child Monument is a monument located in New York City's Riverside Park. It stands west of the southbound lanes of Riverside Drive north of 122nd Street in Morningside Heights, Manhattan.It is a monument to a small boy who died in what was then an area of country homes near New York City. One side of the monument reads: “Erected to the Memory of an Amiable Child, St. Claire Pollock, Died 15 July 1797 in the Fifth Year of His Age.” The monument is composed of a granite urn on a granite pedestal inside a wrought iron fence. It is across the street from Grant's Tomb. The monument, originally erected by George Pollock, who was either the boy's father or his uncle, has been replaced twice due to deterioration. The present marker was placed on the site in 1967 to replace a marble marker installed by the city in 1897.During Morningside Heights’s Golden Age, when the nearby Claremont Inn served luminaries that included George M. Cohan, Cole Porter, Lillian Russell and Mayor Jimmy Walker, the site inspired pilgrimages and poetry. Of the many verses written about the memorial is Herman George Scheffauer’s “An Amiable Child,” which describes the grave as being “like a song of peace in iron frays.” An identically named poem by Anna Markham, wife of proletarian author and critic Edwin Markham, opens with the lines that defined the monument for her contemporaries: “At Riverside, on the slow hill-slant / Two memoried graves are seen / A granite dome is over Grant / and over a child the green.” The monument is also the inspiration for Irene Marcuse's novel Death of an Amiable Child.
By one late nineteenth-century account, as related by Donald Reynolds, an attempt to relocate the grave in order to clear space for General Grant's tomb, which was quickly abandoned by the city after a groundswell of public opposition, transformed the “tribute to the gentleness that underlies the apparent brutality of the great city” into “almost a national institution”.
The monument is thought to be the only single-person private grave on city-owned land in New York City.
|
[
"Morningside Heights, Manhattan",
"Edwin Markham",
"Riverside Drive",
"Lillian Russell",
"Grant's Tomb",
"George M. Cohan",
"Riverside Park",
"Jimmy Walker",
"Irene Marcuse",
"Cole Porter",
"Morningside Heights"
] |
|
13317_NT
|
Amiable Child Monument
|
Focus on this artwork and explain the abstract.
|
The Amiable Child Monument is a monument located in New York City's Riverside Park. It stands west of the southbound lanes of Riverside Drive north of 122nd Street in Morningside Heights, Manhattan.It is a monument to a small boy who died in what was then an area of country homes near New York City. One side of the monument reads: “Erected to the Memory of an Amiable Child, St. Claire Pollock, Died 15 July 1797 in the Fifth Year of His Age.” The monument is composed of a granite urn on a granite pedestal inside a wrought iron fence. It is across the street from Grant's Tomb. The monument, originally erected by George Pollock, who was either the boy's father or his uncle, has been replaced twice due to deterioration. The present marker was placed on the site in 1967 to replace a marble marker installed by the city in 1897.During Morningside Heights’s Golden Age, when the nearby Claremont Inn served luminaries that included George M. Cohan, Cole Porter, Lillian Russell and Mayor Jimmy Walker, the site inspired pilgrimages and poetry. Of the many verses written about the memorial is Herman George Scheffauer’s “An Amiable Child,” which describes the grave as being “like a song of peace in iron frays.” An identically named poem by Anna Markham, wife of proletarian author and critic Edwin Markham, opens with the lines that defined the monument for her contemporaries: “At Riverside, on the slow hill-slant / Two memoried graves are seen / A granite dome is over Grant / and over a child the green.” The monument is also the inspiration for Irene Marcuse's novel Death of an Amiable Child.
By one late nineteenth-century account, as related by Donald Reynolds, an attempt to relocate the grave in order to clear space for General Grant's tomb, which was quickly abandoned by the city after a groundswell of public opposition, transformed the “tribute to the gentleness that underlies the apparent brutality of the great city” into “almost a national institution”.
The monument is thought to be the only single-person private grave on city-owned land in New York City.
|
[
"Morningside Heights, Manhattan",
"Edwin Markham",
"Riverside Drive",
"Lillian Russell",
"Grant's Tomb",
"George M. Cohan",
"Riverside Park",
"Jimmy Walker",
"Irene Marcuse",
"Cole Porter",
"Morningside Heights"
] |
|
13318_T
|
David with the Head of Goliath (Castagno)
|
Explore the abstract of this artwork, David with the Head of Goliath (Castagno).
|
David with the Head of Goliath is a painting on a parade shield of leather and wood by the Italian Renaissance painter Andrea del Castagno, created around 1450–1457.It measures 115.5 x 76.5 (at the top) and 40.6 (at the bottom) centimeters. It is now in the collection of the National Gallery of Art, Washington, D.C.The painting decorates an ornamental parade shield, curved at the edges, and not designed for actual fighting. These were often painted, but very rarely with a single figure, especially a Biblical one (David slaying Goliath) rather than a coat of arms, or a more ornamental design. As a shield its shape is somewhere between a pavise and a kite shield.
David, as the heroic shepherd boy who killed the huge Goliath, was already a patriotic symbol for the Republic of Florence, which saw itself as threatened by much larger neighbouring powers. Of famous Florentine representations of David, the two statues, in marble and bronze by Donatello had already been made, and Michelangelo's larger than life David came some 50 years later. In the following decade Antonio del Pollaiolo made a shield with a plaster figure of Milo of Croton, painted in gold, now in the Louvre. Such expensive pieces as these were presumably hung in the owner's home when not being used in civic parades and processions. Later there were extravagant parade shields in metal, such as the Ghisi Shield in the Waddesdon Bequest in the British Museum.
|
[
"pavise",
"statues, in marble and bronze",
"National Gallery of Art",
"Shield",
"kite shield",
"Michelangelo",
"Andrea del Castagno",
"Washington, D.C.",
"Republic of Florence",
"shield",
"David",
"Antonio del Pollaiolo",
"Donatello",
"Milo of Croton",
"Goliath",
"Louvre",
"British Museum",
"Ghisi Shield",
"Waddesdon Bequest"
] |
|
13318_NT
|
David with the Head of Goliath (Castagno)
|
Explore the abstract of this artwork.
|
David with the Head of Goliath is a painting on a parade shield of leather and wood by the Italian Renaissance painter Andrea del Castagno, created around 1450–1457.It measures 115.5 x 76.5 (at the top) and 40.6 (at the bottom) centimeters. It is now in the collection of the National Gallery of Art, Washington, D.C.The painting decorates an ornamental parade shield, curved at the edges, and not designed for actual fighting. These were often painted, but very rarely with a single figure, especially a Biblical one (David slaying Goliath) rather than a coat of arms, or a more ornamental design. As a shield its shape is somewhere between a pavise and a kite shield.
David, as the heroic shepherd boy who killed the huge Goliath, was already a patriotic symbol for the Republic of Florence, which saw itself as threatened by much larger neighbouring powers. Of famous Florentine representations of David, the two statues, in marble and bronze by Donatello had already been made, and Michelangelo's larger than life David came some 50 years later. In the following decade Antonio del Pollaiolo made a shield with a plaster figure of Milo of Croton, painted in gold, now in the Louvre. Such expensive pieces as these were presumably hung in the owner's home when not being used in civic parades and processions. Later there were extravagant parade shields in metal, such as the Ghisi Shield in the Waddesdon Bequest in the British Museum.
|
[
"pavise",
"statues, in marble and bronze",
"National Gallery of Art",
"Shield",
"kite shield",
"Michelangelo",
"Andrea del Castagno",
"Washington, D.C.",
"Republic of Florence",
"shield",
"David",
"Antonio del Pollaiolo",
"Donatello",
"Milo of Croton",
"Goliath",
"Louvre",
"British Museum",
"Ghisi Shield",
"Waddesdon Bequest"
] |
|
13319_T
|
Madonna del Prato (Bellini)
|
Focus on Madonna del Prato (Bellini) and discuss the abstract.
|
Madonna del Prato (Madonna of the Meadow) is a 1505 painting of the Virgin Mary and the Christ Child by the Italian Renaissance painter Giovanni Bellini, now in the National Gallery in London. Originally painted as oil and egg tempera on wood, it was transferred to canvas in 1949, with damage in places.
It presents a medieval iconography of the Virgin of humility seated before a full and shining rural panorama, with both the devotional aspect and the landscape aspect given equal prominence. Full of small details of everyday life, this landscape contributes to the intimate and familiar tone of the two figures. The raven in the tree possibly symbolises death. The figures' poses invite meditation on Jesus's death and passion, recalling Pietà compositions with the dead adult Jesus in his mother's lap.
|
[
"Giovanni Bellini",
"National Gallery",
"Christ Child",
"Virgin Mary",
"London",
"transferred",
"Pietà",
"Prato"
] |
|
13319_NT
|
Madonna del Prato (Bellini)
|
Focus on this artwork and discuss the abstract.
|
Madonna del Prato (Madonna of the Meadow) is a 1505 painting of the Virgin Mary and the Christ Child by the Italian Renaissance painter Giovanni Bellini, now in the National Gallery in London. Originally painted as oil and egg tempera on wood, it was transferred to canvas in 1949, with damage in places.
It presents a medieval iconography of the Virgin of humility seated before a full and shining rural panorama, with both the devotional aspect and the landscape aspect given equal prominence. Full of small details of everyday life, this landscape contributes to the intimate and familiar tone of the two figures. The raven in the tree possibly symbolises death. The figures' poses invite meditation on Jesus's death and passion, recalling Pietà compositions with the dead adult Jesus in his mother's lap.
|
[
"Giovanni Bellini",
"National Gallery",
"Christ Child",
"Virgin Mary",
"London",
"transferred",
"Pietà",
"Prato"
] |
|
13320_T
|
La Tirana (Goya, 1794)
|
How does La Tirana (Goya, 1794) elucidate its abstract?
|
La Tirana is a 1794 oil on canvas portrait by Francisco de Goya. It was last recorded in the March collection in Palma de Mallorca in 2001.
It is the second of two portraits he produced of the actress María del Rosario Fernández, known as 'La Tirana' after her actor husband Francisco Castellanos, who was nicknamed el Tirano. The other is in the Real Academia de Bellas Artes de San Fernando.
|
[
"Palma de Mallorca",
"The other",
"María del Rosario Fernández",
"Francisco de Goya",
"Real Academia de Bellas Artes de San Fernando"
] |
|
13320_NT
|
La Tirana (Goya, 1794)
|
How does this artwork elucidate its abstract?
|
La Tirana is a 1794 oil on canvas portrait by Francisco de Goya. It was last recorded in the March collection in Palma de Mallorca in 2001.
It is the second of two portraits he produced of the actress María del Rosario Fernández, known as 'La Tirana' after her actor husband Francisco Castellanos, who was nicknamed el Tirano. The other is in the Real Academia de Bellas Artes de San Fernando.
|
[
"Palma de Mallorca",
"The other",
"María del Rosario Fernández",
"Francisco de Goya",
"Real Academia de Bellas Artes de San Fernando"
] |
|
13321_T
|
La Tirana (Goya, 1794)
|
Focus on La Tirana (Goya, 1794) and analyze the Bibliography (in Spanish).
|
Glendinning, Nigel (1992). Central Hispano, ed. Goya. La década de los Caprichos. pp. 148-149. ISBN 84-87181-10-4.
Gómez García, Manuel (1998). Diccionario Akal de Teatro. Ediciones Akal. ISBN 9788446008279.
Huerta, Javier; Peral, Emilio; Urzaiz, Héctor (2005). Espasa-Calpe, ed. Teatro español de la A a la Z. Madrid. ISBN 9788467019698.
|
[] |
|
13321_NT
|
La Tirana (Goya, 1794)
|
Focus on this artwork and analyze the Bibliography (in Spanish).
|
Glendinning, Nigel (1992). Central Hispano, ed. Goya. La década de los Caprichos. pp. 148-149. ISBN 84-87181-10-4.
Gómez García, Manuel (1998). Diccionario Akal de Teatro. Ediciones Akal. ISBN 9788446008279.
Huerta, Javier; Peral, Emilio; Urzaiz, Héctor (2005). Espasa-Calpe, ed. Teatro español de la A a la Z. Madrid. ISBN 9788467019698.
|
[] |
|
13322_T
|
Convex and Concave
|
In Convex and Concave, how is the abstract discussed?
|
Convex and Concave is a lithograph print by the Dutch artist M. C. Escher, first printed in March 1955.
It depicts an ornate architectural structure with many stairs, pillars and other shapes. The relative aspects of the objects in the image are distorted in such a way that many of the structure's features can be seen as both convex shapes and concave impressions. This is a very good example of Escher's mastery in creating illusions of "impossible architecture." The windows, roads, stairs and other shapes can be perceived as opening out in seemingly impossible ways and positions. Even the image on the flag is of reversible cubes. One can view these features as concave by viewing the image upside-down.
All additional elements and decoration on the left are consistent with a viewpoint from above, while those on the right with a viewpoint from below: hiding half the image makes it very easy to switch between convex and concave.
|
[
"lithograph",
"Dutch",
"reversible cubes",
"M. C. Escher",
"window"
] |
|
13322_NT
|
Convex and Concave
|
In this artwork, how is the abstract discussed?
|
Convex and Concave is a lithograph print by the Dutch artist M. C. Escher, first printed in March 1955.
It depicts an ornate architectural structure with many stairs, pillars and other shapes. The relative aspects of the objects in the image are distorted in such a way that many of the structure's features can be seen as both convex shapes and concave impressions. This is a very good example of Escher's mastery in creating illusions of "impossible architecture." The windows, roads, stairs and other shapes can be perceived as opening out in seemingly impossible ways and positions. Even the image on the flag is of reversible cubes. One can view these features as concave by viewing the image upside-down.
All additional elements and decoration on the left are consistent with a viewpoint from above, while those on the right with a viewpoint from below: hiding half the image makes it very easy to switch between convex and concave.
|
[
"lithograph",
"Dutch",
"reversible cubes",
"M. C. Escher",
"window"
] |
|
13323_T
|
Portrait of the Duke and Duchess of Cambridge
|
Focus on Portrait of the Duke and Duchess of Cambridge and explore the Description.
|
Portrait of the Duke and Duchess of Cambridge is the first official joint portrait of William and Catherine. Coreth, the recipient of the 2016 BP Young Artist Award, described the process of creating the piece as "the most extraordinary privilege of my life". Regarding the work and its features, Coreth added that he "wanted to show Their Royal Highnesses in a manner where they appeared both relaxed and approachable, as well as elegant and dignified". He further stated that the piece is meant "to evoke a feeling of balance between their public and private lives". Kensington Palace announced that the portrait is set to be used "as a means of encouraging children and young people of all backgrounds from across the county to take an interest in art in all its forms".The couple sat for Coreth twice at Kensington Palace, and later each had a solo session with the artist. The 210 centimeter by 110 centimeter oil painting shows the couple standing side-by-side while gazing into the distance. William appears in a black suit with an eggshell coloured shirt and teal tie, while Catherine is shown wearing a metallic emerald green midi-dress and satin green heels. Pieces of jewellery worn by Cathrine include the Duchess of Cambridge's pearl pendant brooch, and Diana, Princess of Wales's Collingwood pearl earrings and three-strand pearl bracelet. The outfits were similar to the ones worn by the couple during their visit to Dublin in 2020. The background features tones and a hexagonal architectural motif that according to the artist were inspired by buildings across Cambridge.
|
[
"Collingwood pearl earrings",
"Diana, Princess of Wales",
"Princess of Wales",
"Duchess of Cambridge",
"Kensington Palace",
"pearl pendant brooch",
"three-strand pearl bracelet"
] |
|
13323_NT
|
Portrait of the Duke and Duchess of Cambridge
|
Focus on this artwork and explore the Description.
|
Portrait of the Duke and Duchess of Cambridge is the first official joint portrait of William and Catherine. Coreth, the recipient of the 2016 BP Young Artist Award, described the process of creating the piece as "the most extraordinary privilege of my life". Regarding the work and its features, Coreth added that he "wanted to show Their Royal Highnesses in a manner where they appeared both relaxed and approachable, as well as elegant and dignified". He further stated that the piece is meant "to evoke a feeling of balance between their public and private lives". Kensington Palace announced that the portrait is set to be used "as a means of encouraging children and young people of all backgrounds from across the county to take an interest in art in all its forms".The couple sat for Coreth twice at Kensington Palace, and later each had a solo session with the artist. The 210 centimeter by 110 centimeter oil painting shows the couple standing side-by-side while gazing into the distance. William appears in a black suit with an eggshell coloured shirt and teal tie, while Catherine is shown wearing a metallic emerald green midi-dress and satin green heels. Pieces of jewellery worn by Cathrine include the Duchess of Cambridge's pearl pendant brooch, and Diana, Princess of Wales's Collingwood pearl earrings and three-strand pearl bracelet. The outfits were similar to the ones worn by the couple during their visit to Dublin in 2020. The background features tones and a hexagonal architectural motif that according to the artist were inspired by buildings across Cambridge.
|
[
"Collingwood pearl earrings",
"Diana, Princess of Wales",
"Princess of Wales",
"Duchess of Cambridge",
"Kensington Palace",
"pearl pendant brooch",
"three-strand pearl bracelet"
] |
|
13324_T
|
Portrait of the Duke and Duchess of Cambridge
|
Focus on Portrait of the Duke and Duchess of Cambridge and explain the Reception.
|
The portrait received a mixed review from critics. The Independent columnist Jessie Thompson praised the portrait for its "cheeky" sense of humour, and added "The future king and queen look camera-ready, but also like they're standing at a party, waiting for the champers tray to come round". The Telegraph's Alastair Sooke found it "too safe" and its execution "a little weird", but emphasised that it offers "a flash of their private selves, which counteracts the occasion's public formality". The Times's chief art critic Rachel Campbell-Johnston described the painting as a "swagger portrait", which depicts the couple as "shop window mannequins made to advertise a modern monarchy".
|
[
"The Telegraph",
"Rachel Campbell-Johnston",
"The Times",
"The Independent",
"Alastair Sooke"
] |
|
13324_NT
|
Portrait of the Duke and Duchess of Cambridge
|
Focus on this artwork and explain the Reception.
|
The portrait received a mixed review from critics. The Independent columnist Jessie Thompson praised the portrait for its "cheeky" sense of humour, and added "The future king and queen look camera-ready, but also like they're standing at a party, waiting for the champers tray to come round". The Telegraph's Alastair Sooke found it "too safe" and its execution "a little weird", but emphasised that it offers "a flash of their private selves, which counteracts the occasion's public formality". The Times's chief art critic Rachel Campbell-Johnston described the painting as a "swagger portrait", which depicts the couple as "shop window mannequins made to advertise a modern monarchy".
|
[
"The Telegraph",
"Rachel Campbell-Johnston",
"The Times",
"The Independent",
"Alastair Sooke"
] |
|
13325_T
|
St Matthew (Hals)
|
Explore the abstract of this artwork, St Matthew (Hals).
|
St. Matthew is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625 and now in the Odesa Museum of Western and Eastern Art, Odesa.
|
[
"Odesa Museum of Western and Eastern Art",
"Hals",
"Dutch Golden Age painter",
"Frans Hals",
"Odesa"
] |
|
13325_NT
|
St Matthew (Hals)
|
Explore the abstract of this artwork.
|
St. Matthew is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625 and now in the Odesa Museum of Western and Eastern Art, Odesa.
|
[
"Odesa Museum of Western and Eastern Art",
"Hals",
"Dutch Golden Age painter",
"Frans Hals",
"Odesa"
] |
|
13326_T
|
St Matthew (Hals)
|
Focus on St Matthew (Hals) and discuss the Painting.
|
The painting shows Saint Matthew sitting at a desk reading with an angel at his elbow. This painting was documented in the 18th century but was considered lost until the 1950s, when two tronies were discovered languishing in the storerooms of the Odesa Museum of Western and Eastern Art in 1958 by art historian Irina Linnik. At the time they were considered to be by unknown 19th-century painters, but Linnik recognized them as the work of a 17th-century master and eventually traced their history back to the 17th century, identifying them as two of four lost paintings by Hals of the evangelists, namely Luke and Matthew. After her work was published in 1959, the two paintings were included in the 1962 Frans Hals exhibition in the Frans Hals Museum. The international attention helped to spur art detectives and eventually the other two of John and Mark were also rediscovered.
In his 1989 catalog of the international Frans Hals exhibition, Slive included a photo of Hals' Two singing boys with a lute and a music book to show that his theme of a main subject with a secondary witness was common to many of Hals' paintings of the 1620s and the models as secondary witness in these two paintings were clearly cousins.Two singing boys and Matthew:
The four evangelists by Hals:
|
[
"Two singing boys with a lute and a music book",
"Saint Matthew",
"Odesa Museum of Western and Eastern Art",
"Hals",
"Frans Hals",
"Odesa",
"tronies",
"Frans Hals Museum"
] |
|
13326_NT
|
St Matthew (Hals)
|
Focus on this artwork and discuss the Painting.
|
The painting shows Saint Matthew sitting at a desk reading with an angel at his elbow. This painting was documented in the 18th century but was considered lost until the 1950s, when two tronies were discovered languishing in the storerooms of the Odesa Museum of Western and Eastern Art in 1958 by art historian Irina Linnik. At the time they were considered to be by unknown 19th-century painters, but Linnik recognized them as the work of a 17th-century master and eventually traced their history back to the 17th century, identifying them as two of four lost paintings by Hals of the evangelists, namely Luke and Matthew. After her work was published in 1959, the two paintings were included in the 1962 Frans Hals exhibition in the Frans Hals Museum. The international attention helped to spur art detectives and eventually the other two of John and Mark were also rediscovered.
In his 1989 catalog of the international Frans Hals exhibition, Slive included a photo of Hals' Two singing boys with a lute and a music book to show that his theme of a main subject with a secondary witness was common to many of Hals' paintings of the 1620s and the models as secondary witness in these two paintings were clearly cousins.Two singing boys and Matthew:
The four evangelists by Hals:
|
[
"Two singing boys with a lute and a music book",
"Saint Matthew",
"Odesa Museum of Western and Eastern Art",
"Hals",
"Frans Hals",
"Odesa",
"tronies",
"Frans Hals Museum"
] |
|
13327_T
|
The Channel of Gravelines, Petit Fort Philippe
|
How does The Channel of Gravelines, Petit Fort Philippe elucidate its abstract?
|
The Channel of Gravelines, Petit Fort Philippe is a pointillist painting by French artist Georges Seurat, located in the Indianapolis Museum of Art in Indianapolis, Indiana. Painted in 1890, the year before his death, it depicts a harbor in the small French port of Gravelines. Described as "wistful and poetic," it is one of the treasures of the IMA.
|
[
"French",
"Georges Seurat",
"Indianapolis",
"Gravelines",
"Indianapolis Museum of Art",
"Indiana",
"pointillist"
] |
|
13327_NT
|
The Channel of Gravelines, Petit Fort Philippe
|
How does this artwork elucidate its abstract?
|
The Channel of Gravelines, Petit Fort Philippe is a pointillist painting by French artist Georges Seurat, located in the Indianapolis Museum of Art in Indianapolis, Indiana. Painted in 1890, the year before his death, it depicts a harbor in the small French port of Gravelines. Described as "wistful and poetic," it is one of the treasures of the IMA.
|
[
"French",
"Georges Seurat",
"Indianapolis",
"Gravelines",
"Indianapolis Museum of Art",
"Indiana",
"pointillist"
] |
|
13328_T
|
The Channel of Gravelines, Petit Fort Philippe
|
Focus on The Channel of Gravelines, Petit Fort Philippe and analyze the Description.
|
As one of Seurat's final paintings, The Channel of Gravelines, Petit Fort Philippe demonstrates beautifully the principles of Seurat's own Neo-Impressionist movement. His systematic application of dots in colors carefully chosen according to laws of chromatic harmony results in unparalleled luminosity. Seurat painted a narrow border of darker dots around the edge of the canvas, heightening the brilliance of the light. The frame (a reproduction of Seurat's original design) with its vivid ultramarine base and dots echoing the adjacent canvas, enhances the colors still further. In addition to his careful control of the dots' color, Seurat also used their shape and density to achieve his vision. The extremely solid central bollard has the greatest density of dots, while the right side of the sky is so loosely covered that the white ground layer is visible. Based upon the bright light and stark shadows, Seurat painted in midafternoon.Although Seurat was quite faithful to the actual architecture of the harbor, to the extent that much of it is recognizable to this day, he arrayed the boats so their horizontal and vertical elements resulted in maximum visual stability. The elegant parabola of the wharf induces serenity. Stretching into infinity, it evokes the immensity of the sea. Simultaneously, the sweeping diagonal cutting the composition in two provides contrasting movement.Seurat's quest for aesthetic perfection can be seen in the number of alterations he made between his initial studies and the final painting. The central bollard anchors the composition securely, so solid as to be nearly graspable, but was missing from the panel study. Comparing the final canvas to the rest of his studies reveals that, in addition to arranging the boats in a neat, calm horizontal line, Seurat also tweaked the walkway to give the channel a greater role in the composition. Thus, sea, sky, and ground occupy roughly equal proportions.
|
[
"bollard",
"canvas",
"Gravelines",
"Neo-Impressionist"
] |
|
13328_NT
|
The Channel of Gravelines, Petit Fort Philippe
|
Focus on this artwork and analyze the Description.
|
As one of Seurat's final paintings, The Channel of Gravelines, Petit Fort Philippe demonstrates beautifully the principles of Seurat's own Neo-Impressionist movement. His systematic application of dots in colors carefully chosen according to laws of chromatic harmony results in unparalleled luminosity. Seurat painted a narrow border of darker dots around the edge of the canvas, heightening the brilliance of the light. The frame (a reproduction of Seurat's original design) with its vivid ultramarine base and dots echoing the adjacent canvas, enhances the colors still further. In addition to his careful control of the dots' color, Seurat also used their shape and density to achieve his vision. The extremely solid central bollard has the greatest density of dots, while the right side of the sky is so loosely covered that the white ground layer is visible. Based upon the bright light and stark shadows, Seurat painted in midafternoon.Although Seurat was quite faithful to the actual architecture of the harbor, to the extent that much of it is recognizable to this day, he arrayed the boats so their horizontal and vertical elements resulted in maximum visual stability. The elegant parabola of the wharf induces serenity. Stretching into infinity, it evokes the immensity of the sea. Simultaneously, the sweeping diagonal cutting the composition in two provides contrasting movement.Seurat's quest for aesthetic perfection can be seen in the number of alterations he made between his initial studies and the final painting. The central bollard anchors the composition securely, so solid as to be nearly graspable, but was missing from the panel study. Comparing the final canvas to the rest of his studies reveals that, in addition to arranging the boats in a neat, calm horizontal line, Seurat also tweaked the walkway to give the channel a greater role in the composition. Thus, sea, sky, and ground occupy roughly equal proportions.
|
[
"bollard",
"canvas",
"Gravelines",
"Neo-Impressionist"
] |
|
13329_T
|
The Channel of Gravelines, Petit Fort Philippe
|
In The Channel of Gravelines, Petit Fort Philippe, how is the Historical information discussed?
|
While he spent most of the year shocking Paris with his novel style and views, Seurat spent his summers painting wistful seascapes. In 1890, he traveled to the tiny port of Gravelines, near the Belgian border, and painted what would be his last four landscapes. That was two fewer paintings than he had produced the summer previous, perhaps because the broad coastal plain, marked only by dunes, was markedly different from his usual Normandy settings. The rise of the summer vacation meant artists found a ready market for seaside images. Unlike older artists such as Monet, though, Seurat preferred utterly prosaic images of ports and shores, rather than more dramatic sunsets and stormy seas. The complete lack of humans, either vacationers or hardworking fishermen, was typical of Seurat's seascapes, which always had a luminous stillness.Seurat's choice of Gravelines was somewhat unusual, given that contemporary guidebooks described it as "an uninteresting town." Its very obscurity may have been a draw for the artist, who was growing protective of his methods. Also, its canal's straight lines lent themselves well to the strictly-organized compositions Seurat preferred.
|
[
"Gravelines",
"Monet",
"Normandy",
"Paris"
] |
|
13329_NT
|
The Channel of Gravelines, Petit Fort Philippe
|
In this artwork, how is the Historical information discussed?
|
While he spent most of the year shocking Paris with his novel style and views, Seurat spent his summers painting wistful seascapes. In 1890, he traveled to the tiny port of Gravelines, near the Belgian border, and painted what would be his last four landscapes. That was two fewer paintings than he had produced the summer previous, perhaps because the broad coastal plain, marked only by dunes, was markedly different from his usual Normandy settings. The rise of the summer vacation meant artists found a ready market for seaside images. Unlike older artists such as Monet, though, Seurat preferred utterly prosaic images of ports and shores, rather than more dramatic sunsets and stormy seas. The complete lack of humans, either vacationers or hardworking fishermen, was typical of Seurat's seascapes, which always had a luminous stillness.Seurat's choice of Gravelines was somewhat unusual, given that contemporary guidebooks described it as "an uninteresting town." Its very obscurity may have been a draw for the artist, who was growing protective of his methods. Also, its canal's straight lines lent themselves well to the strictly-organized compositions Seurat preferred.
|
[
"Gravelines",
"Monet",
"Normandy",
"Paris"
] |
|
13330_T
|
The Channel of Gravelines, Petit Fort Philippe
|
In the context of The Channel of Gravelines, Petit Fort Philippe, explore the Acquisition of the Historical information.
|
The painting was donated by Caroline Marmon Fesler in 1945 to the Herron School of Art in memory of her parents, Daniel W. and Elizabeth C. Marmon. It was then claimed by the IMA during the separation of those institutions. It has the acquisition number 45.195.
|
[
"Caroline Marmon Fesler",
"Herron School of Art",
"Daniel W."
] |
|
13330_NT
|
The Channel of Gravelines, Petit Fort Philippe
|
In the context of this artwork, explore the Acquisition of the Historical information.
|
The painting was donated by Caroline Marmon Fesler in 1945 to the Herron School of Art in memory of her parents, Daniel W. and Elizabeth C. Marmon. It was then claimed by the IMA during the separation of those institutions. It has the acquisition number 45.195.
|
[
"Caroline Marmon Fesler",
"Herron School of Art",
"Daniel W."
] |
|
13331_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the abstract.
|
Actor Nakamura Shikan II as Satake Shinjūrō is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Shungyōsai Hokusei (fl. 1826–1827). It depicts celebrated kabuki actor Nakamura Shikan II as a character in the play Keisei Asoyama Sakura. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.
|
[
"Royal Ontario Museum",
"Edo",
"ukiyo-e",
"kabuki",
"Edo period",
"Shungyōsai Hokusei",
"fl.",
"woodblock print",
"Prince Takamado"
] |
|
13331_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on this artwork and explain the abstract.
|
Actor Nakamura Shikan II as Satake Shinjūrō is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Shungyōsai Hokusei (fl. 1826–1827). It depicts celebrated kabuki actor Nakamura Shikan II as a character in the play Keisei Asoyama Sakura. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.
|
[
"Royal Ontario Museum",
"Edo",
"ukiyo-e",
"kabuki",
"Edo period",
"Shungyōsai Hokusei",
"fl.",
"woodblock print",
"Prince Takamado"
] |
|
13332_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Explore the Print details of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.
|
Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paper
Size: ōban tate-e (大判竪絵)
Format: ichimai-e (一枚絵) single sheet print from a triptych
Genre: yakusha-e (役者絵) actor print
Japanese title: 佐竹新十郎 中村芝翫
Exhibit title: Actor Nakamura Shikan II as Satake Shinjūrō
Date: 1827
Inscription: none
Signature: Shungyōsai Hokusei ga (春暁斎北晴画)
Publisher's mark: Honsei (本清)
Publisher: Shōhon-ya Seishichi (正本屋清七)
Censor seal: none
Date seal: none
Credit line: none
|
[
"nishiki-e",
"Shungyōsai Hokusei",
"woodblock print"
] |
|
13332_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Explore the Print details of this artwork.
|
Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paper
Size: ōban tate-e (大判竪絵)
Format: ichimai-e (一枚絵) single sheet print from a triptych
Genre: yakusha-e (役者絵) actor print
Japanese title: 佐竹新十郎 中村芝翫
Exhibit title: Actor Nakamura Shikan II as Satake Shinjūrō
Date: 1827
Inscription: none
Signature: Shungyōsai Hokusei ga (春暁斎北晴画)
Publisher's mark: Honsei (本清)
Publisher: Shōhon-ya Seishichi (正本屋清七)
Censor seal: none
Date seal: none
Credit line: none
|
[
"nishiki-e",
"Shungyōsai Hokusei",
"woodblock print"
] |
|
13333_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on Actor Nakamura Shikan II as Satake Shinjuro and discuss the Artist.
|
Very little biographical information is available for Shungyōsai Hokusei. Although one source identifies his life dates as 1818 to 1829, most biographical records simply date his period of activity as being sometime between 1826 and 1828. Known predominantly for his yakusha-e kabuki actor portraits, he is named as a pupil of Shunkōsai Hokushū [春好斎北洲] (fl. 1810–1832) on one of the latter's prints.Although associated with the gō Shungyōsai, Shungyōsai Hokusei is usually referred to as Hokusei. One reason for this is to distinguish him from two other Osaka-based ukiyo-e artists who shared the same gō: Shungyōsai I (c. 1760–1823; fl. 1790s–1820s) and his son Shungyōsai II (n.d.–1867; fl. 1820s–1860s).Works by Shungyōsai Hokusei belong to the permanent collections of museums such as the Museum of Fine Arts Boston, the Royal Ontario Museum, Central Saint Martins Museum and Study Collection, the Tsubouchi Memorial Theatre Museum of Waseda University.
|
[
"Royal Ontario Museum",
"Shunkōsai Hokushū",
"ukiyo-e",
"Waseda University",
"kabuki",
"Tsubouchi Memorial Theatre Museum",
"Shungyōsai Hokusei",
"fl.",
"Museum of Fine Arts Boston",
"Hokushū"
] |
|
13333_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on this artwork and discuss the Artist.
|
Very little biographical information is available for Shungyōsai Hokusei. Although one source identifies his life dates as 1818 to 1829, most biographical records simply date his period of activity as being sometime between 1826 and 1828. Known predominantly for his yakusha-e kabuki actor portraits, he is named as a pupil of Shunkōsai Hokushū [春好斎北洲] (fl. 1810–1832) on one of the latter's prints.Although associated with the gō Shungyōsai, Shungyōsai Hokusei is usually referred to as Hokusei. One reason for this is to distinguish him from two other Osaka-based ukiyo-e artists who shared the same gō: Shungyōsai I (c. 1760–1823; fl. 1790s–1820s) and his son Shungyōsai II (n.d.–1867; fl. 1820s–1860s).Works by Shungyōsai Hokusei belong to the permanent collections of museums such as the Museum of Fine Arts Boston, the Royal Ontario Museum, Central Saint Martins Museum and Study Collection, the Tsubouchi Memorial Theatre Museum of Waseda University.
|
[
"Royal Ontario Museum",
"Shunkōsai Hokushū",
"ukiyo-e",
"Waseda University",
"kabuki",
"Tsubouchi Memorial Theatre Museum",
"Shungyōsai Hokusei",
"fl.",
"Museum of Fine Arts Boston",
"Hokushū"
] |
|
13334_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
In the context of Actor Nakamura Shikan II as Satake Shinjuro, analyze the Nakamura Shikan II of the Subject.
|
Nakamura Shikan II (1796–1852) was born Hirano Kichitarō, the son of an Edo tea house owner. In 1807, however, he was adopted by his uncle, a performer of traditional Japanese dance, and at age 15 he became the apprentice of kabuki actor Nakamura Utaemon III. As a kaneru yakusha, Shikan II was highly versatile, capable of performing a wide variety of male and female roles, often assuming multiple roles within the same performance. He was particularly admired for his dancing, his roles in jidaimono history plays, and his "large... stature... fine eyes and good features."He used several stage names throughout his career, including Nakamura Tōtarō (1811–1813), Nakamura Tsurusuke I (1813–1825), Nakamura Utaemon IV (1836–1852), as well as Nakamura Shikan II which he took in 1825. He was also associated with the haimei (俳名) poetry names Kanjaku and Shijaku, and the guild name Narikomaya.Shikan II's career was divided between Osaka and Edo, and despite his popularity on the Kamigata stage, he apparently wished to be more associated with the Edo theatre. He appears in prints by various artists, including Utagawa Kunisada, Utagawa Kunihiro, Utagawa Toyokuni and Shunbaisai Hokuei.
|
[
"Nakamura Utaemon IV",
"Edo",
"kabuki",
"Kamigata",
"Nakamura Utaemon III",
"Kunisada",
"Shunbaisai Hokuei",
"jidaimono",
"Utagawa Toyokuni"
] |
|
13334_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
In the context of this artwork, analyze the Nakamura Shikan II of the Subject.
|
Nakamura Shikan II (1796–1852) was born Hirano Kichitarō, the son of an Edo tea house owner. In 1807, however, he was adopted by his uncle, a performer of traditional Japanese dance, and at age 15 he became the apprentice of kabuki actor Nakamura Utaemon III. As a kaneru yakusha, Shikan II was highly versatile, capable of performing a wide variety of male and female roles, often assuming multiple roles within the same performance. He was particularly admired for his dancing, his roles in jidaimono history plays, and his "large... stature... fine eyes and good features."He used several stage names throughout his career, including Nakamura Tōtarō (1811–1813), Nakamura Tsurusuke I (1813–1825), Nakamura Utaemon IV (1836–1852), as well as Nakamura Shikan II which he took in 1825. He was also associated with the haimei (俳名) poetry names Kanjaku and Shijaku, and the guild name Narikomaya.Shikan II's career was divided between Osaka and Edo, and despite his popularity on the Kamigata stage, he apparently wished to be more associated with the Edo theatre. He appears in prints by various artists, including Utagawa Kunisada, Utagawa Kunihiro, Utagawa Toyokuni and Shunbaisai Hokuei.
|
[
"Nakamura Utaemon IV",
"Edo",
"kabuki",
"Kamigata",
"Nakamura Utaemon III",
"Kunisada",
"Shunbaisai Hokuei",
"jidaimono",
"Utagawa Toyokuni"
] |
|
13335_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Describe the characteristics of the Keisei Asoyama Sakura in Actor Nakamura Shikan II as Satake Shinjuro's Subject.
|
The print depicts a scene from the kabuki play Keisei Asoyama Sakura (けいせい遊山桜), The Courtesan and the Cherry Blossoms at Mt. Aso. Unusually, the play was performed in the first lunar month of Bunsei 10 (文政十年), or 1827, at both Osaka's Naka (中) and Kado (角) Theatres simultaneously. Shikan II appeared in the version staged at the Kado in the role of Satake Shinjūrō (佐竹新十郎), alongside Edo actor Seki Sanjūrō II (関三十郎二代目) as Ishizuka Jinzaburō (石家仁三郎), onnagata Nakamura Matsue III (中村松枝三代目) as a keisei (傾城/契情) courtesan, and star Nakamura Utaemon III (中村歌右衛門) as Ōuchi Saemon Hidemaru (大内左衛門秀丸). Utaemon III is also credited with having written the Kado Theatre version of what is essentially a politico-historical thriller. The climax of the performance appears to have been a shosagoto dance featuring the three main stars.
|
[
"Edo",
"kabuki",
"onnagata",
"Nakamura Utaemon III",
"shosagoto"
] |
|
13335_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Describe the characteristics of the Keisei Asoyama Sakura in this artwork's Subject.
|
The print depicts a scene from the kabuki play Keisei Asoyama Sakura (けいせい遊山桜), The Courtesan and the Cherry Blossoms at Mt. Aso. Unusually, the play was performed in the first lunar month of Bunsei 10 (文政十年), or 1827, at both Osaka's Naka (中) and Kado (角) Theatres simultaneously. Shikan II appeared in the version staged at the Kado in the role of Satake Shinjūrō (佐竹新十郎), alongside Edo actor Seki Sanjūrō II (関三十郎二代目) as Ishizuka Jinzaburō (石家仁三郎), onnagata Nakamura Matsue III (中村松枝三代目) as a keisei (傾城/契情) courtesan, and star Nakamura Utaemon III (中村歌右衛門) as Ōuchi Saemon Hidemaru (大内左衛門秀丸). Utaemon III is also credited with having written the Kado Theatre version of what is essentially a politico-historical thriller. The climax of the performance appears to have been a shosagoto dance featuring the three main stars.
|
[
"Edo",
"kabuki",
"onnagata",
"Nakamura Utaemon III",
"shosagoto"
] |
|
13336_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on Actor Nakamura Shikan II as Satake Shinjuro and explore the Description.
|
The print depicts the character Satake Shinjūrō in a dramatic standing pose. His appearance is that of a samurai, his hair styled in a chonmage (丁髷) topknot, his feet bare. Her wears a short, bright red kimono decorated with thin white vertical stripes. Over this, he wears a simple grey haori (羽織) jacket whose only decoration is a flower motif kamon (家紋) family crest, which may be a plum blossom variant. His arms have been removed from the sleeves of his haori which hang down at his sides, and he has a sageo string holding back the long sleeves of his kimono. Both of these are intended to increase his mobility, particularly in combat.
The figure stands outdoors at the base of a set of stone steps with no visible detail aside from some undergrowth and rocks. He looks off to his right, which is to say away from the other two characters in the triptych. His face has a serious expression, and he holds a long unsheathed sword in front of him with both hands. The empty black saya (鞘) sheath is tucked into his blue patterned obi sash, and peeks out from behind his back along with a second matching sheathed sword. Both tsuka sword handles would peek out from his left side, the standard position for samurai as it made them more accessible for the right-handed.
|
[
"samurai",
"chonmage",
"obi",
"sword",
"haori",
"kamon",
"kimono"
] |
|
13336_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on this artwork and explore the Description.
|
The print depicts the character Satake Shinjūrō in a dramatic standing pose. His appearance is that of a samurai, his hair styled in a chonmage (丁髷) topknot, his feet bare. Her wears a short, bright red kimono decorated with thin white vertical stripes. Over this, he wears a simple grey haori (羽織) jacket whose only decoration is a flower motif kamon (家紋) family crest, which may be a plum blossom variant. His arms have been removed from the sleeves of his haori which hang down at his sides, and he has a sageo string holding back the long sleeves of his kimono. Both of these are intended to increase his mobility, particularly in combat.
The figure stands outdoors at the base of a set of stone steps with no visible detail aside from some undergrowth and rocks. He looks off to his right, which is to say away from the other two characters in the triptych. His face has a serious expression, and he holds a long unsheathed sword in front of him with both hands. The empty black saya (鞘) sheath is tucked into his blue patterned obi sash, and peeks out from behind his back along with a second matching sheathed sword. Both tsuka sword handles would peek out from his left side, the standard position for samurai as it made them more accessible for the right-handed.
|
[
"samurai",
"chonmage",
"obi",
"sword",
"haori",
"kamon",
"kimono"
] |
|
13337_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the Medium and genre.
|
As an Osaka-based artist, Shungyōsai Hokusei's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were almost entirely the work of amateur "talented kabuki fans" celebrating their favourite actors.Literally "kabuki pictures", kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, star actors emerged, which in turn led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually, as in this print, or in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).
|
[
"Edo",
"ukiyo-e",
"kabuki",
"Kamigata",
"Shungyōsai Hokusei",
"ehon"
] |
|
13337_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on this artwork and explain the Medium and genre.
|
As an Osaka-based artist, Shungyōsai Hokusei's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were almost entirely the work of amateur "talented kabuki fans" celebrating their favourite actors.Literally "kabuki pictures", kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, star actors emerged, which in turn led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually, as in this print, or in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).
|
[
"Edo",
"ukiyo-e",
"kabuki",
"Kamigata",
"Shungyōsai Hokusei",
"ehon"
] |
|
13338_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Explore the Publisher of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.
|
The print bears the Honsei [本清] publisher's mark associated with the Shōhonya Seishichi [正本屋清七] publishing house. Honsei was a highly active Osaka publisher run by the Tamaoki Seishichi family. Dates for the company vary depending on the account, but fall generally span the nineteenth century, Honsei produced works by all of the prominent kamigata-e artists of the late nineteenth through the early twentieth centuries. In addition to Hokusei, they collaborated with such artists as:
|
[] |
|
13338_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Explore the Publisher of this artwork.
|
The print bears the Honsei [本清] publisher's mark associated with the Shōhonya Seishichi [正本屋清七] publishing house. Honsei was a highly active Osaka publisher run by the Tamaoki Seishichi family. Dates for the company vary depending on the account, but fall generally span the nineteenth century, Honsei produced works by all of the prominent kamigata-e artists of the late nineteenth through the early twentieth centuries. In addition to Hokusei, they collaborated with such artists as:
|
[] |
|
13339_T
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on Actor Nakamura Shikan II as Satake Shinjuro and discuss the Related works.
|
This print is Hokusei's contribution to a triptych produced by three different artists and published by Honsei soon after the 1827 performance. Although all three are the work of different artists they are stylistically cohesive and incorporate the same seamlessly matched background scene.
The placement of the actor/ character name cartouche near the left upper edge, indicates that this image is the left-most and third in the series. The two other images are Nakamura Utaemon III as Ōuchi Saemon Hidemaru by Shunshosai Hokuchō (centre), and Seki Sanjūrō II as Ishizuka Jinzaburō by Shunyōsai Shunshi (right).
|
[
"Shunshosai Hokuchō",
"Nakamura Utaemon III"
] |
|
13339_NT
|
Actor Nakamura Shikan II as Satake Shinjuro
|
Focus on this artwork and discuss the Related works.
|
This print is Hokusei's contribution to a triptych produced by three different artists and published by Honsei soon after the 1827 performance. Although all three are the work of different artists they are stylistically cohesive and incorporate the same seamlessly matched background scene.
The placement of the actor/ character name cartouche near the left upper edge, indicates that this image is the left-most and third in the series. The two other images are Nakamura Utaemon III as Ōuchi Saemon Hidemaru by Shunshosai Hokuchō (centre), and Seki Sanjūrō II as Ishizuka Jinzaburō by Shunyōsai Shunshi (right).
|
[
"Shunshosai Hokuchō",
"Nakamura Utaemon III"
] |
|
13340_T
|
Sapi Saltceller
|
How does Sapi Saltceller elucidate its abstract?
|
The collection of the Metropolitan Museum of Art contains a lidded saltceller. Crafted in either 15th or 16th century Sierra Lione, the item is on view at The Met Fifth Avenue in Gallery 352.
|
[
"saltceller",
"Sierra Lione",
"Metropolitan Museum of Art"
] |
|
13340_NT
|
Sapi Saltceller
|
How does this artwork elucidate its abstract?
|
The collection of the Metropolitan Museum of Art contains a lidded saltceller. Crafted in either 15th or 16th century Sierra Lione, the item is on view at The Met Fifth Avenue in Gallery 352.
|
[
"saltceller",
"Sierra Lione",
"Metropolitan Museum of Art"
] |
|
13341_T
|
Sapi Saltceller
|
Focus on Sapi Saltceller and analyze the Background.
|
Ivory carving was a traditional part of West African art. In what is now Sierra Leone, the Sapi people were noted for producing ivory pieces for export. When Portuguese traders began to establish themselves in enclaves on the ivory and grain coasts in the late 15th century, they began to commission local artisans to produce intricately-designed ivory vessels, receptacles, and boxes for export to Europe. Given the valuable nature of ivory, these containers were typically only used to hold valuable goods, such as salt, pepper, and other spices, all of which the nascent Portuguese Empire was quickly gaining access to through its widening trade network. The result of these trade relations was a mixing of Portuguese and Sapi artistic tradition, creating an Afro-Portuguese style of art. This hybridization resulted in works of art that contained symbols, motifs, and imagery derived from both the Sapi and the Portuguese.
|
[
"Ivory carving",
"African art",
"Afro-Portuguese",
"ivory and grain coasts",
"Sierra Leone",
"widening trade network",
"enclaves",
"West African art",
"other spices",
"Portuguese Empire"
] |
|
13341_NT
|
Sapi Saltceller
|
Focus on this artwork and analyze the Background.
|
Ivory carving was a traditional part of West African art. In what is now Sierra Leone, the Sapi people were noted for producing ivory pieces for export. When Portuguese traders began to establish themselves in enclaves on the ivory and grain coasts in the late 15th century, they began to commission local artisans to produce intricately-designed ivory vessels, receptacles, and boxes for export to Europe. Given the valuable nature of ivory, these containers were typically only used to hold valuable goods, such as salt, pepper, and other spices, all of which the nascent Portuguese Empire was quickly gaining access to through its widening trade network. The result of these trade relations was a mixing of Portuguese and Sapi artistic tradition, creating an Afro-Portuguese style of art. This hybridization resulted in works of art that contained symbols, motifs, and imagery derived from both the Sapi and the Portuguese.
|
[
"Ivory carving",
"African art",
"Afro-Portuguese",
"ivory and grain coasts",
"Sierra Leone",
"widening trade network",
"enclaves",
"West African art",
"other spices",
"Portuguese Empire"
] |
|
13342_T
|
Hokusai Manga
|
In Hokusai Manga, how is the abstract discussed?
|
The Hokusai Manga (北斎漫画, "Hokusai's Sketches") is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.
The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours (black, gray and pale flesh), the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.
The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.
|
[
"Manga",
"manga",
"Hokusai",
"Block-printed",
"Japan",
"sketches"
] |
|
13342_NT
|
Hokusai Manga
|
In this artwork, how is the abstract discussed?
|
The Hokusai Manga (北斎漫画, "Hokusai's Sketches") is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.
The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours (black, gray and pale flesh), the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.
The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.
|
[
"Manga",
"manga",
"Hokusai",
"Block-printed",
"Japan",
"sketches"
] |
|
13343_T
|
Hokusai Manga
|
Focus on Hokusai Manga and explore the Publication history.
|
The preface to the first volume of the work, written by Hanshū Sanjin (半洲散人), a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads:
This autumn the master [Hokusai] happened to visit the Western Province and stopped over at our city [Nagoya]. We all met together with the painter Gekkōtei Bokusen (月光亭墨僊) [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.
The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro (永楽屋東四郎) of Nagoya whose publishing house was renamed to Eito Shoten in 1914.
|
[
"Eirakuya Toshiro",
"Hokusai",
"sketches",
"Nagoya"
] |
|
13343_NT
|
Hokusai Manga
|
Focus on this artwork and explore the Publication history.
|
The preface to the first volume of the work, written by Hanshū Sanjin (半洲散人), a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads:
This autumn the master [Hokusai] happened to visit the Western Province and stopped over at our city [Nagoya]. We all met together with the painter Gekkōtei Bokusen (月光亭墨僊) [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.
The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro (永楽屋東四郎) of Nagoya whose publishing house was renamed to Eito Shoten in 1914.
|
[
"Eirakuya Toshiro",
"Hokusai",
"sketches",
"Nagoya"
] |
|
13344_T
|
Hokusai Manga
|
Focus on Hokusai Manga and explain the Sources of the Manga.
|
The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener (1958:30-34) argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.
|
[
"Manga",
"Hokusai",
"sketches"
] |
|
13344_NT
|
Hokusai Manga
|
Focus on this artwork and explain the Sources of the Manga.
|
The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener (1958:30-34) argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.
|
[
"Manga",
"Hokusai",
"sketches"
] |
|
13345_T
|
Hokusai Manga
|
Explore the Legacy of this artwork, Hokusai Manga.
|
The first volume of 'Manga' (Defined by Hokusai as 'Brush gone wild'), was an art instruction book published to aid his troubled finances. Shortly after he removed the text and republished it. The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan, Nippon: Archiv Zur Beschreibung von Japon in 1832. The work began to circulate in the West soon after Matthew C. Perry's entry into Japan in 1854.
|
[
"Manga",
"Matthew C. Perry",
"Hokusai",
"Japan",
"realism",
"sketches",
"Philipp Franz von Siebold"
] |
|
13345_NT
|
Hokusai Manga
|
Explore the Legacy of this artwork.
|
The first volume of 'Manga' (Defined by Hokusai as 'Brush gone wild'), was an art instruction book published to aid his troubled finances. Shortly after he removed the text and republished it. The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan, Nippon: Archiv Zur Beschreibung von Japon in 1832. The work began to circulate in the West soon after Matthew C. Perry's entry into Japan in 1854.
|
[
"Manga",
"Matthew C. Perry",
"Hokusai",
"Japan",
"realism",
"sketches",
"Philipp Franz von Siebold"
] |
|
13346_T
|
Christ Crucified (Goya)
|
Focus on Christ Crucified (Goya) and discuss the abstract.
|
Christ Crucified (Spanish: Cristo crucificado) is a 1780 oil-on-canvas painting of the crucifixion of Jesus by Spanish Romantic painter Francisco de Goya. He presented it to the Real Academia de Bellas Artes de San Fernando as his reception piece as an academic painter. It now forms part of the permanent collection of the Prado Museum in Madrid.
|
[
"Prado Museum",
"Romantic",
"reception piece",
"Goya",
"crucifixion of Jesus",
"Spanish",
"Real Academia de Bellas Artes de San Fernando",
"Francisco de Goya",
"Madrid"
] |
|
13346_NT
|
Christ Crucified (Goya)
|
Focus on this artwork and discuss the abstract.
|
Christ Crucified (Spanish: Cristo crucificado) is a 1780 oil-on-canvas painting of the crucifixion of Jesus by Spanish Romantic painter Francisco de Goya. He presented it to the Real Academia de Bellas Artes de San Fernando as his reception piece as an academic painter. It now forms part of the permanent collection of the Prado Museum in Madrid.
|
[
"Prado Museum",
"Romantic",
"reception piece",
"Goya",
"crucifixion of Jesus",
"Spanish",
"Real Academia de Bellas Artes de San Fernando",
"Francisco de Goya",
"Madrid"
] |
|
13347_T
|
Christ Crucified (Goya)
|
How does Christ Crucified (Goya) elucidate its History?
|
As much as his contemporaries admired the painting, it fell out of fashion in the 20th century, when critics preferred to see Goya as a Romantic painter with little or no Catholic faith who paid scant attention to academic or religious painting. However, postmodernism has assessed Goya and his work as a whole, in all its facets, and has taken into account that this is a work in which Goya was still striving for professional prestige.
|
[
"Romantic",
"Goya"
] |
|
13347_NT
|
Christ Crucified (Goya)
|
How does this artwork elucidate its History?
|
As much as his contemporaries admired the painting, it fell out of fashion in the 20th century, when critics preferred to see Goya as a Romantic painter with little or no Catholic faith who paid scant attention to academic or religious painting. However, postmodernism has assessed Goya and his work as a whole, in all its facets, and has taken into account that this is a work in which Goya was still striving for professional prestige.
|
[
"Romantic",
"Goya"
] |
|
13348_T
|
Statue of John Winthrop (Boston)
|
Focus on Statue of John Winthrop (Boston) and analyze the Description.
|
The bronze sculpture of Winthrop holding a book, a scroll, and the great seal measures approximately 7 ft. x 2 ft. 5 in. x 2 ft. 3 in. It rests on a textured concrete base that measures approximately 4 ft. 6 in. x 4 ft. x 8 ft. The statue is a replica of Greenough's marble sculpture installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. It cost $15,000 and was appropriated by the City of Boston.An inscription on the front of the base reads: JOHN WINTHROP / FIRST GOVERNOR OF MASSACHUSETTS BAY COLONY / ONE OF THE FOUNDERS / OF BOSTON / AND OF THE / FIRST CHURCH IN BOSTON / A.D. 1630.
|
[
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Boston",
"United States Capitol"
] |
|
13348_NT
|
Statue of John Winthrop (Boston)
|
Focus on this artwork and analyze the Description.
|
The bronze sculpture of Winthrop holding a book, a scroll, and the great seal measures approximately 7 ft. x 2 ft. 5 in. x 2 ft. 3 in. It rests on a textured concrete base that measures approximately 4 ft. 6 in. x 4 ft. x 8 ft. The statue is a replica of Greenough's marble sculpture installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. It cost $15,000 and was appropriated by the City of Boston.An inscription on the front of the base reads: JOHN WINTHROP / FIRST GOVERNOR OF MASSACHUSETTS BAY COLONY / ONE OF THE FOUNDERS / OF BOSTON / AND OF THE / FIRST CHURCH IN BOSTON / A.D. 1630.
|
[
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Boston",
"United States Capitol"
] |
|
13349_T
|
Statue of John Winthrop (Boston)
|
In Statue of John Winthrop (Boston), how is the History discussed?
|
The statue was modeled in 1873 and cast in 1880. It was originally installed in Scollay Square (now known as Government Center), before being relocated to First Church in 1904. In 1968, a fire broke out at First Church, and the sculpture was toppled by collapsed walls. The statue's head was severed. It was put in storage in Quincy, Massachusetts, while the church was rebuilt. The memorial was reinstalled in 1975. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.
|
[
"Smithsonian Institution",
"Government Center",
"Scollay Square",
"Save Outdoor Sculpture!",
"First Church",
"Quincy, Massachusetts",
"Massachusetts"
] |
|
13349_NT
|
Statue of John Winthrop (Boston)
|
In this artwork, how is the History discussed?
|
The statue was modeled in 1873 and cast in 1880. It was originally installed in Scollay Square (now known as Government Center), before being relocated to First Church in 1904. In 1968, a fire broke out at First Church, and the sculpture was toppled by collapsed walls. The statue's head was severed. It was put in storage in Quincy, Massachusetts, while the church was rebuilt. The memorial was reinstalled in 1975. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.
|
[
"Smithsonian Institution",
"Government Center",
"Scollay Square",
"Save Outdoor Sculpture!",
"First Church",
"Quincy, Massachusetts",
"Massachusetts"
] |
|
13350_T
|
Oath of the Horatii
|
Focus on Oath of the Horatii and explore the abstract.
|
Oath of the Horatii (French: Le Serment des Horaces), is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.
It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.
The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.
|
[
"Neoclassical style",
"right",
"3",
"Livy",
"Rome",
"Alba Longa",
"Horatii",
"Louvre",
"Jacques-Louis David",
"Dionysius",
"neoclassical"
] |
|
13350_NT
|
Oath of the Horatii
|
Focus on this artwork and explore the abstract.
|
Oath of the Horatii (French: Le Serment des Horaces), is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.
It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.
The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.
|
[
"Neoclassical style",
"right",
"3",
"Livy",
"Rome",
"Alba Longa",
"Horatii",
"Louvre",
"Jacques-Louis David",
"Dionysius",
"neoclassical"
] |
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