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13351_T
|
Oath of the Horatii
|
Focus on Oath of the Horatii and explain the Commissioning the work.
|
In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.
In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.
|
[
"Érasistrate découvrant la cause de la Maladie d’Antiochius",
"Rome",
"Prix de Rome",
"The Lictors Bring to Brutus the Bodies of His Sons",
"Diderot",
"Horatii",
"French Revolution",
"Louvre"
] |
|
13351_NT
|
Oath of the Horatii
|
Focus on this artwork and explain the Commissioning the work.
|
In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.
In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.
|
[
"Érasistrate découvrant la cause de la Maladie d’Antiochius",
"Rome",
"Prix de Rome",
"The Lictors Bring to Brutus the Bodies of His Sons",
"Diderot",
"Horatii",
"French Revolution",
"Louvre"
] |
|
13352_T
|
Oath of the Horatii
|
Explore the Symbolic theme of this artwork, Oath of the Horatii.
|
The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city.
As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home. This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right. The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.
According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.
|
[
"Lucius Junius Brutus",
"right",
"revolution in France",
"Livy",
"Rome",
"Titus Livius",
"Horatius",
"left",
"The Lictors Bring to Brutus the Bodies of His Sons",
"Alba Longa",
"Voltaire",
"Ab Urbe Condita",
"Horatii"
] |
|
13352_NT
|
Oath of the Horatii
|
Explore the Symbolic theme of this artwork.
|
The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city.
As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home. This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right. The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.
According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.
|
[
"Lucius Junius Brutus",
"right",
"revolution in France",
"Livy",
"Rome",
"Titus Livius",
"Horatius",
"left",
"The Lictors Bring to Brutus the Bodies of His Sons",
"Alba Longa",
"Voltaire",
"Ab Urbe Condita",
"Horatii"
] |
|
13353_T
|
Oath of the Horatii
|
Focus on Oath of the Horatii and discuss the Compositional technique.
|
This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.
Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures.
The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it (see schematic).
The use of dull colors is to show the importance of the story behind the painting over the painting itself.
The picture is organized, depicting the symbolism of the number three and of the moment itself.
The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.
The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subject
The men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.
The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.
The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.
That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.
|
[
"vanishing point",
"Rococo",
"symbolism of the number three",
"Age of Enlightenment",
"perspective",
"neoclassical"
] |
|
13353_NT
|
Oath of the Horatii
|
Focus on this artwork and discuss the Compositional technique.
|
This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.
Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures.
The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it (see schematic).
The use of dull colors is to show the importance of the story behind the painting over the painting itself.
The picture is organized, depicting the symbolism of the number three and of the moment itself.
The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.
The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subject
The men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.
The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.
The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.
That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.
|
[
"vanishing point",
"Rococo",
"symbolism of the number three",
"Age of Enlightenment",
"perspective",
"neoclassical"
] |
|
13354_T
|
Oath of the Horatii
|
Focus on Oath of the Horatii and analyze the Reception.
|
David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.
|
[
"Rome"
] |
|
13354_NT
|
Oath of the Horatii
|
Focus on this artwork and analyze the Reception.
|
David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.
|
[
"Rome"
] |
|
13355_T
|
The Rippling Wall
|
In The Rippling Wall, how is the abstract discussed?
|
The Rippling Wall is a 2014 outdoor aluminum sculpture by David Franklin, installed on the facade of Portland Fire & Rescue Station 21 in Portland, Oregon's Buckman neighborhood, in the United States.
|
[
"David Franklin",
"Portland, Oregon",
"Buckman"
] |
|
13355_NT
|
The Rippling Wall
|
In this artwork, how is the abstract discussed?
|
The Rippling Wall is a 2014 outdoor aluminum sculpture by David Franklin, installed on the facade of Portland Fire & Rescue Station 21 in Portland, Oregon's Buckman neighborhood, in the United States.
|
[
"David Franklin",
"Portland, Oregon",
"Buckman"
] |
|
13356_T
|
The Rippling Wall
|
Focus on The Rippling Wall and explore the Description and history.
|
The Rippling Wall, designed by David Franklin, is installed on the facade of Portland Fire & Rescue Station 21 at 5 Southeast Madison Street on the east bank of the Willamette River. It is administered by the Regional Arts & Culture Council.
|
[
"Regional Arts & Culture Council",
"David Franklin",
"Willamette River"
] |
|
13356_NT
|
The Rippling Wall
|
Focus on this artwork and explore the Description and history.
|
The Rippling Wall, designed by David Franklin, is installed on the facade of Portland Fire & Rescue Station 21 at 5 Southeast Madison Street on the east bank of the Willamette River. It is administered by the Regional Arts & Culture Council.
|
[
"Regional Arts & Culture Council",
"David Franklin",
"Willamette River"
] |
|
13357_T
|
The Rippling Wall
|
Focus on The Rippling Wall and explain the Reception.
|
In 2015, the work was one of three 2014 public art projects in the city, and 31 in the United States, recognized by Americans for the Arts as among the best in the country.
|
[
"Americans for the Arts"
] |
|
13357_NT
|
The Rippling Wall
|
Focus on this artwork and explain the Reception.
|
In 2015, the work was one of three 2014 public art projects in the city, and 31 in the United States, recognized by Americans for the Arts as among the best in the country.
|
[
"Americans for the Arts"
] |
|
13358_T
|
Sheepherder (painting)
|
Explore the abstract of this artwork, Sheepherder (painting).
|
Sheepherder is an 1980 oil painting created by Chinese artist Chen Danqing in 1980 in Tibet. This painting is considered one of the Tibet Series. He captures a moment where a sheepherder takes to kiss a woman.
|
[
"Chen Danqing",
"Tibet"
] |
|
13358_NT
|
Sheepherder (painting)
|
Explore the abstract of this artwork.
|
Sheepherder is an 1980 oil painting created by Chinese artist Chen Danqing in 1980 in Tibet. This painting is considered one of the Tibet Series. He captures a moment where a sheepherder takes to kiss a woman.
|
[
"Chen Danqing",
"Tibet"
] |
|
13359_T
|
The New Eve
|
Focus on The New Eve and discuss the abstract.
|
The New Eve (Hungarian: Az új Éva) is a painting by Hungarian artist Sándor Bortnyik from 1924.
|
[
"Sándor Bortnyik"
] |
|
13359_NT
|
The New Eve
|
Focus on this artwork and discuss the abstract.
|
The New Eve (Hungarian: Az új Éva) is a painting by Hungarian artist Sándor Bortnyik from 1924.
|
[
"Sándor Bortnyik"
] |
|
13360_T
|
The New Eve
|
How does The New Eve elucidate its Description?
|
The picture is painted in oil on canvas and has dimensions of 48,5 x 38 cm.
The picture is part of the collection of the Hungarian National Museum in Budapest, Hungary.
|
[
"Hungarian National Museum",
"Budapest"
] |
|
13360_NT
|
The New Eve
|
How does this artwork elucidate its Description?
|
The picture is painted in oil on canvas and has dimensions of 48,5 x 38 cm.
The picture is part of the collection of the Hungarian National Museum in Budapest, Hungary.
|
[
"Hungarian National Museum",
"Budapest"
] |
|
13361_T
|
The New Eve
|
Focus on The New Eve and analyze the Analysis.
|
In 1919, Sandor Bortnik falls among representatives of Constructivism. From 1922 to 1924 he lived in Weimar, where he met artists from the Bauhaus. Painted abstract two- and three-dimensional compositions, which subsequently adds figures and objects. In the composition "New Eve" describes an ironic ideal of "modern" man in the 1920s. Women with fashionable clothes and placed in the showroom, and can be rotated in different directions. In his right hand he holds a green apple. With this and other paintings ironic applied swipe "brave new world" of constructivism. The artist uses precise details, geometric shapes and colors that puts them in an abstract composition. Manages to deride utopian ideals, but can not avoid them because it is an active participant in shaping the "new world".
|
[] |
|
13361_NT
|
The New Eve
|
Focus on this artwork and analyze the Analysis.
|
In 1919, Sandor Bortnik falls among representatives of Constructivism. From 1922 to 1924 he lived in Weimar, where he met artists from the Bauhaus. Painted abstract two- and three-dimensional compositions, which subsequently adds figures and objects. In the composition "New Eve" describes an ironic ideal of "modern" man in the 1920s. Women with fashionable clothes and placed in the showroom, and can be rotated in different directions. In his right hand he holds a green apple. With this and other paintings ironic applied swipe "brave new world" of constructivism. The artist uses precise details, geometric shapes and colors that puts them in an abstract composition. Manages to deride utopian ideals, but can not avoid them because it is an active participant in shaping the "new world".
|
[] |
|
13362_T
|
Lovers in a Park
|
In Lovers in a Park, how is the abstract discussed?
|
Lovers in a Park is a 1758 oil painting on canvas by François Boucher. It is held at the Timken Museum of Art, in San Diego. It depicts a scene that takes place in a park with a luscious vegetation, where a couple of lovers is surprised by a female peasant who is passing by.
|
[
"San Diego",
"François Boucher",
"Timken Museum of Art"
] |
|
13362_NT
|
Lovers in a Park
|
In this artwork, how is the abstract discussed?
|
Lovers in a Park is a 1758 oil painting on canvas by François Boucher. It is held at the Timken Museum of Art, in San Diego. It depicts a scene that takes place in a park with a luscious vegetation, where a couple of lovers is surprised by a female peasant who is passing by.
|
[
"San Diego",
"François Boucher",
"Timken Museum of Art"
] |
|
13363_T
|
The Fall of the Rebel Angels (Giordano)
|
Focus on The Fall of the Rebel Angels (Giordano) and explore the abstract.
|
The Fall of the Rebel Angels is an oil painting by the Italian late Baroque artist Luca Giordano, painted in c. 1666, and now exhibited at the Kunsthistorisches Museum, Vienna. Its dimensions are 419 × 283 cm.
|
[
"Luca Giordano",
"Baroque",
"Kunsthistorisches Museum",
"Italian",
"oil painting",
"Vienna"
] |
|
13363_NT
|
The Fall of the Rebel Angels (Giordano)
|
Focus on this artwork and explore the abstract.
|
The Fall of the Rebel Angels is an oil painting by the Italian late Baroque artist Luca Giordano, painted in c. 1666, and now exhibited at the Kunsthistorisches Museum, Vienna. Its dimensions are 419 × 283 cm.
|
[
"Luca Giordano",
"Baroque",
"Kunsthistorisches Museum",
"Italian",
"oil painting",
"Vienna"
] |
|
13364_T
|
The Fall of the Rebel Angels (Giordano)
|
Focus on The Fall of the Rebel Angels (Giordano) and explain the History and description.
|
The work was most probably performed during the Venetian period of Giordano and the two strongest influences that the Neapolitan painter had during his life are evident in the canvas. The lower part of the painting, characterized by the presence of the demons defeated by the archangel Michael, shows a clear rebellious imprint in the chiaroscuro features of the scene; while the upper part, characterized by the figure of the saint, shows evident influences of Venetian painting.
The image of Saint Michael mirrors that of classical iconography, showing its spread wings, with a sword, with a heavenly dress and a red cape; intent on expelling the demons that came from the underworld on the earth. The only differences that there are with another painting to the same subject, always performed by Giordano a few years earlier (1663) and now kept at the Gemäldegalerie of Berlin, is that in this work of Vienna's saint is portrayed holding a sword instead of a lance and that his head is uncovered without helmet.
|
[
"Michael",
"Gemäldegalerie of Berlin",
"Neapolitan",
"chiaroscuro",
"Venetian painting",
"Vienna",
"Venetian"
] |
|
13364_NT
|
The Fall of the Rebel Angels (Giordano)
|
Focus on this artwork and explain the History and description.
|
The work was most probably performed during the Venetian period of Giordano and the two strongest influences that the Neapolitan painter had during his life are evident in the canvas. The lower part of the painting, characterized by the presence of the demons defeated by the archangel Michael, shows a clear rebellious imprint in the chiaroscuro features of the scene; while the upper part, characterized by the figure of the saint, shows evident influences of Venetian painting.
The image of Saint Michael mirrors that of classical iconography, showing its spread wings, with a sword, with a heavenly dress and a red cape; intent on expelling the demons that came from the underworld on the earth. The only differences that there are with another painting to the same subject, always performed by Giordano a few years earlier (1663) and now kept at the Gemäldegalerie of Berlin, is that in this work of Vienna's saint is portrayed holding a sword instead of a lance and that his head is uncovered without helmet.
|
[
"Michael",
"Gemäldegalerie of Berlin",
"Neapolitan",
"chiaroscuro",
"Venetian painting",
"Vienna",
"Venetian"
] |
|
13365_T
|
Portrait of Abbondio Rezzonico
|
Explore the abstract of this artwork, Portrait of Abbondio Rezzonico.
|
Portrait of Abbondio Rezzonico is an oil-on-canvas painting by the Italian painter Pompeo Batoni, executed in 1766 and housed in the Pinacoteca of the Galleria Nazionale d'Arte Antica (Palazzo Barberini) in Rome, Italy.
|
[
"Italy",
"Galleria Nazionale d'Arte Antica",
"Rome",
"Pompeo Batoni"
] |
|
13365_NT
|
Portrait of Abbondio Rezzonico
|
Explore the abstract of this artwork.
|
Portrait of Abbondio Rezzonico is an oil-on-canvas painting by the Italian painter Pompeo Batoni, executed in 1766 and housed in the Pinacoteca of the Galleria Nazionale d'Arte Antica (Palazzo Barberini) in Rome, Italy.
|
[
"Italy",
"Galleria Nazionale d'Arte Antica",
"Rome",
"Pompeo Batoni"
] |
|
13366_T
|
Portrait of Abbondio Rezzonico
|
Focus on Portrait of Abbondio Rezzonico and discuss the Description.
|
In 1766, Abbondio Rezzonico had been recently appointed to the princely title of Senator of Rome by his uncle, Pope Clement XIII. The civic position was one of the highest civilian magistracies in the Papal State. He is depicted in front of a column, but the background shows the Palazzo Senatorio ("Senatorial Palace") and the Palazzo dei Conservatori on Capitoline Hill, with the statues of the Castor and Pollux, the equestrian statue of Marcus Aurelius, one of the two Trophies of Marius statues on the balustrade, and below a monument added by Pope Innocent XII Pignatelli. The positioning of the statuary has been concentrated and the viewpoint elevated; lacking from the section is the column marking the first mile of Via Appia, added in 1692. In the foreground on the left corner of the painting, behind the senator, is a side view of the statue of Dea Roma, which is in the central niche of the fountain before the senatorial palace.
The senator's attire is rich and complex, with a lace collar, a gold and jewel necklace and a red silk garment with a gold brocade. Around him are symbols of his power and duties. A putti holds the scales of justice with an olive branch in his hand. At the senator's feet are fasces and at his side a sword. He has risen from the chair he was sitting on, and the table before him has a written document and an inkwell, while his hands hold an ivory scepter.
The painting was acquired by the Italian state in 2016 to be exhibited in Palazzo Barberini.
|
[
"Dea Roma",
"Via Appia",
"Capitoline Hill",
"Pope Clement XIII",
"Pope Innocent XII",
"Rome",
"fasces"
] |
|
13366_NT
|
Portrait of Abbondio Rezzonico
|
Focus on this artwork and discuss the Description.
|
In 1766, Abbondio Rezzonico had been recently appointed to the princely title of Senator of Rome by his uncle, Pope Clement XIII. The civic position was one of the highest civilian magistracies in the Papal State. He is depicted in front of a column, but the background shows the Palazzo Senatorio ("Senatorial Palace") and the Palazzo dei Conservatori on Capitoline Hill, with the statues of the Castor and Pollux, the equestrian statue of Marcus Aurelius, one of the two Trophies of Marius statues on the balustrade, and below a monument added by Pope Innocent XII Pignatelli. The positioning of the statuary has been concentrated and the viewpoint elevated; lacking from the section is the column marking the first mile of Via Appia, added in 1692. In the foreground on the left corner of the painting, behind the senator, is a side view of the statue of Dea Roma, which is in the central niche of the fountain before the senatorial palace.
The senator's attire is rich and complex, with a lace collar, a gold and jewel necklace and a red silk garment with a gold brocade. Around him are symbols of his power and duties. A putti holds the scales of justice with an olive branch in his hand. At the senator's feet are fasces and at his side a sword. He has risen from the chair he was sitting on, and the table before him has a written document and an inkwell, while his hands hold an ivory scepter.
The painting was acquired by the Italian state in 2016 to be exhibited in Palazzo Barberini.
|
[
"Dea Roma",
"Via Appia",
"Capitoline Hill",
"Pope Clement XIII",
"Pope Innocent XII",
"Rome",
"fasces"
] |
|
13367_T
|
Lamentation over the Dead Christ (Donatello)
|
How does Lamentation over the Dead Christ (Donatello) elucidate its abstract?
|
The Lamentation over the Dead Christ is an openwork bronze relief sculpture of c. 1455–1460, produced in his old age by Donatello and now in the Victoria and Albert Museum in London. It measures 32.1 by 41.7 cm.It is generally thought to be a test piece for the bronze doors for Siena Cathedral, a commission from the artist that was contemplated, but never completed. In this case it would date from 1457-1459. It may be the bronze of the subject recorded as being in the cathedral's possession in 1639.
|
[
"openwork",
"relief sculpture",
"Siena Cathedral",
"Donatello",
"Victoria and Albert Museum"
] |
|
13367_NT
|
Lamentation over the Dead Christ (Donatello)
|
How does this artwork elucidate its abstract?
|
The Lamentation over the Dead Christ is an openwork bronze relief sculpture of c. 1455–1460, produced in his old age by Donatello and now in the Victoria and Albert Museum in London. It measures 32.1 by 41.7 cm.It is generally thought to be a test piece for the bronze doors for Siena Cathedral, a commission from the artist that was contemplated, but never completed. In this case it would date from 1457-1459. It may be the bronze of the subject recorded as being in the cathedral's possession in 1639.
|
[
"openwork",
"relief sculpture",
"Siena Cathedral",
"Donatello",
"Victoria and Albert Museum"
] |
|
13368_T
|
Portrait of Adam Mickiewicz on the Ayu-Dag Cliff
|
Focus on Portrait of Adam Mickiewicz on the Ayu-Dag Cliff and analyze the abstract.
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The Portrait of Adam Mickiewicz on the Ayu-Dag Cliff (Polish: Portret Adama Mickiewicza na Judahu skale) is an oil portrait of Adam Mickiewicz by Walenty Wańkowicz created from 1827 to 1828. Since 1925 it has been in the collection of the Warsaw National Museum.
|
[
"Warsaw National Museum",
"Adam Mickiewicz",
"Warsaw",
"Ayu-Dag",
"Walenty Wańkowicz",
"National Museum"
] |
|
13368_NT
|
Portrait of Adam Mickiewicz on the Ayu-Dag Cliff
|
Focus on this artwork and analyze the abstract.
|
The Portrait of Adam Mickiewicz on the Ayu-Dag Cliff (Polish: Portret Adama Mickiewicza na Judahu skale) is an oil portrait of Adam Mickiewicz by Walenty Wańkowicz created from 1827 to 1828. Since 1925 it has been in the collection of the Warsaw National Museum.
|
[
"Warsaw National Museum",
"Adam Mickiewicz",
"Warsaw",
"Ayu-Dag",
"Walenty Wańkowicz",
"National Museum"
] |
|
13369_T
|
Portrait of Adam Mickiewicz on the Ayu-Dag Cliff
|
In Portrait of Adam Mickiewicz on the Ayu-Dag Cliff, how is the Description discussed?
|
Created in the Romanticism style, the portrait depicts Mickiewicz in a Byronic pose leaning on a cliff of the Ayu-Dag Mountain, Crimea overseeing the Black Sea, coated in a burka (a coat of the highlanders of Caucasus).
The theme and the title of the portrait come from the first line of the last sonnet Ajudah (translated as "On Juda's Cliff") of The Crimean Sonnets by the poet:Lubię poglądać wsparty na Judahu skale,
Jak spienione bałwany to w czarne szeregi
Ścisnąwszy się buchają, to jak srebrne śniegi
W milijonowych tęczach kołują wspaniale.On Juda's Cliff I love to lean and look
On waves that battling beat and break with might,
While farther seaward in a bland delight,
I see them shining where a rainbow shook.Wańkowicz befriended Mickiewicz at the Vilnius University. The portrait was created when they met again in St.Petersburg. At that time Mickiewicz introduced Wańkowicz to Alexander Pushkin, and Wańkowicz started to work on the portrait of Pushkin as a pair to that of Mickiewicz. Unfortunately only the sketch Pushkin by a Source survived.
|
[
"Alexander Pushkin",
"Black Sea",
"Ayu-Dag",
"Caucasus",
"Vilnius University",
"Crimea",
"Byronic",
"St.Petersburg",
"On Juda's Cliff",
"The Crimean Sonnets",
"Romanticism",
"burka"
] |
|
13369_NT
|
Portrait of Adam Mickiewicz on the Ayu-Dag Cliff
|
In this artwork, how is the Description discussed?
|
Created in the Romanticism style, the portrait depicts Mickiewicz in a Byronic pose leaning on a cliff of the Ayu-Dag Mountain, Crimea overseeing the Black Sea, coated in a burka (a coat of the highlanders of Caucasus).
The theme and the title of the portrait come from the first line of the last sonnet Ajudah (translated as "On Juda's Cliff") of The Crimean Sonnets by the poet:Lubię poglądać wsparty na Judahu skale,
Jak spienione bałwany to w czarne szeregi
Ścisnąwszy się buchają, to jak srebrne śniegi
W milijonowych tęczach kołują wspaniale.On Juda's Cliff I love to lean and look
On waves that battling beat and break with might,
While farther seaward in a bland delight,
I see them shining where a rainbow shook.Wańkowicz befriended Mickiewicz at the Vilnius University. The portrait was created when they met again in St.Petersburg. At that time Mickiewicz introduced Wańkowicz to Alexander Pushkin, and Wańkowicz started to work on the portrait of Pushkin as a pair to that of Mickiewicz. Unfortunately only the sketch Pushkin by a Source survived.
|
[
"Alexander Pushkin",
"Black Sea",
"Ayu-Dag",
"Caucasus",
"Vilnius University",
"Crimea",
"Byronic",
"St.Petersburg",
"On Juda's Cliff",
"The Crimean Sonnets",
"Romanticism",
"burka"
] |
|
13370_T
|
Benjamin Harrison (Niehaus)
|
Focus on Benjamin Harrison (Niehaus) and explore the abstract.
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Benjamin Harrison is a public artwork by American artist Charles Henry Niehaus, located in University Park in downtown Indianapolis, Indiana, United States. It is a full-length bronze sculptural portrait of Benjamin Harrison, the 23rd president of the United States, the only U.S. president from Indiana.
|
[
"bronze",
"University Park",
"Indianapolis",
"downtown Indianapolis",
"Indiana",
"Charles Henry Niehaus",
"Benjamin Harrison",
"president of the United States",
"23rd"
] |
|
13370_NT
|
Benjamin Harrison (Niehaus)
|
Focus on this artwork and explore the abstract.
|
Benjamin Harrison is a public artwork by American artist Charles Henry Niehaus, located in University Park in downtown Indianapolis, Indiana, United States. It is a full-length bronze sculptural portrait of Benjamin Harrison, the 23rd president of the United States, the only U.S. president from Indiana.
|
[
"bronze",
"University Park",
"Indianapolis",
"downtown Indianapolis",
"Indiana",
"Charles Henry Niehaus",
"Benjamin Harrison",
"president of the United States",
"23rd"
] |
|
13371_T
|
Benjamin Harrison (Niehaus)
|
Focus on Benjamin Harrison (Niehaus) and explain the Description.
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The sculpture was designed by Henry Bacon, sculpted by Charles Henry Niehaus, and cast by Gorham Manufacturing Company. The statue was dedicated October 27, 1908. The statue was partially funded by a benefit held at the English Opera House in 1902.The sculpture depicts Benjamin Harrison standing before a draped, Greek style chair. He wears an open overcoat with one hand upraised and one hand holding gloves. Niehaus found that a lifelike depiction of the president, seated, would not be flattering. "As Harrison was below the average stature in height he was unable to touch the floor when seated, which made this attitude practically impossible from an artistic standpoint." The sculpture is mounted on an oval limestone base with a decorative top border and a relief of an eagle on the front.
|
[
"Henry Bacon",
"Gorham Manufacturing Company",
"Charles Henry Niehaus",
"limestone",
"Benjamin Harrison"
] |
|
13371_NT
|
Benjamin Harrison (Niehaus)
|
Focus on this artwork and explain the Description.
|
The sculpture was designed by Henry Bacon, sculpted by Charles Henry Niehaus, and cast by Gorham Manufacturing Company. The statue was dedicated October 27, 1908. The statue was partially funded by a benefit held at the English Opera House in 1902.The sculpture depicts Benjamin Harrison standing before a draped, Greek style chair. He wears an open overcoat with one hand upraised and one hand holding gloves. Niehaus found that a lifelike depiction of the president, seated, would not be flattering. "As Harrison was below the average stature in height he was unable to touch the floor when seated, which made this attitude practically impossible from an artistic standpoint." The sculpture is mounted on an oval limestone base with a decorative top border and a relief of an eagle on the front.
|
[
"Henry Bacon",
"Gorham Manufacturing Company",
"Charles Henry Niehaus",
"limestone",
"Benjamin Harrison"
] |
|
13372_T
|
Benjamin Harrison (Niehaus)
|
Explore the Location of this artwork, Benjamin Harrison (Niehaus).
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University Park is part of the Indiana World War Memorial Plaza in downtown Indianapolis. During his presidential campaign, Harrison often gave speeches to traveling delegations in University Park.
|
[
"University Park",
"Indianapolis",
"Indiana World War Memorial Plaza",
"downtown Indianapolis",
"Indiana"
] |
|
13372_NT
|
Benjamin Harrison (Niehaus)
|
Explore the Location of this artwork.
|
University Park is part of the Indiana World War Memorial Plaza in downtown Indianapolis. During his presidential campaign, Harrison often gave speeches to traveling delegations in University Park.
|
[
"University Park",
"Indianapolis",
"Indiana World War Memorial Plaza",
"downtown Indianapolis",
"Indiana"
] |
|
13373_T
|
Landscape with the Temptation of Christ
|
Focus on Landscape with the Temptation of Christ and discuss the abstract.
|
Landscape with the Temptation of Christ is an oil-on-oak-panel painting by Flemish painter Joos de Momper. The painting is now in the National Gallery in Prague.
|
[
"Joos de Momper",
"oil-on-oak-panel",
"Temptation of Christ",
"Flemish",
"National Gallery",
"Prague"
] |
|
13373_NT
|
Landscape with the Temptation of Christ
|
Focus on this artwork and discuss the abstract.
|
Landscape with the Temptation of Christ is an oil-on-oak-panel painting by Flemish painter Joos de Momper. The painting is now in the National Gallery in Prague.
|
[
"Joos de Momper",
"oil-on-oak-panel",
"Temptation of Christ",
"Flemish",
"National Gallery",
"Prague"
] |
|
13374_T
|
Landscape with the Temptation of Christ
|
How does Landscape with the Temptation of Christ elucidate its Painting?
|
Momper's style closely relates to the type of landscape painting popular in Flanders since the middle of the 16th century. Momper is representative of a group of painters who tended towards a more imaginary representation of landscape. This group of painters favored foreign views and alpine topography.In this painting, the image is seen from a slant view, and framed by high mountain massifs. The latter descend on both sides to the valley wherein a river is flowing. The scenery, as well, is reminiscent of the works of Momper's predecessors. In the background, barely seen, there is the New Testament scene of the Temptation of Christ. A donkey tilts its head towards it, while a dog is firmly pointing to the two figures. The travelling people keep on marching untroubled down the mountain path.
|
[
"Temptation of Christ",
"Flanders",
"New Testament"
] |
|
13374_NT
|
Landscape with the Temptation of Christ
|
How does this artwork elucidate its Painting?
|
Momper's style closely relates to the type of landscape painting popular in Flanders since the middle of the 16th century. Momper is representative of a group of painters who tended towards a more imaginary representation of landscape. This group of painters favored foreign views and alpine topography.In this painting, the image is seen from a slant view, and framed by high mountain massifs. The latter descend on both sides to the valley wherein a river is flowing. The scenery, as well, is reminiscent of the works of Momper's predecessors. In the background, barely seen, there is the New Testament scene of the Temptation of Christ. A donkey tilts its head towards it, while a dog is firmly pointing to the two figures. The travelling people keep on marching untroubled down the mountain path.
|
[
"Temptation of Christ",
"Flanders",
"New Testament"
] |
|
13375_T
|
Saint George Freeing the Princess
|
Focus on Saint George Freeing the Princess and analyze the abstract.
|
Saint George Freeing the Princess is a marble stiacciato bas-relief sculpture by Donatello, sculpted around 1416 or 1417. It was originally situated under the same artist's Saint George on an external niche of the church of Orsanmichele in Florence; both works are now in the Bargello Museum, with replicas replacing them in their original positions.
|
[
"George",
"Orsanmichele",
"Saint George",
"Florence",
"bas-relief",
"stiacciato",
"Bargello Museum",
"Bargello",
"Donatello"
] |
|
13375_NT
|
Saint George Freeing the Princess
|
Focus on this artwork and analyze the abstract.
|
Saint George Freeing the Princess is a marble stiacciato bas-relief sculpture by Donatello, sculpted around 1416 or 1417. It was originally situated under the same artist's Saint George on an external niche of the church of Orsanmichele in Florence; both works are now in the Bargello Museum, with replicas replacing them in their original positions.
|
[
"George",
"Orsanmichele",
"Saint George",
"Florence",
"bas-relief",
"stiacciato",
"Bargello Museum",
"Bargello",
"Donatello"
] |
|
13376_T
|
The Icebergs
|
In The Icebergs, how is the abstract discussed?
|
The Icebergs is an 1861 oil painting by the American landscape artist Frederic Edwin Church. It was inspired by his 1859 voyage to the North Atlantic around Newfoundland and Labrador. Considered one of Church's "Great Pictures"—measuring 1.64 by 2.85 metres (5.4 by 9.4 feet)—the painting depicts one or more icebergs in the afternoon light of the Arctic. It was first displayed in New York City in 1861, where visitors paid 25 cents' admittance to the one-painting show. Similar exhibitions in Boston and London followed. The unconventional landscape of ice, water, and sky generally drew praise, but the American Civil War, which began the same year, lessened critical and popular interest in New York City's cultural events.
The painting became popular within Church's oeuvre and inspired other landscape artists' interest in the Arctic, but its apparent lack of narrative or allegory perplexed some viewers. Between exhibitions in the US and England, Church added the ship mast to the painting, and retitled the work from its original The North. He eventually sold the painting in England, where it disappeared from the art-world's awareness after the buyer's death in 1901. In 1979, the painting, which a number of New York City galleries were now hunting, was rediscovered in a home in Manchester, England, where it had remained for most of the intervening 78 years. It was soon put to auction in New York City, drawing significant interest as its sale coincided with renewed critical interest in Church, who had been largely forgotten in the 20th century. The Icebergs was auctioned for US$2.5 million, the most of any American painting to that point. The buyers, later identified as businessman Lamar Hunt and his wife Norma, donated the canvas to the Dallas Museum of Art, where it remains today.
|
[
"Lamar Hunt",
"Iceberg",
"Church",
"in",
"Frederic Edwin Church",
"Dallas",
"Arctic",
"Dallas Museum of Art",
"Manchester",
"iceberg",
"American Civil War",
"Newfoundland and Labrador",
"North Atlantic"
] |
|
13376_NT
|
The Icebergs
|
In this artwork, how is the abstract discussed?
|
The Icebergs is an 1861 oil painting by the American landscape artist Frederic Edwin Church. It was inspired by his 1859 voyage to the North Atlantic around Newfoundland and Labrador. Considered one of Church's "Great Pictures"—measuring 1.64 by 2.85 metres (5.4 by 9.4 feet)—the painting depicts one or more icebergs in the afternoon light of the Arctic. It was first displayed in New York City in 1861, where visitors paid 25 cents' admittance to the one-painting show. Similar exhibitions in Boston and London followed. The unconventional landscape of ice, water, and sky generally drew praise, but the American Civil War, which began the same year, lessened critical and popular interest in New York City's cultural events.
The painting became popular within Church's oeuvre and inspired other landscape artists' interest in the Arctic, but its apparent lack of narrative or allegory perplexed some viewers. Between exhibitions in the US and England, Church added the ship mast to the painting, and retitled the work from its original The North. He eventually sold the painting in England, where it disappeared from the art-world's awareness after the buyer's death in 1901. In 1979, the painting, which a number of New York City galleries were now hunting, was rediscovered in a home in Manchester, England, where it had remained for most of the intervening 78 years. It was soon put to auction in New York City, drawing significant interest as its sale coincided with renewed critical interest in Church, who had been largely forgotten in the 20th century. The Icebergs was auctioned for US$2.5 million, the most of any American painting to that point. The buyers, later identified as businessman Lamar Hunt and his wife Norma, donated the canvas to the Dallas Museum of Art, where it remains today.
|
[
"Lamar Hunt",
"Iceberg",
"Church",
"in",
"Frederic Edwin Church",
"Dallas",
"Arctic",
"Dallas Museum of Art",
"Manchester",
"iceberg",
"American Civil War",
"Newfoundland and Labrador",
"North Atlantic"
] |
|
13377_T
|
The Icebergs
|
Focus on The Icebergs and explore the Background.
|
Church painted The Icebergs at a time of general interest in Arctic exploration. The disappearance of the expedition of British explorer John Franklin, who had planned to navigate the Northwest Passage, was a popular press topic in the 1850s. In 1856 the American explorer Elisha Kane published an account of his own expedition to determine Franklin's fate. Francis Leopold McClintock finally uncovered the fate of Franklin and his crew, which he described in an 1859 book. Church too was interested in the Arctic, and in science and geography. He was a member of the American Geographical and Statistical Society, where the Arctic explorer Isaac Israel Hayes had lectured, and in 1859 he journeyed to the Arctic himself. Hayes, a friend of Church, named an Arctic peak at the Kennedy Channel after Church in the summer of 1861. As Church scholar David C. Huntington wrote, "By going north in 1859 Church was both following and leading the public mind.... Church had a democratic genius for embodying the archetype of the immediate and immediately present. His artistic hand responded to the moment's aggregate curiosity."In June 1859, Church and his friend the writer Louis Legrand Noble took a steamship from Halifax, Nova Scotia to St. John's, Newfoundland and Labrador. For about a month they traveled in the area of Cape Race and along the Avalon Peninsula. They chartered a schooner to approach the sea ice, and Church used a rowboat to get close to the icebergs, making sketches in pencil and oil while enduring sea-sickness. He produced about one hundred sketches, ranging from small pencil drawings to atmospheric oil studies. Returning to New York, he painted Twilight in the Wilderness (1860) before committing to The Icebergs, which took about six months, in the winter of 1860. Church was then at the height of his fame, and newspapers regularly updated the public on the progress of the painting. Noble documented their voyage in his book After Icebergs with a Painter, which was published to coincide with the exhibition of The Icebergs.
Church produced a number of advanced studies as he searched for the most favorable composition, relying on intuition. A landscape depicting just ice, water, and sky was unconventional and its composition a "hazardous experiment", according to his contemporary, the writer Henry Tuckerman, with "little scope for general effect". Church told his agent that he was pleased with the canvas as he neared completion.Shortly before the first exhibition, the American Civil War began. Church decided to call the painting The North, a title with a double meaning: a picture of the Arctic and a patriotic reference to the northern Union. Advertisements for the exhibition noted that the admission proceeds would be donated to the Patriotic Fund, which supported Union soldiers' families.
|
[
"Iceberg",
"Twilight in the Wilderness",
"Church",
"Isaac Israel Hayes",
"in",
"Halifax, Nova Scotia",
"Cape Race",
"Arctic exploration",
"John",
"Leopold McClintock",
"sea ice",
"Union",
"Avalon Peninsula",
"Francis Leopold McClintock",
"Elisha Kane",
"Kennedy Channel",
"St. John's, Newfoundland and Labrador",
"Arctic",
"Northwest Passage",
"the fate of Franklin and his crew",
"John Franklin",
"iceberg",
"American Civil War",
"American Geographical and Statistical Society",
"Newfoundland and Labrador",
"Henry Tuckerman"
] |
|
13377_NT
|
The Icebergs
|
Focus on this artwork and explore the Background.
|
Church painted The Icebergs at a time of general interest in Arctic exploration. The disappearance of the expedition of British explorer John Franklin, who had planned to navigate the Northwest Passage, was a popular press topic in the 1850s. In 1856 the American explorer Elisha Kane published an account of his own expedition to determine Franklin's fate. Francis Leopold McClintock finally uncovered the fate of Franklin and his crew, which he described in an 1859 book. Church too was interested in the Arctic, and in science and geography. He was a member of the American Geographical and Statistical Society, where the Arctic explorer Isaac Israel Hayes had lectured, and in 1859 he journeyed to the Arctic himself. Hayes, a friend of Church, named an Arctic peak at the Kennedy Channel after Church in the summer of 1861. As Church scholar David C. Huntington wrote, "By going north in 1859 Church was both following and leading the public mind.... Church had a democratic genius for embodying the archetype of the immediate and immediately present. His artistic hand responded to the moment's aggregate curiosity."In June 1859, Church and his friend the writer Louis Legrand Noble took a steamship from Halifax, Nova Scotia to St. John's, Newfoundland and Labrador. For about a month they traveled in the area of Cape Race and along the Avalon Peninsula. They chartered a schooner to approach the sea ice, and Church used a rowboat to get close to the icebergs, making sketches in pencil and oil while enduring sea-sickness. He produced about one hundred sketches, ranging from small pencil drawings to atmospheric oil studies. Returning to New York, he painted Twilight in the Wilderness (1860) before committing to The Icebergs, which took about six months, in the winter of 1860. Church was then at the height of his fame, and newspapers regularly updated the public on the progress of the painting. Noble documented their voyage in his book After Icebergs with a Painter, which was published to coincide with the exhibition of The Icebergs.
Church produced a number of advanced studies as he searched for the most favorable composition, relying on intuition. A landscape depicting just ice, water, and sky was unconventional and its composition a "hazardous experiment", according to his contemporary, the writer Henry Tuckerman, with "little scope for general effect". Church told his agent that he was pleased with the canvas as he neared completion.Shortly before the first exhibition, the American Civil War began. Church decided to call the painting The North, a title with a double meaning: a picture of the Arctic and a patriotic reference to the northern Union. Advertisements for the exhibition noted that the admission proceeds would be donated to the Patriotic Fund, which supported Union soldiers' families.
|
[
"Iceberg",
"Twilight in the Wilderness",
"Church",
"Isaac Israel Hayes",
"in",
"Halifax, Nova Scotia",
"Cape Race",
"Arctic exploration",
"John",
"Leopold McClintock",
"sea ice",
"Union",
"Avalon Peninsula",
"Francis Leopold McClintock",
"Elisha Kane",
"Kennedy Channel",
"St. John's, Newfoundland and Labrador",
"Arctic",
"Northwest Passage",
"the fate of Franklin and his crew",
"John Franklin",
"iceberg",
"American Civil War",
"American Geographical and Statistical Society",
"Newfoundland and Labrador",
"Henry Tuckerman"
] |
|
13378_T
|
The Icebergs
|
Focus on The Icebergs and explain the Description.
|
The painting is one of Church's composite views, like his popular The Heart of the Andes (1859), in which he combined elements from many sketches with his imagination to convey the essential character of the setting. This approach to landscape painting accorded with the ideas of his aesthetic influences: Alexander von Humboldt, the popular naturalist and science writer who devoted a section of his Kosmos to landscape art; and John Ruskin, the famous English art critic. Church's particular challenge was to produce a grand landscape painting of an environment so limited in form, color, and living things. As the American art historian Gerald L. Carr writes, "By standards of its day, the composition was virtually abstract. Much was left to the imagination."A broadside was prepared to orient exhibition visitors to the painting. It described the scene in largely objective terms. Given its lack of figurative language, it may have been written by Church himself—Louis LeGrand Noble, by contrast, used much rhetorical flourish in his booklet for The Heart of the Andes. The broadside begins by orienting the viewer to the scene as a whole:The spectator is supposed to be standing on the ice, in a bay of the berg. The several masses are parts of one immense berg. Imagine an amphitheatre, upon the lower steps of which you stand, and see the icy foreground at your feet, and gaze upon the surrounding masses, all uniting in one beneath the surface of the sea. To the left is overhanging, precipitous ice; to the right is a part of the upper surface of the berg. To that succeeds an inner gorge, running up between Alpine peaks. In front is the main portion of the berg, exhibiting ice-architecture in its vaster proportions. Thus the beholder has around him the manifold forms of the huge Greenland glacier after it has been launched upon the deep, and subjected, for a time, to the action of the elements—waves and currents, sunshine and storm.
The Icebergs' play of light is highly detailed, with the afternoon sun somewhere at left casting shadows in blues, purples, and pinks, and the ice and water interacting in complex reflections, especially by the grotto. The viewer's eye is less likely to move vertically, from foreground to background, as it would in most landscape paintings, than to zig-zag. The likely starting point, the ship's mast, seems to point to the boulder and grotto at right, which in turn is oriented toward the large iceberg dominating the background. The boulder and ice around the grotto are painted with impasto, while Church otherwise conceals his brushstrokes. This more turbulent area with its variety of color creates a "material play between surface and depth", according to art historian Jennifer Raab.A boulder rests on the ice shelf above the grotto and stains the ice a rust color. It serves as a reminder that the iceberg once made contact with land, and stands as a reference to the geological notions of the day, such as Louis Agassiz's theory of the ice age, and Charles Lyell's theory of "continental lift". The general topic of unusually placed ("erratic") boulders was a matter of significant debate at the time. Art historian Timothy Mitchell writes that "The Icebergs is an exultant tribute to time's slow changes. But ... the scientific ideas that informed The Icebergs have long since been discounted by geologists and forgotten by the public. As a consequence, [the painting's] association with the geological process is often overlooked."The shapes in the ice sometimes form profiles of human-like faces, most pronounced in the repoussoir of ice on the left. As described by Carr, there are also intentional "vague humanoid profiles" on the right, "skull-like" ice blocks in the foreground, and a "floating ice-'siren'" near the grotto. In the foreground, melted water is a light blue, and at upper left a small waterfall deposits water into a patch of emerald beneath. Church observed that freshly frozen water within the cracks of icebergs produced a striking blue color; these veins of sapphire are illustrated at left. In the distance, the largest iceberg shows old waterlines, indicating its continuing ascent, and the foreground appears wetter, having risen from the ocean more recently. Church's signature is on the block of ice to the left of the mast, which was painted in later, and may be seen to form a crucifix. Carr notes that the water level in the grotto is not consistent with that of the rest of the painting.
|
[
"Iceberg",
"Church",
"in",
"Charles Lyell",
"Alexander von Humboldt",
"Kosmos",
"John Ruskin",
"John",
"Raab",
"impasto",
"The Heart of the Andes",
"ship's mast",
"ice age",
"repoussoir",
"broadside",
"iceberg",
"Louis Agassiz"
] |
|
13378_NT
|
The Icebergs
|
Focus on this artwork and explain the Description.
|
The painting is one of Church's composite views, like his popular The Heart of the Andes (1859), in which he combined elements from many sketches with his imagination to convey the essential character of the setting. This approach to landscape painting accorded with the ideas of his aesthetic influences: Alexander von Humboldt, the popular naturalist and science writer who devoted a section of his Kosmos to landscape art; and John Ruskin, the famous English art critic. Church's particular challenge was to produce a grand landscape painting of an environment so limited in form, color, and living things. As the American art historian Gerald L. Carr writes, "By standards of its day, the composition was virtually abstract. Much was left to the imagination."A broadside was prepared to orient exhibition visitors to the painting. It described the scene in largely objective terms. Given its lack of figurative language, it may have been written by Church himself—Louis LeGrand Noble, by contrast, used much rhetorical flourish in his booklet for The Heart of the Andes. The broadside begins by orienting the viewer to the scene as a whole:The spectator is supposed to be standing on the ice, in a bay of the berg. The several masses are parts of one immense berg. Imagine an amphitheatre, upon the lower steps of which you stand, and see the icy foreground at your feet, and gaze upon the surrounding masses, all uniting in one beneath the surface of the sea. To the left is overhanging, precipitous ice; to the right is a part of the upper surface of the berg. To that succeeds an inner gorge, running up between Alpine peaks. In front is the main portion of the berg, exhibiting ice-architecture in its vaster proportions. Thus the beholder has around him the manifold forms of the huge Greenland glacier after it has been launched upon the deep, and subjected, for a time, to the action of the elements—waves and currents, sunshine and storm.
The Icebergs' play of light is highly detailed, with the afternoon sun somewhere at left casting shadows in blues, purples, and pinks, and the ice and water interacting in complex reflections, especially by the grotto. The viewer's eye is less likely to move vertically, from foreground to background, as it would in most landscape paintings, than to zig-zag. The likely starting point, the ship's mast, seems to point to the boulder and grotto at right, which in turn is oriented toward the large iceberg dominating the background. The boulder and ice around the grotto are painted with impasto, while Church otherwise conceals his brushstrokes. This more turbulent area with its variety of color creates a "material play between surface and depth", according to art historian Jennifer Raab.A boulder rests on the ice shelf above the grotto and stains the ice a rust color. It serves as a reminder that the iceberg once made contact with land, and stands as a reference to the geological notions of the day, such as Louis Agassiz's theory of the ice age, and Charles Lyell's theory of "continental lift". The general topic of unusually placed ("erratic") boulders was a matter of significant debate at the time. Art historian Timothy Mitchell writes that "The Icebergs is an exultant tribute to time's slow changes. But ... the scientific ideas that informed The Icebergs have long since been discounted by geologists and forgotten by the public. As a consequence, [the painting's] association with the geological process is often overlooked."The shapes in the ice sometimes form profiles of human-like faces, most pronounced in the repoussoir of ice on the left. As described by Carr, there are also intentional "vague humanoid profiles" on the right, "skull-like" ice blocks in the foreground, and a "floating ice-'siren'" near the grotto. In the foreground, melted water is a light blue, and at upper left a small waterfall deposits water into a patch of emerald beneath. Church observed that freshly frozen water within the cracks of icebergs produced a striking blue color; these veins of sapphire are illustrated at left. In the distance, the largest iceberg shows old waterlines, indicating its continuing ascent, and the foreground appears wetter, having risen from the ocean more recently. Church's signature is on the block of ice to the left of the mast, which was painted in later, and may be seen to form a crucifix. Carr notes that the water level in the grotto is not consistent with that of the rest of the painting.
|
[
"Iceberg",
"Church",
"in",
"Charles Lyell",
"Alexander von Humboldt",
"Kosmos",
"John Ruskin",
"John",
"Raab",
"impasto",
"The Heart of the Andes",
"ship's mast",
"ice age",
"repoussoir",
"broadside",
"iceberg",
"Louis Agassiz"
] |
|
13379_T
|
The Icebergs
|
Explore the Reception of this artwork, The Icebergs.
|
Like Church's previous "great pictures", The Icebergs received a single-painting exhibition with an admission fee of 25 cents. It debuted in New York City at Goupil's from April 24 to July 9, 1861, and moved to the Boston Athenæum the next year. The exhibition rooms were prepared theatrically; the painting, itself 1.64 m × 2.85 m (5.4 ft × 9.4 ft), had a massive carved frame, and the room had emerald carpet and maroon divans and wall-cloths. The outbreak of the Civil War put a damper on exhibition attendance, as New York World observed on April 29: "Upon ordinary occasions a new picture by Mr. Church would be for a time an object of central attention to the cultivated community of New York. At present the war excitement absorbs every other, and the picture of the 'Icebergs' has been placed on view at Goupil's without attracting special attention. Last year the announcement of such a work would have packed the gallery from morning till night for weeks; now so intense and eager is the interest concentrated upon the capital, the movements of forces, and the pageantry wherein the town has draped itself, that we doubt if any considerable number of our citizens are aware of its exhibition..."Church's paintings were greatly anticipated, and many critics responded positively to The Icebergs. The New-York Daily Tribune called it "the most splendid work of art that has as yet been produced in this country.... It is an absolutely wonderful picture, a work of genius that illustrates the time and the country producing it." While The Icebergs was well received, some critics had difficulty relating to the painting. Some resorted to the imaginative, suggesting that the cavern or grotto was the "haunt" of fairies, sirens, or mermaids. In its original form, as seen in the US, the ship's mast had not yet been painted in; thus the painting had no narrative possibility or easily observed meaning. The Albion warned that "ordinary observers ... may perhaps experience some slight disappointment when they miss all familiar objects and find no trace whatever of human association ... no connecting link of any sort between themselves and the canvas." The New York World wrote, "We shall be surprised if those of acute sensibilities do not look upon it at first with a positive feeling of pain, akin to that which we sometimes feel in the presence of the terrible visions of sleep.... The picture is above and beyond criticism ... We think it will require some time to get even on speaking terms with the 'Icebergs.'" Church did not find an American buyer, so the work sat in his Tenth Street studio for some time after the east-coast exhibitions.
Jennifer Raab writes that what disturbed viewers of The Icebergs was its emptiness. Church's previous landscapes related nature with humanity, often via religious symbols. A picture of barren ice offered only solitude—"not Romantic solitude, but rather nature apart from man, shaped by gravity and entropy, resistant to symbolism. This was nature 'uncaring'; this was Darwin's nature." In Raab's analysis of the picture, its limited use of symbols leaves the viewer unable to resort to allegorical readings like those commonly found in the work of Thomas Cole, Church's teacher. Even the addition of the ship's mast is not enough to establish a narrative, according to Raab: "The Icebergs sets us up to construct a story, and yet the picture is more like Church's broadside: an ekphrastic description in which details are not treated hierarchically in terms of their value for the narrative."
|
[
"Iceberg",
"Thomas Cole",
"Goupil's",
"Church",
"in",
"Tenth Street studio",
"Boston Athenæum",
"divan",
"Raab",
"New York World",
"ship's mast",
"ekphrastic",
"broadside"
] |
|
13379_NT
|
The Icebergs
|
Explore the Reception of this artwork.
|
Like Church's previous "great pictures", The Icebergs received a single-painting exhibition with an admission fee of 25 cents. It debuted in New York City at Goupil's from April 24 to July 9, 1861, and moved to the Boston Athenæum the next year. The exhibition rooms were prepared theatrically; the painting, itself 1.64 m × 2.85 m (5.4 ft × 9.4 ft), had a massive carved frame, and the room had emerald carpet and maroon divans and wall-cloths. The outbreak of the Civil War put a damper on exhibition attendance, as New York World observed on April 29: "Upon ordinary occasions a new picture by Mr. Church would be for a time an object of central attention to the cultivated community of New York. At present the war excitement absorbs every other, and the picture of the 'Icebergs' has been placed on view at Goupil's without attracting special attention. Last year the announcement of such a work would have packed the gallery from morning till night for weeks; now so intense and eager is the interest concentrated upon the capital, the movements of forces, and the pageantry wherein the town has draped itself, that we doubt if any considerable number of our citizens are aware of its exhibition..."Church's paintings were greatly anticipated, and many critics responded positively to The Icebergs. The New-York Daily Tribune called it "the most splendid work of art that has as yet been produced in this country.... It is an absolutely wonderful picture, a work of genius that illustrates the time and the country producing it." While The Icebergs was well received, some critics had difficulty relating to the painting. Some resorted to the imaginative, suggesting that the cavern or grotto was the "haunt" of fairies, sirens, or mermaids. In its original form, as seen in the US, the ship's mast had not yet been painted in; thus the painting had no narrative possibility or easily observed meaning. The Albion warned that "ordinary observers ... may perhaps experience some slight disappointment when they miss all familiar objects and find no trace whatever of human association ... no connecting link of any sort between themselves and the canvas." The New York World wrote, "We shall be surprised if those of acute sensibilities do not look upon it at first with a positive feeling of pain, akin to that which we sometimes feel in the presence of the terrible visions of sleep.... The picture is above and beyond criticism ... We think it will require some time to get even on speaking terms with the 'Icebergs.'" Church did not find an American buyer, so the work sat in his Tenth Street studio for some time after the east-coast exhibitions.
Jennifer Raab writes that what disturbed viewers of The Icebergs was its emptiness. Church's previous landscapes related nature with humanity, often via religious symbols. A picture of barren ice offered only solitude—"not Romantic solitude, but rather nature apart from man, shaped by gravity and entropy, resistant to symbolism. This was nature 'uncaring'; this was Darwin's nature." In Raab's analysis of the picture, its limited use of symbols leaves the viewer unable to resort to allegorical readings like those commonly found in the work of Thomas Cole, Church's teacher. Even the addition of the ship's mast is not enough to establish a narrative, according to Raab: "The Icebergs sets us up to construct a story, and yet the picture is more like Church's broadside: an ekphrastic description in which details are not treated hierarchically in terms of their value for the narrative."
|
[
"Iceberg",
"Thomas Cole",
"Goupil's",
"Church",
"in",
"Tenth Street studio",
"Boston Athenæum",
"divan",
"Raab",
"New York World",
"ship's mast",
"ekphrastic",
"broadside"
] |
|
13380_T
|
The Icebergs
|
Focus on The Icebergs and discuss the The Iceberg (1891).
|
Nine years before his death in 1900 and stricken with arthritis in his painting hand, Church again painted an iceberg, one of his last paintings. The Iceberg (1891) is a simpler composition than his 1861 picture. Describing The Iceberg, Huntington notes the changes in Church's style and outlook: "Church was seldom more charming than in this late painting. Gone is the compulsive striving to say the last word about his subject, the passion to know and master the universe. The later painting seems, rather, the pensive memory of an experience.... The physically inactive man of sixty-five seems to be content to stand still and not to say, but only to suggest all. He was no longer moving forward 'with the momentum of mankind', impelled by a national enthusiasm of the hour. The Iceberg of 1891 is the lonely confrontation of a lonely man who sees himself on that ship of yesterday sailing for safety from a strangely drifting, isolated and indifferent white creature of the elements.... Instead of 'restlessness' and 'exhilaration' and 'wild ungovernableness', there is quiet beauty and mystery. There is no world prophecy here but instead the introspection of a man cut off from his time, yet somehow still believing in himself." Church was pleased with the painting, writing to a friend that it was "the best I ever painted and the truest". It is now in the collection of the Carnegie Museum of Art in Pittsburgh.
|
[
"Iceberg",
"Church",
"in",
"Pittsburgh",
"Carnegie Museum of Art",
"iceberg"
] |
|
13380_NT
|
The Icebergs
|
Focus on this artwork and discuss the The Iceberg (1891).
|
Nine years before his death in 1900 and stricken with arthritis in his painting hand, Church again painted an iceberg, one of his last paintings. The Iceberg (1891) is a simpler composition than his 1861 picture. Describing The Iceberg, Huntington notes the changes in Church's style and outlook: "Church was seldom more charming than in this late painting. Gone is the compulsive striving to say the last word about his subject, the passion to know and master the universe. The later painting seems, rather, the pensive memory of an experience.... The physically inactive man of sixty-five seems to be content to stand still and not to say, but only to suggest all. He was no longer moving forward 'with the momentum of mankind', impelled by a national enthusiasm of the hour. The Iceberg of 1891 is the lonely confrontation of a lonely man who sees himself on that ship of yesterday sailing for safety from a strangely drifting, isolated and indifferent white creature of the elements.... Instead of 'restlessness' and 'exhilaration' and 'wild ungovernableness', there is quiet beauty and mystery. There is no world prophecy here but instead the introspection of a man cut off from his time, yet somehow still believing in himself." Church was pleased with the painting, writing to a friend that it was "the best I ever painted and the truest". It is now in the collection of the Carnegie Museum of Art in Pittsburgh.
|
[
"Iceberg",
"Church",
"in",
"Pittsburgh",
"Carnegie Museum of Art",
"iceberg"
] |
|
13381_T
|
Table with Pink Tablecloth
|
How does Table with Pink Tablecloth elucidate its abstract?
|
Table with Pink Tablecloth is an artwork by American artist Richard Artschwager, now in the collection of the Art Institute of Chicago.
It is a work in three-dimensions constructed of Formica on wood. It was made in 1964 using skills Artschwager gained designing furniture using similar materials and similar techniques. The sculpture measures 64.8 x 111.8 x 111.8 cm (25 1/2 x 44 x 44 in).
According to art critic Ken Johnson Table With Pink Tablecloth is "something of a cross between Pop Art and a Minimalist cube by Donald Judd".Artschwager is quoted as saying "It’s not sculptural. It’s more like a painting pushed into three dimensions. It’s a picture of wood."At the 2009 Venice Biennale, sculptor Rachel Harrison recreated Table with Pink Tablecloth in tribute.
|
[
"Venice Biennale",
"Rachel Harrison",
"Donald Judd",
"Pop Art",
"Art Institute of Chicago",
"Ken Johnson",
"Formica",
"Richard Artschwager"
] |
|
13381_NT
|
Table with Pink Tablecloth
|
How does this artwork elucidate its abstract?
|
Table with Pink Tablecloth is an artwork by American artist Richard Artschwager, now in the collection of the Art Institute of Chicago.
It is a work in three-dimensions constructed of Formica on wood. It was made in 1964 using skills Artschwager gained designing furniture using similar materials and similar techniques. The sculpture measures 64.8 x 111.8 x 111.8 cm (25 1/2 x 44 x 44 in).
According to art critic Ken Johnson Table With Pink Tablecloth is "something of a cross between Pop Art and a Minimalist cube by Donald Judd".Artschwager is quoted as saying "It’s not sculptural. It’s more like a painting pushed into three dimensions. It’s a picture of wood."At the 2009 Venice Biennale, sculptor Rachel Harrison recreated Table with Pink Tablecloth in tribute.
|
[
"Venice Biennale",
"Rachel Harrison",
"Donald Judd",
"Pop Art",
"Art Institute of Chicago",
"Ken Johnson",
"Formica",
"Richard Artschwager"
] |
|
13382_T
|
Davis Madonna
|
Focus on Davis Madonna and analyze the abstract.
|
The Davis Madonna is a tempera on panel painting by Gentile da Fabriano, created c. 1410. It is held in the Metropolitan Museum of Art, in New York. The painting is named after Theodore M. Davis who acquired it in Florence, early in the 20th century before leaving it to its present owner in 1915.
|
[
"Gentile da Fabriano",
"Florence",
"Theodore M. Davis",
"Metropolitan Museum of Art",
"New York"
] |
|
13382_NT
|
Davis Madonna
|
Focus on this artwork and analyze the abstract.
|
The Davis Madonna is a tempera on panel painting by Gentile da Fabriano, created c. 1410. It is held in the Metropolitan Museum of Art, in New York. The painting is named after Theodore M. Davis who acquired it in Florence, early in the 20th century before leaving it to its present owner in 1915.
|
[
"Gentile da Fabriano",
"Florence",
"Theodore M. Davis",
"Metropolitan Museum of Art",
"New York"
] |
|
13383_T
|
Delacorte Clock
|
In Delacorte Clock, how is the abstract discussed?
|
The Delacorte Clock, or George Delacorte Musical Clock, is a clock and art installation outside the Central Park Zoo in Central Park, Manhattan, New York. The clock is named after George T. Delacorte Jr., and was dedicated in 1965.The clock is mounted on a three-tiered tower above the arcade between the Wildlife Center and the Children's Zoo. The clock contains representations of animals playing instruments, and plays music every half hour, at 0 and 30 minutes past the hour, between 8 a.m. and 6 p.m. The clock's music is selected from one of 44 pre-recorded tracks.
|
[
"George T. Delacorte Jr.",
"Manhattan",
"Central Park",
"Central Park Zoo"
] |
|
13383_NT
|
Delacorte Clock
|
In this artwork, how is the abstract discussed?
|
The Delacorte Clock, or George Delacorte Musical Clock, is a clock and art installation outside the Central Park Zoo in Central Park, Manhattan, New York. The clock is named after George T. Delacorte Jr., and was dedicated in 1965.The clock is mounted on a three-tiered tower above the arcade between the Wildlife Center and the Children's Zoo. The clock contains representations of animals playing instruments, and plays music every half hour, at 0 and 30 minutes past the hour, between 8 a.m. and 6 p.m. The clock's music is selected from one of 44 pre-recorded tracks.
|
[
"George T. Delacorte Jr.",
"Manhattan",
"Central Park",
"Central Park Zoo"
] |
|
13384_T
|
Delacorte Clock
|
Focus on Delacorte Clock and explore the In popular culture.
|
The clock appears in:The Clock, 1945 film
Marathon Man, 1976 film
Delirious, 1991 film
Madagascar, 2005 animated film
A Rainy Day in New York, 2018 film
|
[
"A Rainy Day in New York"
] |
|
13384_NT
|
Delacorte Clock
|
Focus on this artwork and explore the In popular culture.
|
The clock appears in:The Clock, 1945 film
Marathon Man, 1976 film
Delirious, 1991 film
Madagascar, 2005 animated film
A Rainy Day in New York, 2018 film
|
[
"A Rainy Day in New York"
] |
|
13385_T
|
Portrait of Thomas Cromwell
|
Focus on Portrait of Thomas Cromwell and explain the abstract.
|
Portrait of Thomas Cromwell is a small oil painting by the German and Swiss artist Hans Holbein the Younger, usually dated to between 1532 and 1534, when Cromwell, an English lawyer and statesman who served as chief minister to King Henry VIII of England from 1532 to 1540, was around 48 years old. It is one of two portraits Holbein painted of him; the other is a tondo from a series of medallions of Tudor courtiers.The original panel is lost, and today known from three copies: in the Frick Collection in New York (where it is hung opposite Holbein's Portrait of Thomas More); in the National Portrait Gallery in London and the Chichester Constable collection in Yorkshire. The Frick panel is considered superior in quality.
|
[
"National Portrait Gallery",
"Portrait of Thomas More",
"New York",
"Thomas Cromwell",
"Thomas More",
"Tudor",
"Cromwell",
"oil",
"tondo",
"Hans Holbein the Younger",
"panel",
"Henry VIII",
"King Henry VIII of England",
"Frick Collection",
"Henry VIII of England"
] |
|
13385_NT
|
Portrait of Thomas Cromwell
|
Focus on this artwork and explain the abstract.
|
Portrait of Thomas Cromwell is a small oil painting by the German and Swiss artist Hans Holbein the Younger, usually dated to between 1532 and 1534, when Cromwell, an English lawyer and statesman who served as chief minister to King Henry VIII of England from 1532 to 1540, was around 48 years old. It is one of two portraits Holbein painted of him; the other is a tondo from a series of medallions of Tudor courtiers.The original panel is lost, and today known from three copies: in the Frick Collection in New York (where it is hung opposite Holbein's Portrait of Thomas More); in the National Portrait Gallery in London and the Chichester Constable collection in Yorkshire. The Frick panel is considered superior in quality.
|
[
"National Portrait Gallery",
"Portrait of Thomas More",
"New York",
"Thomas Cromwell",
"Thomas More",
"Tudor",
"Cromwell",
"oil",
"tondo",
"Hans Holbein the Younger",
"panel",
"Henry VIII",
"King Henry VIII of England",
"Frick Collection",
"Henry VIII of England"
] |
|
13386_T
|
Portrait of Thomas Cromwell
|
Explore the Subject of this artwork, Portrait of Thomas Cromwell.
|
Thomas Cromwell was a lawyer and statesman who began as a blacksmith's son in Putney, and rose to power as an associate of Cardinal Wolsey. After Wolsey's fall and a period of initial distrust, he became a confidant of Henry VIII, assuming the roles of vicegerent, Lord Chancellor, lord high chamberlain, amongst others. A shrewd politician, he was aware of the effect of propaganda and commissioned Holbein to produce images positioning him as a reformist and royalist, including anti-clerical woodcuts and the title page for Myles Coverdale's English translation of the bible. In this he was both progressive and attuned to Henry VIII's grandiose programme of artistic patronage. The king's efforts to glorify his own status as Supreme Head of the Church culminated in the building of Nonsuch Palace, started in 1538.
Cromwell engineered the king's divorce from Catherine of Aragon. He was an early ally of Anne Boleyn but played a key role in her downfall. He was a significant force in the Tudor court until, hoping to strengthen the political alliance with the Protestant cause in Germany, he erred in advising Henry to marry Anne of Cleves. The move was unpopular and afforded his many enemies the chance to bring charges of treason, forcing his eventual arrest and beheading.
This left Holbein in an uncertain position; his guile had allowed him survive the downfalls of More and Anne, but Cromwell's sudden fall badly damaged his reputation. Although he managed to retain his position as King's painter, his standing never recovered.
|
[
"Myles Coverdale",
"Thomas Cromwell",
"Putney",
"Tudor",
"Cromwell",
"vicegerent",
"Nonsuch Palace",
"Anne Boleyn",
"Catherine of Aragon",
"Henry VIII",
"left",
"Cardinal Wolsey",
"Anne of Cleves"
] |
|
13386_NT
|
Portrait of Thomas Cromwell
|
Explore the Subject of this artwork.
|
Thomas Cromwell was a lawyer and statesman who began as a blacksmith's son in Putney, and rose to power as an associate of Cardinal Wolsey. After Wolsey's fall and a period of initial distrust, he became a confidant of Henry VIII, assuming the roles of vicegerent, Lord Chancellor, lord high chamberlain, amongst others. A shrewd politician, he was aware of the effect of propaganda and commissioned Holbein to produce images positioning him as a reformist and royalist, including anti-clerical woodcuts and the title page for Myles Coverdale's English translation of the bible. In this he was both progressive and attuned to Henry VIII's grandiose programme of artistic patronage. The king's efforts to glorify his own status as Supreme Head of the Church culminated in the building of Nonsuch Palace, started in 1538.
Cromwell engineered the king's divorce from Catherine of Aragon. He was an early ally of Anne Boleyn but played a key role in her downfall. He was a significant force in the Tudor court until, hoping to strengthen the political alliance with the Protestant cause in Germany, he erred in advising Henry to marry Anne of Cleves. The move was unpopular and afforded his many enemies the chance to bring charges of treason, forcing his eventual arrest and beheading.
This left Holbein in an uncertain position; his guile had allowed him survive the downfalls of More and Anne, but Cromwell's sudden fall badly damaged his reputation. Although he managed to retain his position as King's painter, his standing never recovered.
|
[
"Myles Coverdale",
"Thomas Cromwell",
"Putney",
"Tudor",
"Cromwell",
"vicegerent",
"Nonsuch Palace",
"Anne Boleyn",
"Catherine of Aragon",
"Henry VIII",
"left",
"Cardinal Wolsey",
"Anne of Cleves"
] |
|
13387_T
|
Portrait of Thomas Cromwell
|
Focus on Portrait of Thomas Cromwell and discuss the Description.
|
The portrait dates from Holbein's second visit to England, when Cromwell was acting on behalf of Henry VIII and commissioned a series of propagandistic images of favoured courtiers at a time when Cromwell's reputation was at its highest. He had emerged as the "Protestant counterweight to Thomas More in the Privy council", sealed Boleyn's position in bitter circumstance, and became one of the most influential and powerful men in England. At the same time he was cultured and instrumental in promoting Holbein's career. Perhaps because of this, and given the portrait's genesis is steeped in the high and bloody politics of the time, with an unsteady king, we know nothing of Holbein's thoughts on the depiction.
Cromwell is given due respect, but is presented as sour and somewhat stiff. The eyes are narrowly set, he tightly grips the seal. His reputation was poor until revision in the 1960s; today he is seen as a reformer and a highly capable, supreme political operator. Reflecting earlier opinion, it was noted that "of all the portraits that Holbein did at the English court, the portrait of Cromwell has always seemed the least flattering to its subject, the most viciously mocking. Mindful of the protracted, fatal relationship between Cromwell and More, and their placing at the Frick, Henry Clay romantically asked that we "imagine Thomas More, the beautiful saint, and Cromwell, the monster, united in art and history, now facing each other, [through] Holbein and time and chance."
Compared to Holbein's other portraits of Tudor politicians, Cromwell seems reduced; he is placed low in the frame, deep in the pictorial space, placing a distance and diminishing him from the viewer. The table reaches into the immediate foreground as if reaching into the viewer's personal space. Holbein presents Cromwell as somewhat sour, cold and grim, yet the portrait has been described as "a softened version of the subject". Historian R. B. Merriman described Cromwell as "a short, stoutly built man, with a large face, smooth shaven, with close-cropped hair, and a heavy double chin, with a small and cruel mouth, an extraordinary long upper lip, and a pair of gray eyes set closely together, and moving restlessly under his light eyebrows."The inscription on the border reads "To our trusty and right well, beloved Councillor, Thomas Cromwell, Master of our Jewel House". Cromwell sits on a bench before a table holding a legal document. His left hand has a patterned gold ring with a large green gemstone. He is dressed in sober colours, comprising a black fur lined overcoat, a black hat and a "severe expression". The table is covered with a green cloth. Some of his effects are placed on it, including a quill, a devotional book, scissors and a leather bag.The devotional book was Cromwell's Book of Hours. He was a devout man and would have been keen to display it in his portrait. Cromwell's copy was discovered in the Wren Library at Trinity College, Cambridge in 2023 by researchers at Hever Castle. The original silver-gilt mounts of its cover were made by Pierre Mangot. It was printed in Paris by Gilles and Germain Hardouyn in 1527, the year when Henry VIII first sought a divorce. Two other significant copies of this edition belonged to Henry VIII's first wife, Catherine of Aragon, and his second wife, Anne Boleyn. The Tudor historian Tracy Borman described it as "The most exciting Cromwell discovery in a generation — if not more."The version of the portrait held by the Frick Collection in New York is in oil on oak panel and measures 781 by 641 millimetres (30.7 in × 25.2 in).
|
[
"New York",
"Privy council",
"Thomas Cromwell",
"oak",
"Hever Castle",
"Thomas More",
"R. B. Merriman",
"Tudor",
"Cromwell",
"oil",
"Anne Boleyn",
"Tracy Borman",
"Trinity College, Cambridge",
"Catherine of Aragon",
"panel",
"Wren Library",
"Henry VIII",
"left",
"Book of Hours",
"Frick Collection",
"Pierre Mangot"
] |
|
13387_NT
|
Portrait of Thomas Cromwell
|
Focus on this artwork and discuss the Description.
|
The portrait dates from Holbein's second visit to England, when Cromwell was acting on behalf of Henry VIII and commissioned a series of propagandistic images of favoured courtiers at a time when Cromwell's reputation was at its highest. He had emerged as the "Protestant counterweight to Thomas More in the Privy council", sealed Boleyn's position in bitter circumstance, and became one of the most influential and powerful men in England. At the same time he was cultured and instrumental in promoting Holbein's career. Perhaps because of this, and given the portrait's genesis is steeped in the high and bloody politics of the time, with an unsteady king, we know nothing of Holbein's thoughts on the depiction.
Cromwell is given due respect, but is presented as sour and somewhat stiff. The eyes are narrowly set, he tightly grips the seal. His reputation was poor until revision in the 1960s; today he is seen as a reformer and a highly capable, supreme political operator. Reflecting earlier opinion, it was noted that "of all the portraits that Holbein did at the English court, the portrait of Cromwell has always seemed the least flattering to its subject, the most viciously mocking. Mindful of the protracted, fatal relationship between Cromwell and More, and their placing at the Frick, Henry Clay romantically asked that we "imagine Thomas More, the beautiful saint, and Cromwell, the monster, united in art and history, now facing each other, [through] Holbein and time and chance."
Compared to Holbein's other portraits of Tudor politicians, Cromwell seems reduced; he is placed low in the frame, deep in the pictorial space, placing a distance and diminishing him from the viewer. The table reaches into the immediate foreground as if reaching into the viewer's personal space. Holbein presents Cromwell as somewhat sour, cold and grim, yet the portrait has been described as "a softened version of the subject". Historian R. B. Merriman described Cromwell as "a short, stoutly built man, with a large face, smooth shaven, with close-cropped hair, and a heavy double chin, with a small and cruel mouth, an extraordinary long upper lip, and a pair of gray eyes set closely together, and moving restlessly under his light eyebrows."The inscription on the border reads "To our trusty and right well, beloved Councillor, Thomas Cromwell, Master of our Jewel House". Cromwell sits on a bench before a table holding a legal document. His left hand has a patterned gold ring with a large green gemstone. He is dressed in sober colours, comprising a black fur lined overcoat, a black hat and a "severe expression". The table is covered with a green cloth. Some of his effects are placed on it, including a quill, a devotional book, scissors and a leather bag.The devotional book was Cromwell's Book of Hours. He was a devout man and would have been keen to display it in his portrait. Cromwell's copy was discovered in the Wren Library at Trinity College, Cambridge in 2023 by researchers at Hever Castle. The original silver-gilt mounts of its cover were made by Pierre Mangot. It was printed in Paris by Gilles and Germain Hardouyn in 1527, the year when Henry VIII first sought a divorce. Two other significant copies of this edition belonged to Henry VIII's first wife, Catherine of Aragon, and his second wife, Anne Boleyn. The Tudor historian Tracy Borman described it as "The most exciting Cromwell discovery in a generation — if not more."The version of the portrait held by the Frick Collection in New York is in oil on oak panel and measures 781 by 641 millimetres (30.7 in × 25.2 in).
|
[
"New York",
"Privy council",
"Thomas Cromwell",
"oak",
"Hever Castle",
"Thomas More",
"R. B. Merriman",
"Tudor",
"Cromwell",
"oil",
"Anne Boleyn",
"Tracy Borman",
"Trinity College, Cambridge",
"Catherine of Aragon",
"panel",
"Wren Library",
"Henry VIII",
"left",
"Book of Hours",
"Frick Collection",
"Pierre Mangot"
] |
|
13388_T
|
Portrait of Thomas Cromwell
|
How does Portrait of Thomas Cromwell elucidate its Attribution and dating?
|
The painting usually dated as c. 1532–4, when Cromwell was Master of the Jewel House. The original portrait probably showed a painted scroll above his head, the text of the Frick version was removed during an early 20th restoration/improvement. The wording seems likely designed to position Cromwell beside the king. It read "To our trusty and right well beloved Councillor, Thomas Cromwell, Master of our Jewel House". the wording exists in a 1915 photograph of the Frick painting, but was removed. That panel underwent extensive technical analysis in 1952, and was cleaned in 1966; work that "did not substantiate an attribution to Holbein", but rather indicated the hand of a less skilled, workshop member.
|
[
"Master of the Jewel House",
"Thomas Cromwell",
"Cromwell",
"panel"
] |
|
13388_NT
|
Portrait of Thomas Cromwell
|
How does this artwork elucidate its Attribution and dating?
|
The painting usually dated as c. 1532–4, when Cromwell was Master of the Jewel House. The original portrait probably showed a painted scroll above his head, the text of the Frick version was removed during an early 20th restoration/improvement. The wording seems likely designed to position Cromwell beside the king. It read "To our trusty and right well beloved Councillor, Thomas Cromwell, Master of our Jewel House". the wording exists in a 1915 photograph of the Frick painting, but was removed. That panel underwent extensive technical analysis in 1952, and was cleaned in 1966; work that "did not substantiate an attribution to Holbein", but rather indicated the hand of a less skilled, workshop member.
|
[
"Master of the Jewel House",
"Thomas Cromwell",
"Cromwell",
"panel"
] |
|
13389_T
|
Portrait of Thomas Cromwell
|
Focus on Portrait of Thomas Cromwell and analyze the Provenance.
|
In an undated inventory from Cromwell's London home, an unknown writer mentions "2 tables of my master his (vis)namy painted". Little is known of the original after that. Only hours after Cromwell was taken to Traitors' Gate on 1 June 1540, soldiers arrived at his house to remove his belongings to the treasury, a fate that had befallen More some five years earlier. Holbein's portrait was most likely destroyed or sold soon after Cromwell's fall; there is no record of it in any later royal inventory.The first mention of copies is in the records of the Countess of Caledon from 1866 when she lent it to National Portrait Exhibition. That version is now in the Frick collection. Art scholar Roy Strong believed that the three extant portraits are copies. They are all in poor condition but the Frick version is the best preserved. Historian John Rowlands deduced from the pentimenti (alteration) revealed by X-ray photographs that the Frick version shows the hand of Holbein and is the original. The art historian Stephanie Buck agrees with the attribution, although it is highly contentious. Strong counters that as a traitor, Cromwell's personal effects were destroyed soon after his execution.
|
[
"Roy Strong",
"Cromwell",
"Traitors' Gate"
] |
|
13389_NT
|
Portrait of Thomas Cromwell
|
Focus on this artwork and analyze the Provenance.
|
In an undated inventory from Cromwell's London home, an unknown writer mentions "2 tables of my master his (vis)namy painted". Little is known of the original after that. Only hours after Cromwell was taken to Traitors' Gate on 1 June 1540, soldiers arrived at his house to remove his belongings to the treasury, a fate that had befallen More some five years earlier. Holbein's portrait was most likely destroyed or sold soon after Cromwell's fall; there is no record of it in any later royal inventory.The first mention of copies is in the records of the Countess of Caledon from 1866 when she lent it to National Portrait Exhibition. That version is now in the Frick collection. Art scholar Roy Strong believed that the three extant portraits are copies. They are all in poor condition but the Frick version is the best preserved. Historian John Rowlands deduced from the pentimenti (alteration) revealed by X-ray photographs that the Frick version shows the hand of Holbein and is the original. The art historian Stephanie Buck agrees with the attribution, although it is highly contentious. Strong counters that as a traitor, Cromwell's personal effects were destroyed soon after his execution.
|
[
"Roy Strong",
"Cromwell",
"Traitors' Gate"
] |
|
13390_T
|
Madonna of Zbraslav
|
In Madonna of Zbraslav, how is the abstract discussed?
|
The Zbraslav Madonna (c. 1360) comes from the parish church of St James the Greater in Zbraslav. It is on long-term loan at the permanent exhibition of the National Gallery in Prague.
|
[
"Zbraslav",
"National Gallery",
"National Gallery in Prague",
"Prague"
] |
|
13390_NT
|
Madonna of Zbraslav
|
In this artwork, how is the abstract discussed?
|
The Zbraslav Madonna (c. 1360) comes from the parish church of St James the Greater in Zbraslav. It is on long-term loan at the permanent exhibition of the National Gallery in Prague.
|
[
"Zbraslav",
"National Gallery",
"National Gallery in Prague",
"Prague"
] |
|
13391_T
|
Madonna of Zbraslav
|
Focus on Madonna of Zbraslav and explore the Description and context.
|
The picture is painted in tempera on a chalk base with an engraved drawing outlined in black. It is on a lime-wood panel and measures 89 x 59.5 cm. Compared with older Italian-Byzantine models, the drawing is suppressed and the painter models volume using the technique of thin, glazed paint layers of colour gradation in the incarnates. The Madonna has a gold-embroidered white cloak and a blue cloak with green lining decorated with gold stars. The Madonna’s cloak and white veil and the transparent shirt of the child are decorated along their hems with gold embroidery. The crown is decorated with curly leaves. The stones and pearls on the crown, halos, hems and clasp were mounted later on, while the background was also subsequently gilded over. The ring on the Madonna’s finger refers to the mystic betrothal of Christ and Mary that symbolises the Christian Church. This allegorical identification of Mary with the Church is characteristic of the Cistercian context and stems from the preaching of St Bernard of Clairvaux.
In its composition, the picture has much in common with the Madonna of Veveří type and the later Madonna of Rome. At the same time, however, it also repeats several motifs from earlier Marian pictures. Its colour palette recalls the painting of Tomasso da Modena. The motif of the Infant Jesus holding a goldfinch or waxwing (here) was widespread through Italy from the early 14th century and appears in the Rajhrad Breviary of Queen Elizabeth Richeza of Poland. In contrast to the older Italian-Byzantine type of Madonna, the Hodegetria in which the mother presents the child as an object of worship, in this composition there is a tangible shift to a more human and intimate relationship between the mother and child that corresponds more to the ideas of believers around the mid-14th century.
The Zbraslav Madonna was one of the most celebrated Marian pictures in Bohemia. It was originally intended for the church of the Cistercian monastery, where Bohemian kings from the Přemyslid dynasty were buried. Some people believe that Charles IV himself commissioned the picture. The Zbraslav Madonna was greatly revered and there exist many copies of it, dating mainly from the Baroque period. The Zbraslav Madonna was consecrated as the 43rd chapel of the Holy Route from Prague to Mladá Boleslav that was established by the Jesuits between 1674 and 1690.
|
[
"Elizabeth Richeza of Poland",
"Mladá Boleslav",
"Cistercian",
"waxwing",
"Charles IV",
"Church",
"Zbraslav",
"Baroque",
"Christian Church",
"Cistercian monastery",
"Bohemia",
"Přemyslid dynasty",
"Hodegetria",
"Jesuits",
"Tomasso da Modena",
"Bernard of Clairvaux",
"St Bernard of Clairvaux",
"Prague",
"Madonna of Veveří",
"Infant Jesus"
] |
|
13391_NT
|
Madonna of Zbraslav
|
Focus on this artwork and explore the Description and context.
|
The picture is painted in tempera on a chalk base with an engraved drawing outlined in black. It is on a lime-wood panel and measures 89 x 59.5 cm. Compared with older Italian-Byzantine models, the drawing is suppressed and the painter models volume using the technique of thin, glazed paint layers of colour gradation in the incarnates. The Madonna has a gold-embroidered white cloak and a blue cloak with green lining decorated with gold stars. The Madonna’s cloak and white veil and the transparent shirt of the child are decorated along their hems with gold embroidery. The crown is decorated with curly leaves. The stones and pearls on the crown, halos, hems and clasp were mounted later on, while the background was also subsequently gilded over. The ring on the Madonna’s finger refers to the mystic betrothal of Christ and Mary that symbolises the Christian Church. This allegorical identification of Mary with the Church is characteristic of the Cistercian context and stems from the preaching of St Bernard of Clairvaux.
In its composition, the picture has much in common with the Madonna of Veveří type and the later Madonna of Rome. At the same time, however, it also repeats several motifs from earlier Marian pictures. Its colour palette recalls the painting of Tomasso da Modena. The motif of the Infant Jesus holding a goldfinch or waxwing (here) was widespread through Italy from the early 14th century and appears in the Rajhrad Breviary of Queen Elizabeth Richeza of Poland. In contrast to the older Italian-Byzantine type of Madonna, the Hodegetria in which the mother presents the child as an object of worship, in this composition there is a tangible shift to a more human and intimate relationship between the mother and child that corresponds more to the ideas of believers around the mid-14th century.
The Zbraslav Madonna was one of the most celebrated Marian pictures in Bohemia. It was originally intended for the church of the Cistercian monastery, where Bohemian kings from the Přemyslid dynasty were buried. Some people believe that Charles IV himself commissioned the picture. The Zbraslav Madonna was greatly revered and there exist many copies of it, dating mainly from the Baroque period. The Zbraslav Madonna was consecrated as the 43rd chapel of the Holy Route from Prague to Mladá Boleslav that was established by the Jesuits between 1674 and 1690.
|
[
"Elizabeth Richeza of Poland",
"Mladá Boleslav",
"Cistercian",
"waxwing",
"Charles IV",
"Church",
"Zbraslav",
"Baroque",
"Christian Church",
"Cistercian monastery",
"Bohemia",
"Přemyslid dynasty",
"Hodegetria",
"Jesuits",
"Tomasso da Modena",
"Bernard of Clairvaux",
"St Bernard of Clairvaux",
"Prague",
"Madonna of Veveří",
"Infant Jesus"
] |
|
13392_T
|
Virgin and Child with Saint Anne and Four Saints
|
Focus on Virgin and Child with Saint Anne and Four Saints and explain the abstract.
|
The Virgin and Child with Saint Anne and Four Saints is an oil painting on panel by Pontormo in the Louvre, Paris. References in Giorgio Vasari's Lives of the Artists are taken by some to date the work to 1528–1529, the years immediately after Pontormo painted the Capponi Chapel. More recent art historians argue that its style is close to works he produced between 1524 and 1526.The work was produced for the monastery of Sant'Anna in Verzaia outside Florence's Porta San Frediano, hence the presence of Saint Anne. From left to right the other saints are Sebastian in green, Peter in saffron and blue, the Good Thief, and Benedict of Nursia in a monk's habit. Until 1370 the monastery's church was the halfway point of a procession on Saint Anne's feast day (26 July) to commemorate the city's "liberation" from the Duke of Athens. The medallion at the foot of the Madonna's throne shows a group of people from the procession, including an infantry captain (the work's commissioner), the heads of companies, trumpeters, pipers, dealers, "commanders" and "benchers".
The monastery was destroyed during the 1529 Siege of Florence and the work was in the Ospedale Sant'Eusebio al Prato in the western part of Florence's historic city centre by 1813, when it was looted by Napoleon and taken to Paris. It was first exhibited at the Louvre in 1814 and not returned to Florence after the end of the Napoleonic Wars.
|
[
"Sebastian",
"Giorgio Vasari",
"Lives of the Artists",
"Benedict of Nursia",
"Napoleonic Wars",
"Pontormo",
"Saint Anne",
"Duke of Athens",
"Peter",
"Siege of Florence",
"Louvre",
"Capponi Chapel",
"Porta San Frediano",
"Good Thief",
"looted by Napoleon"
] |
|
13392_NT
|
Virgin and Child with Saint Anne and Four Saints
|
Focus on this artwork and explain the abstract.
|
The Virgin and Child with Saint Anne and Four Saints is an oil painting on panel by Pontormo in the Louvre, Paris. References in Giorgio Vasari's Lives of the Artists are taken by some to date the work to 1528–1529, the years immediately after Pontormo painted the Capponi Chapel. More recent art historians argue that its style is close to works he produced between 1524 and 1526.The work was produced for the monastery of Sant'Anna in Verzaia outside Florence's Porta San Frediano, hence the presence of Saint Anne. From left to right the other saints are Sebastian in green, Peter in saffron and blue, the Good Thief, and Benedict of Nursia in a monk's habit. Until 1370 the monastery's church was the halfway point of a procession on Saint Anne's feast day (26 July) to commemorate the city's "liberation" from the Duke of Athens. The medallion at the foot of the Madonna's throne shows a group of people from the procession, including an infantry captain (the work's commissioner), the heads of companies, trumpeters, pipers, dealers, "commanders" and "benchers".
The monastery was destroyed during the 1529 Siege of Florence and the work was in the Ospedale Sant'Eusebio al Prato in the western part of Florence's historic city centre by 1813, when it was looted by Napoleon and taken to Paris. It was first exhibited at the Louvre in 1814 and not returned to Florence after the end of the Napoleonic Wars.
|
[
"Sebastian",
"Giorgio Vasari",
"Lives of the Artists",
"Benedict of Nursia",
"Napoleonic Wars",
"Pontormo",
"Saint Anne",
"Duke of Athens",
"Peter",
"Siege of Florence",
"Louvre",
"Capponi Chapel",
"Porta San Frediano",
"Good Thief",
"looted by Napoleon"
] |
|
13393_T
|
They Could Still Serve
|
Explore the Description of this artwork, They Could Still Serve.
|
Penmanship paper is glued on a canvas with tiny googly eyeballs drawn throughout the piece, primarily on the lines of the penmanship paper.
|
[
"googly eye",
"Penmanship"
] |
|
13393_NT
|
They Could Still Serve
|
Explore the Description of this artwork.
|
Penmanship paper is glued on a canvas with tiny googly eyeballs drawn throughout the piece, primarily on the lines of the penmanship paper.
|
[
"googly eye",
"Penmanship"
] |
|
13394_T
|
They Could Still Serve
|
Focus on They Could Still Serve and discuss the History.
|
This painting was acquired in 2001 by using funds from Emily and Jerry Spiegel and Anna Marie and Robert F. Shapiro Funds and gift of Agnes Gund. They Could Still Serve has been exhibited in numerous group shows as MoMA. In 2007, it was included in Comic Abstraction: Image-Breaking, Image-Making because of the cartoonish style of the eyeballs. In 2008, the piece was in Multiplex: Directions in Art, 1970 to Now and in 2010-2011's On Line: Drawing Through the Twentieth Century.
|
[
"Emily and Jerry Spiegel"
] |
|
13394_NT
|
They Could Still Serve
|
Focus on this artwork and discuss the History.
|
This painting was acquired in 2001 by using funds from Emily and Jerry Spiegel and Anna Marie and Robert F. Shapiro Funds and gift of Agnes Gund. They Could Still Serve has been exhibited in numerous group shows as MoMA. In 2007, it was included in Comic Abstraction: Image-Breaking, Image-Making because of the cartoonish style of the eyeballs. In 2008, the piece was in Multiplex: Directions in Art, 1970 to Now and in 2010-2011's On Line: Drawing Through the Twentieth Century.
|
[
"Emily and Jerry Spiegel"
] |
|
13395_T
|
They Could Still Serve
|
How does They Could Still Serve elucidate its Insight about the work?
|
The name, They Could Still Serve, comes from an etching in The Disasters of War series by Francisco de Goya.
|
[] |
|
13395_NT
|
They Could Still Serve
|
How does this artwork elucidate its Insight about the work?
|
The name, They Could Still Serve, comes from an etching in The Disasters of War series by Francisco de Goya.
|
[] |
|
13396_T
|
The Grand Canal with the Rialto Bridge from the South
|
Focus on The Grand Canal with the Rialto Bridge from the South and analyze the abstract.
|
The Grand Canal with the Rialto Bridge from the South is an oil-on-canvas painting executed c. 1775 by Italian painter Francesco Guardi. It is one of the many cityscapes that he made from Venice. It is held in the collection of the San Diego Museum of Art.
|
[
"San Diego",
"San Diego Museum of Art",
"Venice",
"Francesco Guardi"
] |
|
13396_NT
|
The Grand Canal with the Rialto Bridge from the South
|
Focus on this artwork and analyze the abstract.
|
The Grand Canal with the Rialto Bridge from the South is an oil-on-canvas painting executed c. 1775 by Italian painter Francesco Guardi. It is one of the many cityscapes that he made from Venice. It is held in the collection of the San Diego Museum of Art.
|
[
"San Diego",
"San Diego Museum of Art",
"Venice",
"Francesco Guardi"
] |
|
13397_T
|
Madonna della Consolazione
|
In Madonna della Consolazione, how is the abstract discussed?
|
Madonna della Consolazione (English: Our Lady of Consolation) is an oil on panel painting by Perugino, datable ca. around 1496–1498. The work, completed in April 1498, was carried out in the Sala delle Udienze of the Collegio del Cambio. Since c. 1820 it is preserved in the National Gallery of Umbria in Perugia.
|
[
"Perugia",
"National Gallery of Umbria",
"Perugino",
"Our Lady of Consolation"
] |
|
13397_NT
|
Madonna della Consolazione
|
In this artwork, how is the abstract discussed?
|
Madonna della Consolazione (English: Our Lady of Consolation) is an oil on panel painting by Perugino, datable ca. around 1496–1498. The work, completed in April 1498, was carried out in the Sala delle Udienze of the Collegio del Cambio. Since c. 1820 it is preserved in the National Gallery of Umbria in Perugia.
|
[
"Perugia",
"National Gallery of Umbria",
"Perugino",
"Our Lady of Consolation"
] |
|
13398_T
|
Madonna della Consolazione
|
Focus on Madonna della Consolazione and explore the History.
|
The painting of the Mother of God under her title Our Lady of Consolation was accomplished for the Confraternita dei disciplinati di San Francesco in Perugia (lit: the Brotherhood of Disciples of Saint Francis in Perugia).
The figure of the Madonna is stylistically similar to works for which the artist's wife Chiara Fancelli modelled. Behind the Madonna and child are on both sides kneeling members of the brotherhood who wear their typical white cloaks with a badge. Above it are symmetrically arranged two angels in adoration, in the same manner as used for Perugino's San Francesco al Prato Resurrection, Madonna in Glory with Saints, Gonfalone della Giustizia and other works. The deep landscape background with a town in the distance is characteristic of the artist. He used a somewhat similar composition for the Tezi Altarpiece.
With the Napoleonic suppressions the Madonna delle Consolatione was added to the collections of the National Gallery of Umbria.
|
[
"Madonna in Glory with Saints",
"child",
"Perugia",
"National Gallery of Umbria",
"Mother of God",
"Perugino",
"Our Lady of Consolation",
"Chiara Fancelli",
"title",
"Gonfalone della Giustizia",
"San Francesco al Prato Resurrection",
"Tezi Altarpiece"
] |
|
13398_NT
|
Madonna della Consolazione
|
Focus on this artwork and explore the History.
|
The painting of the Mother of God under her title Our Lady of Consolation was accomplished for the Confraternita dei disciplinati di San Francesco in Perugia (lit: the Brotherhood of Disciples of Saint Francis in Perugia).
The figure of the Madonna is stylistically similar to works for which the artist's wife Chiara Fancelli modelled. Behind the Madonna and child are on both sides kneeling members of the brotherhood who wear their typical white cloaks with a badge. Above it are symmetrically arranged two angels in adoration, in the same manner as used for Perugino's San Francesco al Prato Resurrection, Madonna in Glory with Saints, Gonfalone della Giustizia and other works. The deep landscape background with a town in the distance is characteristic of the artist. He used a somewhat similar composition for the Tezi Altarpiece.
With the Napoleonic suppressions the Madonna delle Consolatione was added to the collections of the National Gallery of Umbria.
|
[
"Madonna in Glory with Saints",
"child",
"Perugia",
"National Gallery of Umbria",
"Mother of God",
"Perugino",
"Our Lady of Consolation",
"Chiara Fancelli",
"title",
"Gonfalone della Giustizia",
"San Francesco al Prato Resurrection",
"Tezi Altarpiece"
] |
|
13399_T
|
Interior, after Dinner
|
Focus on Interior, after Dinner and explain the abstract.
|
Interior, after Dinner (French: Intérieur, Après dîner) is an oil-on-canvas painting by French artist Claude Monet (1840–1926) created during the winter of 1868–1869, a productive time for the painter. He spent the winter in Étretat with his girlfriend Camille Doncieux and their newborn son.
|
[
"Camille Doncieux",
" Claude Monet",
"Étretat",
"Claude Monet"
] |
|
13399_NT
|
Interior, after Dinner
|
Focus on this artwork and explain the abstract.
|
Interior, after Dinner (French: Intérieur, Après dîner) is an oil-on-canvas painting by French artist Claude Monet (1840–1926) created during the winter of 1868–1869, a productive time for the painter. He spent the winter in Étretat with his girlfriend Camille Doncieux and their newborn son.
|
[
"Camille Doncieux",
" Claude Monet",
"Étretat",
"Claude Monet"
] |
|
13400_T
|
Interior, after Dinner
|
Explore the Background of this artwork, Interior, after Dinner.
|
Monet created a series of marine paintings at this time (Fishing Boats, Calm Sea; Voiliers en mer; Fishing Boats at Sea; Rough Sea at Etretat) followed by The Magpie (1868), his famous winter masterpiece. Interior, after Dinner, which takes place later in the night, is a companion piece to The Dinner (Le Dîner) which shows the same event earlier in the evening. These are the only two interior night paintings in Monet's entire work and may have served as a study for The Luncheon (1868).
|
[
"The Magpie"
] |
|
13400_NT
|
Interior, after Dinner
|
Explore the Background of this artwork.
|
Monet created a series of marine paintings at this time (Fishing Boats, Calm Sea; Voiliers en mer; Fishing Boats at Sea; Rough Sea at Etretat) followed by The Magpie (1868), his famous winter masterpiece. Interior, after Dinner, which takes place later in the night, is a companion piece to The Dinner (Le Dîner) which shows the same event earlier in the evening. These are the only two interior night paintings in Monet's entire work and may have served as a study for The Luncheon (1868).
|
[
"The Magpie"
] |
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