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|---|---|---|---|---|---|
13401_T
|
Interior, after Dinner
|
Focus on Interior, after Dinner and discuss the Description.
|
The painting shows two women seated at a table and a man standing. Camille Doncieux has been positively identified in the gray gown, appearing a year before she and Monet were to be married. It is unclear who the other two people might be. Marie-Louise Adelaide-Eugenie Sisley, the future wife of Alfred Sisley (1839–1899), and Sisley himself are said to possibly appear seated in The Dinner. However, this becomes less clear in the companion piece of Interior, after Dinner. The man standing near the fireplace mantle could be Monet's friend Frédéric Bazille (1841–1870).
|
[
"Camille Doncieux",
"Frédéric Bazille",
"Alfred Sisley"
] |
|
13401_NT
|
Interior, after Dinner
|
Focus on this artwork and discuss the Description.
|
The painting shows two women seated at a table and a man standing. Camille Doncieux has been positively identified in the gray gown, appearing a year before she and Monet were to be married. It is unclear who the other two people might be. Marie-Louise Adelaide-Eugenie Sisley, the future wife of Alfred Sisley (1839–1899), and Sisley himself are said to possibly appear seated in The Dinner. However, this becomes less clear in the companion piece of Interior, after Dinner. The man standing near the fireplace mantle could be Monet's friend Frédéric Bazille (1841–1870).
|
[
"Camille Doncieux",
"Frédéric Bazille",
"Alfred Sisley"
] |
|
13402_T
|
Interior, after Dinner
|
How does Interior, after Dinner elucidate its Critical reception?
|
Art historian Hollis Clayson writes that the painting is "an exemplary naturalist nighttime interior in its quiet assessment of the subtleties of diffuse lamplight (from a ceiling oil lamp) plus firelight in the context of a quiet social gathering."
|
[
"Hollis Clayson"
] |
|
13402_NT
|
Interior, after Dinner
|
How does this artwork elucidate its Critical reception?
|
Art historian Hollis Clayson writes that the painting is "an exemplary naturalist nighttime interior in its quiet assessment of the subtleties of diffuse lamplight (from a ceiling oil lamp) plus firelight in the context of a quiet social gathering."
|
[
"Hollis Clayson"
] |
|
13403_T
|
The Poor Poet
|
Focus on The Poor Poet and analyze the abstract.
|
The Poor Poet (German: Der arme Poet) is the best known and most popular painting by German painter Carl Spitzweg. It was executed in 1839 and had three versions.
|
[
"Carl Spitzweg"
] |
|
13403_NT
|
The Poor Poet
|
Focus on this artwork and analyze the abstract.
|
The Poor Poet (German: Der arme Poet) is the best known and most popular painting by German painter Carl Spitzweg. It was executed in 1839 and had three versions.
|
[
"Carl Spitzweg"
] |
|
13404_T
|
The Poor Poet
|
In The Poor Poet, how is the Description discussed?
|
The painting depicts a poet in his poor attic room. The narrow room is illuminated by a small window on the left. On the right there are the rafters of the house roof, on which an umbrella hangs, to protect the sleeping area from the moisture dripping through the roof. The room door can be seen on the right edge of the painting. Opposite the door, on the left edge of the picture, there is a green tiled stove without fire. The poor poet has no bed: instead he lies on a mattress against the wall of the floor, in a dressing gown, with a sleeping hat on his head. On his knees he holds some pages of a manuscript with his left hand. With the fingers of his right hand he appears to be counting the meter of a poem. In front of the mattress, there are thick books and two boxes with an inkwell on them. On the spine of the upright book on the far right are the Latin words: Gradus ad Parnassum (German: Klassen zum Parnass), which is either the title of the main theoretical work published by the Austrian composer Johann Joseph Fux or, most likely, the instructions for writing Latin verses published by the Jesuit priest Paul Aler in Cologne in 1702. On the wall, the poet probably painted the meter of the hexameter in red. There is a candle in the bottle on the green tiled stove, next to it the wash bowl, and a towel hangs on a clothesline above it. A top hat hangs on the unheated stovepipe. There are sheets of paper in the furnace hole, which probably belong to the papers that lie in front of it, and which, also in Latin, are labeled Operum meorum fasciculum III (English: The third bundle of my works). There is also a single boot and a boot jack in front of the stove. To the left of the stove is a pot, the dressing gown is hanging on the wall next to it and the walking stick is leaning against the wall on the far left of the picture. Snow-covered roofs are seen behind the window, in an indication that it is cold. However, the poet is so poor that he remains in bed to keep himself warm. He can only heat himself if he burns his works.
|
[
"inkwell",
"Jesuit",
"Johann Joseph Fux",
"sleeping hat",
"top hat",
"Latin",
"attic",
"Cologne",
"meter",
"hexameter",
"mattress",
"clothesline",
"boot jack",
"rafters",
"umbrella",
"dressing gown",
"stove",
"walking stick"
] |
|
13404_NT
|
The Poor Poet
|
In this artwork, how is the Description discussed?
|
The painting depicts a poet in his poor attic room. The narrow room is illuminated by a small window on the left. On the right there are the rafters of the house roof, on which an umbrella hangs, to protect the sleeping area from the moisture dripping through the roof. The room door can be seen on the right edge of the painting. Opposite the door, on the left edge of the picture, there is a green tiled stove without fire. The poor poet has no bed: instead he lies on a mattress against the wall of the floor, in a dressing gown, with a sleeping hat on his head. On his knees he holds some pages of a manuscript with his left hand. With the fingers of his right hand he appears to be counting the meter of a poem. In front of the mattress, there are thick books and two boxes with an inkwell on them. On the spine of the upright book on the far right are the Latin words: Gradus ad Parnassum (German: Klassen zum Parnass), which is either the title of the main theoretical work published by the Austrian composer Johann Joseph Fux or, most likely, the instructions for writing Latin verses published by the Jesuit priest Paul Aler in Cologne in 1702. On the wall, the poet probably painted the meter of the hexameter in red. There is a candle in the bottle on the green tiled stove, next to it the wash bowl, and a towel hangs on a clothesline above it. A top hat hangs on the unheated stovepipe. There are sheets of paper in the furnace hole, which probably belong to the papers that lie in front of it, and which, also in Latin, are labeled Operum meorum fasciculum III (English: The third bundle of my works). There is also a single boot and a boot jack in front of the stove. To the left of the stove is a pot, the dressing gown is hanging on the wall next to it and the walking stick is leaning against the wall on the far left of the picture. Snow-covered roofs are seen behind the window, in an indication that it is cold. However, the poet is so poor that he remains in bed to keep himself warm. He can only heat himself if he burns his works.
|
[
"inkwell",
"Jesuit",
"Johann Joseph Fux",
"sleeping hat",
"top hat",
"Latin",
"attic",
"Cologne",
"meter",
"hexameter",
"mattress",
"clothesline",
"boot jack",
"rafters",
"umbrella",
"dressing gown",
"stove",
"walking stick"
] |
|
13405_T
|
The Poor Poet
|
Focus on The Poor Poet and explore the Analysis.
|
For a long time it was uncertain what the poet was doing with the fingers of his right hand. An obvious assumption is that he is chanting a verse. According to another interpretation, he crushes a flea between his fingers, with which Spitzweg would ironically represent the discrepancy between the poet's claim and his reality.The subject of "artists in a poor room" was dealt with before Spitzweg. The British painter William Hogarth was the first to deal with this subject in 1736. Spitzweg possibly borrowed his title from the drama by August von Kotzebue, The Poor Poet (1812).
The Poor Poet is Spitzweg's earliest masterpiece. The role model was most likely the German poet Mathias Etenhueber, who lived in Munich from 1722 to 1782 and suffered financial hardships. There are three completed versions of the painting, all from 1839: the alleged first version is privately owned and used to be on loan to the Germanisches Nationalmuseum in Nuremberg. The best known version is now in the Neue Pinakothek, Munich. This painting was given by Spitzweg to his nephew Ludwig as a gift. He offered it to its current owners in 1887. Another version was held in the National Gallery, Berlin. This painting was the subject of a political art campaign by Frank Uwe Laysiepen in 1976. He stole the work, but returned it after a few hours. On September 3, 1989, art robbers stole it together with another one of Spitzweg's works, The Love Letter, from Charlottenburg Palace. To date, neither of the two paintings has been recovered.
|
[
"Germanisches Nationalmuseum",
"Berlin",
"August von Kotzebue",
"Nuremberg",
"Munich",
"National Gallery",
"Mathias Etenhueber",
"William Hogarth",
"Charlottenburg Palace",
"Neue Pinakothek"
] |
|
13405_NT
|
The Poor Poet
|
Focus on this artwork and explore the Analysis.
|
For a long time it was uncertain what the poet was doing with the fingers of his right hand. An obvious assumption is that he is chanting a verse. According to another interpretation, he crushes a flea between his fingers, with which Spitzweg would ironically represent the discrepancy between the poet's claim and his reality.The subject of "artists in a poor room" was dealt with before Spitzweg. The British painter William Hogarth was the first to deal with this subject in 1736. Spitzweg possibly borrowed his title from the drama by August von Kotzebue, The Poor Poet (1812).
The Poor Poet is Spitzweg's earliest masterpiece. The role model was most likely the German poet Mathias Etenhueber, who lived in Munich from 1722 to 1782 and suffered financial hardships. There are three completed versions of the painting, all from 1839: the alleged first version is privately owned and used to be on loan to the Germanisches Nationalmuseum in Nuremberg. The best known version is now in the Neue Pinakothek, Munich. This painting was given by Spitzweg to his nephew Ludwig as a gift. He offered it to its current owners in 1887. Another version was held in the National Gallery, Berlin. This painting was the subject of a political art campaign by Frank Uwe Laysiepen in 1976. He stole the work, but returned it after a few hours. On September 3, 1989, art robbers stole it together with another one of Spitzweg's works, The Love Letter, from Charlottenburg Palace. To date, neither of the two paintings has been recovered.
|
[
"Germanisches Nationalmuseum",
"Berlin",
"August von Kotzebue",
"Nuremberg",
"Munich",
"National Gallery",
"Mathias Etenhueber",
"William Hogarth",
"Charlottenburg Palace",
"Neue Pinakothek"
] |
|
13406_T
|
Students Aspire
|
Focus on Students Aspire and explain the abstract.
|
Students Aspire is a public artwork by American artist Elizabeth Catlett, located at 2300 6th Street NW on the Howard University campus in Washington, D.C., United States. Upon its completion, James E. Cheek called the work "a most significant addition to the outdoor sculpture on the university’s campus.” Students Aspire was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993.
|
[
"American",
"Elizabeth Catlett",
"Washington, D.C.",
"Howard University",
"James E. Cheek",
"Smithsonian's",
"United States",
"Save Outdoor Sculpture!"
] |
|
13406_NT
|
Students Aspire
|
Focus on this artwork and explain the abstract.
|
Students Aspire is a public artwork by American artist Elizabeth Catlett, located at 2300 6th Street NW on the Howard University campus in Washington, D.C., United States. Upon its completion, James E. Cheek called the work "a most significant addition to the outdoor sculpture on the university’s campus.” Students Aspire was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993.
|
[
"American",
"Elizabeth Catlett",
"Washington, D.C.",
"Howard University",
"James E. Cheek",
"Smithsonian's",
"United States",
"Save Outdoor Sculpture!"
] |
|
13407_T
|
Students Aspire
|
Explore the Description of this artwork, Students Aspire.
|
This bronze relief shows an African-American male and female figure in profile facing each other. The figures each have one hand on each other's waist and the other hand is raised above their heads. The raised hands are reaching towards a middle disk; part of a set of five which form an arch over the figures. Each disk has an image of a scientific or technological symbol. Beneath the figures is a square relief of the root system of a tree and at the end of each root is a face.
It is signed "EC 77."
|
[
"American",
"African-American"
] |
|
13407_NT
|
Students Aspire
|
Explore the Description of this artwork.
|
This bronze relief shows an African-American male and female figure in profile facing each other. The figures each have one hand on each other's waist and the other hand is raised above their heads. The raised hands are reaching towards a middle disk; part of a set of five which form an arch over the figures. Each disk has an image of a scientific or technological symbol. Beneath the figures is a square relief of the root system of a tree and at the end of each root is a face.
It is signed "EC 77."
|
[
"American",
"African-American"
] |
|
13408_T
|
Students Aspire
|
In the context of Students Aspire, discuss the Information of the Description.
|
A plaque is placed on the wall just beneath the relief reading:ELIZABETH CATLETT 1915–
1977
THE SCULPTURE AND THE
CHEMICAL ENGINEERING WING
WERE MADE POSSIBLE BY A
GRANT FROM THE
EXXON EDUCATION FOUNDATION
|
[] |
|
13408_NT
|
Students Aspire
|
In the context of this artwork, discuss the Information of the Description.
|
A plaque is placed on the wall just beneath the relief reading:ELIZABETH CATLETT 1915–
1977
THE SCULPTURE AND THE
CHEMICAL ENGINEERING WING
WERE MADE POSSIBLE BY A
GRANT FROM THE
EXXON EDUCATION FOUNDATION
|
[] |
|
13409_T
|
Students Aspire
|
In Students Aspire, how is the History of the piece of the Description elucidated?
|
Elizabeth Catlett was chosen to be the artist for this work by vote from faculty, staff and students of the College of Engineering. In 1973, a $600,000 grant from the Exxon Education Foundation was being used to construct the chemical engineering wing of the University's engineering building. Exxon offered an additional $30,000 to fund art for the new engineering wing and that gift was approved in 1974.An art committee was set up to manage the selection of the artist for the project. Twenty-two artists were invited to participate and fourteen responded. A total of eight sketches of proposed artworks were submitted for display in the lobby of the engineering building and based on the response, four of the eight artists that submitted work were invited to submit maquettes of their proposed sculptures. Upon submitting their maquettes, artists spoke at the College about their proposals.In 1976, a vote was held and staff, faculty and students from the engineering school voted. Catlett's work won the contest. The sculpture was dedicated on May 12, 1978. Geraldine Pittman Woods spoke at the dedication.
|
[
"Elizabeth Catlett",
"Geraldine Pittman Woods",
"Exxon",
"maquette"
] |
|
13409_NT
|
Students Aspire
|
In this artwork, how is the History of the piece of the Description elucidated?
|
Elizabeth Catlett was chosen to be the artist for this work by vote from faculty, staff and students of the College of Engineering. In 1973, a $600,000 grant from the Exxon Education Foundation was being used to construct the chemical engineering wing of the University's engineering building. Exxon offered an additional $30,000 to fund art for the new engineering wing and that gift was approved in 1974.An art committee was set up to manage the selection of the artist for the project. Twenty-two artists were invited to participate and fourteen responded. A total of eight sketches of proposed artworks were submitted for display in the lobby of the engineering building and based on the response, four of the eight artists that submitted work were invited to submit maquettes of their proposed sculptures. Upon submitting their maquettes, artists spoke at the College about their proposals.In 1976, a vote was held and staff, faculty and students from the engineering school voted. Catlett's work won the contest. The sculpture was dedicated on May 12, 1978. Geraldine Pittman Woods spoke at the dedication.
|
[
"Elizabeth Catlett",
"Geraldine Pittman Woods",
"Exxon",
"maquette"
] |
|
13410_T
|
Students Aspire
|
In the context of Students Aspire, analyze the Description from Elizabeth Catlett of the Description.
|
“The two students are holding each other up to express unity rather than the competition that exists in education. The equal sign signifies scientific as well as social equality—that everyone should be equal; men to women, students to faculty, blacks to everyone else. The students form the trunk of a tree. The medallions are arranged in a triangle like branches and the plaque represents the roots.” She went on to say: “I was happy to have the suggestions of the faculty and students. I listened to what they had in mind and then I incorporated that in my own way.” – Elizabeth Catlett
|
[
"Elizabeth Catlett"
] |
|
13410_NT
|
Students Aspire
|
In the context of this artwork, analyze the Description from Elizabeth Catlett of the Description.
|
“The two students are holding each other up to express unity rather than the competition that exists in education. The equal sign signifies scientific as well as social equality—that everyone should be equal; men to women, students to faculty, blacks to everyone else. The students form the trunk of a tree. The medallions are arranged in a triangle like branches and the plaque represents the roots.” She went on to say: “I was happy to have the suggestions of the faculty and students. I listened to what they had in mind and then I incorporated that in my own way.” – Elizabeth Catlett
|
[
"Elizabeth Catlett"
] |
|
13411_T
|
Students Aspire
|
Describe the characteristics of the Condition in Students Aspire's Description.
|
This sculpture was surveyed in 1993 for its condition and it was determined that treatment was needed.
|
[] |
|
13411_NT
|
Students Aspire
|
Describe the characteristics of the Condition in this artwork's Description.
|
This sculpture was surveyed in 1993 for its condition and it was determined that treatment was needed.
|
[] |
|
13412_T
|
Flora (Jan Massys)
|
Focus on Flora (Jan Massys) and explore the abstract.
|
Flora is an oil on wood painting completed in 1559 by the Flemish painter Jan Massys, which is now in the collection of the Hamburger Kunsthalle.The work depicts Flora, the Roman goddess of flowers and prosperity, sitting contentedly in a garden holding up a small bunch of red and white carnations, representing love and good fortune. They are positioned in the composition to hover above a landscape of the distant port of Antwerp on the River Scheldt. The sense of contented harmony is an allegory of the peace and prosperity of the city, to which Flora appears to be adding her own blessing.Massys had a reputation as a painter of the female nude, which he painted in a style reminiscent of the school of Fontainebleau, with which he had been associated. The view of Antwerp may have been executed by Jan's brother Cornelis, a landscape specialist.
|
[
"Antwerp",
"Hamburg",
"Flora",
"Jan Massys",
"Hamburger Kunsthalle",
"Cornelis"
] |
|
13412_NT
|
Flora (Jan Massys)
|
Focus on this artwork and explore the abstract.
|
Flora is an oil on wood painting completed in 1559 by the Flemish painter Jan Massys, which is now in the collection of the Hamburger Kunsthalle.The work depicts Flora, the Roman goddess of flowers and prosperity, sitting contentedly in a garden holding up a small bunch of red and white carnations, representing love and good fortune. They are positioned in the composition to hover above a landscape of the distant port of Antwerp on the River Scheldt. The sense of contented harmony is an allegory of the peace and prosperity of the city, to which Flora appears to be adding her own blessing.Massys had a reputation as a painter of the female nude, which he painted in a style reminiscent of the school of Fontainebleau, with which he had been associated. The view of Antwerp may have been executed by Jan's brother Cornelis, a landscape specialist.
|
[
"Antwerp",
"Hamburg",
"Flora",
"Jan Massys",
"Hamburger Kunsthalle",
"Cornelis"
] |
|
13413_T
|
Les Trois Grâces
|
Focus on Les Trois Grâces and explain the Description.
|
In the classic style of Niki de Saint Phalle's work, Les Trois Grâces are three large sculptures of voluptuous women (a creation that de Saint Phalle calls a 'Nana') who appear to be dancing. Made of fiberglass, one Nana is covered in white, one yellow and the other is black mosaic tiles, ranging in heights of 12 to 15 feet (3.7 to 4.6 m). They all wear elaborate bathing suits in designs such as hearts, fish, and instruments, in multiple color schemes. A whimsical set of sculptures, the three figures have their arms raised as if ballet dancing; each has one foot on the ground and another raised up. They are Saint Phalle's own version of The Three Graces.Saint Phalle said that the works represented unity among the races.
|
[
"voluptuous",
"The Three Graces",
"bathing suits",
"fiberglass",
"mosaic",
"Niki de Saint Phalle"
] |
|
13413_NT
|
Les Trois Grâces
|
Focus on this artwork and explain the Description.
|
In the classic style of Niki de Saint Phalle's work, Les Trois Grâces are three large sculptures of voluptuous women (a creation that de Saint Phalle calls a 'Nana') who appear to be dancing. Made of fiberglass, one Nana is covered in white, one yellow and the other is black mosaic tiles, ranging in heights of 12 to 15 feet (3.7 to 4.6 m). They all wear elaborate bathing suits in designs such as hearts, fish, and instruments, in multiple color schemes. A whimsical set of sculptures, the three figures have their arms raised as if ballet dancing; each has one foot on the ground and another raised up. They are Saint Phalle's own version of The Three Graces.Saint Phalle said that the works represented unity among the races.
|
[
"voluptuous",
"The Three Graces",
"bathing suits",
"fiberglass",
"mosaic",
"Niki de Saint Phalle"
] |
|
13414_T
|
Les Trois Grâces
|
Explore the New York Avenue Sculpture Project of this artwork, Les Trois Grâces.
|
Les Trois Grâces were the first of many sculptures being installed for the Project by the National Museum of Women in the Arts. By 2015 a selection of sculptures was to be installed along New York Avenue from 13th Street to 9th Street, in the heart of Mount Vernon Square. The museum's efforts were in part to bring "character" to an area where "there is a lot of good stuff going on", due to revitalization programs in the neighborhood. Saint Phalle's works, four in total, were the first in a series of installations. The installation of de Saint Phalle's iconic pop art works was intended to contrast with the traditional sculpture that graces the streets and squares of Washington.The entire selection of de Saint Phalle's works was removed during the winter for conservation purposes, intended to reappear in the Spring. They were to remain up for one year, before being returned to the artist's foundation.
|
[
"Mount Vernon Square",
"New York Avenue",
"National Museum of Women in the Arts",
"pop art"
] |
|
13414_NT
|
Les Trois Grâces
|
Explore the New York Avenue Sculpture Project of this artwork.
|
Les Trois Grâces were the first of many sculptures being installed for the Project by the National Museum of Women in the Arts. By 2015 a selection of sculptures was to be installed along New York Avenue from 13th Street to 9th Street, in the heart of Mount Vernon Square. The museum's efforts were in part to bring "character" to an area where "there is a lot of good stuff going on", due to revitalization programs in the neighborhood. Saint Phalle's works, four in total, were the first in a series of installations. The installation of de Saint Phalle's iconic pop art works was intended to contrast with the traditional sculpture that graces the streets and squares of Washington.The entire selection of de Saint Phalle's works was removed during the winter for conservation purposes, intended to reappear in the Spring. They were to remain up for one year, before being returned to the artist's foundation.
|
[
"Mount Vernon Square",
"New York Avenue",
"National Museum of Women in the Arts",
"pop art"
] |
|
13415_T
|
Les Trois Grâces
|
Focus on Les Trois Grâces and discuss the Dedication.
|
The works arrived and were installed in mid-April 2010 by way of flat-bed semi-truck. The pieces were removed from their custom crates, handled and installed by hand.Les Trois Grâces, along with the other de Saint Phalle sculptures in the project, were dedicated at 1:30 pm on April 28, 2010., with an evening reception within the museum. Jill Biden, Eleanor Holmes Norton, Jack Evans, National Museum of Women in the Arts founder Wilhelmina Holladay and Saint Phalle's granddaughter Bloum Cardenas, along with members of the DC Business Improvement District, District of Columbia Department of Transportation, DC Office of the Planning, and other guests attended the ribbon cutting.
|
[
"Wilhelmina Holladay",
"National Museum of Women in the Arts",
"Jill Biden",
"Eleanor Holmes Norton",
"Bloum Cardenas",
"District of Columbia Department of Transportation",
"Jack Evans"
] |
|
13415_NT
|
Les Trois Grâces
|
Focus on this artwork and discuss the Dedication.
|
The works arrived and were installed in mid-April 2010 by way of flat-bed semi-truck. The pieces were removed from their custom crates, handled and installed by hand.Les Trois Grâces, along with the other de Saint Phalle sculptures in the project, were dedicated at 1:30 pm on April 28, 2010., with an evening reception within the museum. Jill Biden, Eleanor Holmes Norton, Jack Evans, National Museum of Women in the Arts founder Wilhelmina Holladay and Saint Phalle's granddaughter Bloum Cardenas, along with members of the DC Business Improvement District, District of Columbia Department of Transportation, DC Office of the Planning, and other guests attended the ribbon cutting.
|
[
"Wilhelmina Holladay",
"National Museum of Women in the Arts",
"Jill Biden",
"Eleanor Holmes Norton",
"Bloum Cardenas",
"District of Columbia Department of Transportation",
"Jack Evans"
] |
|
13416_T
|
Les Trois Grâces
|
How does Les Trois Grâces elucidate its Critical reception?
|
The Washington Post's Jacqueline Trescott described Les Trois Grâces as a "splash of pop art, as exaggerated as Las Vegas showgirls". Fellow Post writer and art critic Blake Gopnik described the pieces as being "less weighty than what we hope to find inside our museums", characterizing them as plop art.
|
[
"The Washington Post",
"art critic",
"plop art",
"Jacqueline Trescott",
"Blake Gopnik",
"pop art",
"showgirl"
] |
|
13416_NT
|
Les Trois Grâces
|
How does this artwork elucidate its Critical reception?
|
The Washington Post's Jacqueline Trescott described Les Trois Grâces as a "splash of pop art, as exaggerated as Las Vegas showgirls". Fellow Post writer and art critic Blake Gopnik described the pieces as being "less weighty than what we hope to find inside our museums", characterizing them as plop art.
|
[
"The Washington Post",
"art critic",
"plop art",
"Jacqueline Trescott",
"Blake Gopnik",
"pop art",
"showgirl"
] |
|
13417_T
|
Breezing Up (A Fair Wind)
|
Focus on Breezing Up (A Fair Wind) and analyze the abstract.
|
Breezing Up (A Fair Wind) is an oil painting by American artist Winslow Homer. It depicts a catboat called the Gloucester chopping through that city's harbor under "a fair wind" (Homer's original title). Inside the boat are a man, three boys, and their catch.
|
[
"catboat",
"Winslow Homer"
] |
|
13417_NT
|
Breezing Up (A Fair Wind)
|
Focus on this artwork and analyze the abstract.
|
Breezing Up (A Fair Wind) is an oil painting by American artist Winslow Homer. It depicts a catboat called the Gloucester chopping through that city's harbor under "a fair wind" (Homer's original title). Inside the boat are a man, three boys, and their catch.
|
[
"catboat",
"Winslow Homer"
] |
|
13418_T
|
Breezing Up (A Fair Wind)
|
In Breezing Up (A Fair Wind), how is the Background discussed?
|
Homer began the canvas in New York in 1873, after he had visited Gloucester, Massachusetts, where he first worked in watercolor. He used the sketches made there, of which the most closely related is Sailing the Catboat (1873), for the oil painting, which he worked on over three years. Infrared reflectography has revealed the many changes he made to the composition during this time, including the removal of a fourth boy near the mast and a second schooner in the distance. At one point the adult held both the sheet and the tiller, a position initially adapted from an oil study of 1874 titled The Flirt. The painting's message is positive; despite the choppy waves, the boaters look relaxed. The anchor that replaced the boy in the bow was understood to symbolize hope. The boy holding the tiller looks forward to the horizon, a statement of optimism about his future and that of the young United States.
The finished work indicates that the significant influence of Japanese art on Western painters in the 19th century also touched Homer, particularly in the compositional balance between the left (active) and right (sparse) halves. Homer had visited France in 1866 and 1867, and the influence of marine scenes by the French painters Gustave Courbet and Claude Monet is apparent as well. Not all of Homer's sea pictures are so benevolent as Breezing Up: he portrayed waves crashing ashore as did Courbet (see for example The Wave, c. 1869). Monet's relatively early paintings Seascape: Storm (1867) and The Green Wave (1866) show boats on somewhat turbulent seas.Completed in the centennial year 1876, the painting was first exhibited at the National Academy of Design that year, then at the Centennial Exposition in Philadelphia. By 1879, it had come to be known as Breezing Up, a title that was not the artist's but one which he did not seem to object to. A contemporary critic described the painting: "It is painted in [Homer's] customary coarse and negligé style, but suggests with unmistakable force the life and motion of a breezy summer day off the coast. The fishing boat, bending to the wind, seems actually to cleave the waves. There is no truer or heartier work in the exhibition." Another wrote, "Much has already been said in praise of the easy, elastic motion of the figures of the party in the sailboat, which is scudding along through blue water under 'a fair wind.' They sway with the rolling boat, and relax or grow rigid as the light keel rises or sinks upon the waves. Every person who has been similarly situated can recall how, involuntarily, his back stiffened or his knees bent as he felt the roll of the waves beneath him."Today, Breezing Up is considered an iconic American painting, and among Homer's finest. The National Gallery of Art purchased the work in 1943, described by the institution's web site as "one of the best-known and most beloved artistic images of life in nineteenth-century America."
|
[
"The Wave",
"National Gallery of Art",
"waves crashing ashore",
"Gustave Courbet",
"choppy waves",
"National Academy of Design",
"The Green Wave",
"reflectography",
"Catboat",
"Gloucester, Massachusetts",
"Japanese art",
"Claude Monet",
"Centennial Exposition",
"Seascape: Storm",
"tiller"
] |
|
13418_NT
|
Breezing Up (A Fair Wind)
|
In this artwork, how is the Background discussed?
|
Homer began the canvas in New York in 1873, after he had visited Gloucester, Massachusetts, where he first worked in watercolor. He used the sketches made there, of which the most closely related is Sailing the Catboat (1873), for the oil painting, which he worked on over three years. Infrared reflectography has revealed the many changes he made to the composition during this time, including the removal of a fourth boy near the mast and a second schooner in the distance. At one point the adult held both the sheet and the tiller, a position initially adapted from an oil study of 1874 titled The Flirt. The painting's message is positive; despite the choppy waves, the boaters look relaxed. The anchor that replaced the boy in the bow was understood to symbolize hope. The boy holding the tiller looks forward to the horizon, a statement of optimism about his future and that of the young United States.
The finished work indicates that the significant influence of Japanese art on Western painters in the 19th century also touched Homer, particularly in the compositional balance between the left (active) and right (sparse) halves. Homer had visited France in 1866 and 1867, and the influence of marine scenes by the French painters Gustave Courbet and Claude Monet is apparent as well. Not all of Homer's sea pictures are so benevolent as Breezing Up: he portrayed waves crashing ashore as did Courbet (see for example The Wave, c. 1869). Monet's relatively early paintings Seascape: Storm (1867) and The Green Wave (1866) show boats on somewhat turbulent seas.Completed in the centennial year 1876, the painting was first exhibited at the National Academy of Design that year, then at the Centennial Exposition in Philadelphia. By 1879, it had come to be known as Breezing Up, a title that was not the artist's but one which he did not seem to object to. A contemporary critic described the painting: "It is painted in [Homer's] customary coarse and negligé style, but suggests with unmistakable force the life and motion of a breezy summer day off the coast. The fishing boat, bending to the wind, seems actually to cleave the waves. There is no truer or heartier work in the exhibition." Another wrote, "Much has already been said in praise of the easy, elastic motion of the figures of the party in the sailboat, which is scudding along through blue water under 'a fair wind.' They sway with the rolling boat, and relax or grow rigid as the light keel rises or sinks upon the waves. Every person who has been similarly situated can recall how, involuntarily, his back stiffened or his knees bent as he felt the roll of the waves beneath him."Today, Breezing Up is considered an iconic American painting, and among Homer's finest. The National Gallery of Art purchased the work in 1943, described by the institution's web site as "one of the best-known and most beloved artistic images of life in nineteenth-century America."
|
[
"The Wave",
"National Gallery of Art",
"waves crashing ashore",
"Gustave Courbet",
"choppy waves",
"National Academy of Design",
"The Green Wave",
"reflectography",
"Catboat",
"Gloucester, Massachusetts",
"Japanese art",
"Claude Monet",
"Centennial Exposition",
"Seascape: Storm",
"tiller"
] |
|
13419_T
|
Rejected (painting)
|
Focus on Rejected (painting) and explore the abstract.
|
Rejected is an 1883 painting by the Australian artist Tom Roberts. The painting depicts an early self portrait of Tom Roberts.The painting was featured in an episode of the BBC show Fake or Fortune?
|
[
"Fake or Fortune?",
"Tom Roberts"
] |
|
13419_NT
|
Rejected (painting)
|
Focus on this artwork and explore the abstract.
|
Rejected is an 1883 painting by the Australian artist Tom Roberts. The painting depicts an early self portrait of Tom Roberts.The painting was featured in an episode of the BBC show Fake or Fortune?
|
[
"Fake or Fortune?",
"Tom Roberts"
] |
|
13420_T
|
Commodus as Hercules
|
Focus on Commodus as Hercules and explain the abstract.
|
Commodus as Hercules, also known as The Bust of Commodus as Hercules, is a marble portrait sculpture created sometime in early 192 AD. It is housed in the Capitoline Museums in Rome, Italy. Originally discovered in 1874 in the underground chambers of Horti Lamiani, it has become one of the most famous examples of Roman portraiture to date.Commodus (31 August 161 AD – 31 December 192 AD) was Roman emperor from 180 to 192 and the son of the previous emperor, Marcus Aurelius. During his sole reign, he came to associate himself with the Greek hero, Herakles (whose myths were adopted in Rome under the name Hercules), eventually having a bust depicting him as the hero created near the end of his reign.
|
[
"Commodus",
"Roman emperor",
"Herakles",
"Horti Lamiani",
"Capitoline Museums",
"sculpture",
"Rome",
"marble",
"Roman",
"Italy",
"portrait",
"Marcus Aurelius",
"Greek",
"Hercules"
] |
|
13420_NT
|
Commodus as Hercules
|
Focus on this artwork and explain the abstract.
|
Commodus as Hercules, also known as The Bust of Commodus as Hercules, is a marble portrait sculpture created sometime in early 192 AD. It is housed in the Capitoline Museums in Rome, Italy. Originally discovered in 1874 in the underground chambers of Horti Lamiani, it has become one of the most famous examples of Roman portraiture to date.Commodus (31 August 161 AD – 31 December 192 AD) was Roman emperor from 180 to 192 and the son of the previous emperor, Marcus Aurelius. During his sole reign, he came to associate himself with the Greek hero, Herakles (whose myths were adopted in Rome under the name Hercules), eventually having a bust depicting him as the hero created near the end of his reign.
|
[
"Commodus",
"Roman emperor",
"Herakles",
"Horti Lamiani",
"Capitoline Museums",
"sculpture",
"Rome",
"marble",
"Roman",
"Italy",
"portrait",
"Marcus Aurelius",
"Greek",
"Hercules"
] |
|
13421_T
|
Commodus as Hercules
|
Explore the Symbolism of this artwork, Commodus as Hercules.
|
Here, the Roman Emperor has taken on the guise of the mythological hero, Hercules. He has been given the attributes of the hero: the skin of the Nemean lion placed over his head and his left arm, the club in his right hand, and the three golden apples of the Hesperides in his left hand. Each of these objects has been placed as a reminder of the hero's accomplishments, as well as allowing the Emperor to associate and refer to himself as the Roman Hercules.At the base of the sculpture, carved into the globe are the zodiacal signs of Taurus, Capricorn, and Scorpio. The meaning behind these symbols has been somewhat debated since the discovery of the sculpture, with interpretations ranging from purely astrological to calendric.
Evidence pointing towards the latter of these two ideas has been presented by Professor Robert Hannah of The University of Waikato, who suggested that these signs could represent the month of October, which the emperor had renamed after Hercules during his rule:In this way, the signs are interpreted as an indication of the month of October. October figured prominently at various stages of Commodus' life, and indeed was renamed after Hercules by the Emperor. This calendric interpretation can therefore be seen to emphasize the Herculean aspect of the portrait.
Other sources argue that the three signs instead are linked to the foundations of the city of Rome. In this case, Taurus refers the founding of Rome under Romulus, which took place traditionally on feast of the Parilia, the 21st of April; Capricorn represents Augustus, who regarded the sign as his; and finally Scorpio is the emperor himself, as the third "founder" of the city. This popular theory also can be seen as Commodus once more emphasizing his association with Hercules, as Scorpio falls in the month of October, which he had renamed after Hercules.Further decoration can be found surrounding the globe, from the kneeling Amazons to either side (one of whom has been lost), to the cornucopia entangled with a pelta. The pelta is decorated with eagles' heads and a Gorgoneion as symbols of the god Jupiter, the father of Hercules and tutelary god of Commodus. Believed to be for the purpose of celebration, this idea is furthered by the inclusion of two Tritons, which are believed to represent his apotheosis. Traces of gold on the two Triton figures suggest that the bust of Commodus was as well at least partially gilded.
|
[
"zodiac",
"Commodus",
"Jupiter",
"Amazons",
"Gorgoneion",
"sculpture",
"Nemean lion",
"Rome",
"cornucopia",
"pelta",
"god",
"Roman",
"calendric",
"Parilia",
"The University of Waikato",
"Romulus",
"Hesperides",
"apotheosis",
"Taurus",
"University of Waikato",
"portrait",
"astrological",
"Augustus",
"Triton",
"Scorpio",
"Capricorn",
"Hercules"
] |
|
13421_NT
|
Commodus as Hercules
|
Explore the Symbolism of this artwork.
|
Here, the Roman Emperor has taken on the guise of the mythological hero, Hercules. He has been given the attributes of the hero: the skin of the Nemean lion placed over his head and his left arm, the club in his right hand, and the three golden apples of the Hesperides in his left hand. Each of these objects has been placed as a reminder of the hero's accomplishments, as well as allowing the Emperor to associate and refer to himself as the Roman Hercules.At the base of the sculpture, carved into the globe are the zodiacal signs of Taurus, Capricorn, and Scorpio. The meaning behind these symbols has been somewhat debated since the discovery of the sculpture, with interpretations ranging from purely astrological to calendric.
Evidence pointing towards the latter of these two ideas has been presented by Professor Robert Hannah of The University of Waikato, who suggested that these signs could represent the month of October, which the emperor had renamed after Hercules during his rule:In this way, the signs are interpreted as an indication of the month of October. October figured prominently at various stages of Commodus' life, and indeed was renamed after Hercules by the Emperor. This calendric interpretation can therefore be seen to emphasize the Herculean aspect of the portrait.
Other sources argue that the three signs instead are linked to the foundations of the city of Rome. In this case, Taurus refers the founding of Rome under Romulus, which took place traditionally on feast of the Parilia, the 21st of April; Capricorn represents Augustus, who regarded the sign as his; and finally Scorpio is the emperor himself, as the third "founder" of the city. This popular theory also can be seen as Commodus once more emphasizing his association with Hercules, as Scorpio falls in the month of October, which he had renamed after Hercules.Further decoration can be found surrounding the globe, from the kneeling Amazons to either side (one of whom has been lost), to the cornucopia entangled with a pelta. The pelta is decorated with eagles' heads and a Gorgoneion as symbols of the god Jupiter, the father of Hercules and tutelary god of Commodus. Believed to be for the purpose of celebration, this idea is furthered by the inclusion of two Tritons, which are believed to represent his apotheosis. Traces of gold on the two Triton figures suggest that the bust of Commodus was as well at least partially gilded.
|
[
"zodiac",
"Commodus",
"Jupiter",
"Amazons",
"Gorgoneion",
"sculpture",
"Nemean lion",
"Rome",
"cornucopia",
"pelta",
"god",
"Roman",
"calendric",
"Parilia",
"The University of Waikato",
"Romulus",
"Hesperides",
"apotheosis",
"Taurus",
"University of Waikato",
"portrait",
"astrological",
"Augustus",
"Triton",
"Scorpio",
"Capricorn",
"Hercules"
] |
|
13422_T
|
Commodus as Hercules
|
Focus on Commodus as Hercules and discuss the Intent.
|
There is speculation about the Emperor's intent in creating depictions of himself as a godlike figure. Some sources say it was Commodus's desire to be not merely the protégé of Hercules, but a god, the incarnation, the epiphany of Hercules. Others claim instead that he simply desired to be the center of attention and show his intense appreciation for games and spectacles.Archaeologist and museum director Mortimer Wheeler suggested that although the bust would have been made for Commodus or someone close to him at the court, and the mythological topic decided by the patron, the artist was deliberately subverting the flattering subject and casting the flamboyant emperor in an ironic light: the contrast between the trappings of Hercules, the real hero (lion hide and club, etc.), and the "effeminate" and self-obsessed emperor shown in stone here is too grotesque to be taken only as an idolizing portrait, and the hidden intention becomes ironic. "The sculptor must have felt very sure of his ground, protected by the blind vanity of his sitter".
"There is one speculation that Commodus suffered a great tragedy. Based On sculpture and reference, there is reason to see that Commodus was blinded by a man and his betrothed was butchered before his very eyes. This is speculative, but the references made in marble tell all. There is reason to think he fell deeply in love with a chieftans daughter who was sacrificed as part of a war demonstration on the fontlines, where Commodus was kicked in the eye by a horse and was replaced with the eye of a sheep. The wound may have gotten infectious and Commodus could have succumbed. However he died while being taken to Rome. This speculation arises from an examination of Sargon of Akkad, c.2500bc."
|
[
"Commodus",
"sculpture",
"Mortimer Wheeler",
"Rome",
"marble",
"god",
"portrait",
"Hercules"
] |
|
13422_NT
|
Commodus as Hercules
|
Focus on this artwork and discuss the Intent.
|
There is speculation about the Emperor's intent in creating depictions of himself as a godlike figure. Some sources say it was Commodus's desire to be not merely the protégé of Hercules, but a god, the incarnation, the epiphany of Hercules. Others claim instead that he simply desired to be the center of attention and show his intense appreciation for games and spectacles.Archaeologist and museum director Mortimer Wheeler suggested that although the bust would have been made for Commodus or someone close to him at the court, and the mythological topic decided by the patron, the artist was deliberately subverting the flattering subject and casting the flamboyant emperor in an ironic light: the contrast between the trappings of Hercules, the real hero (lion hide and club, etc.), and the "effeminate" and self-obsessed emperor shown in stone here is too grotesque to be taken only as an idolizing portrait, and the hidden intention becomes ironic. "The sculptor must have felt very sure of his ground, protected by the blind vanity of his sitter".
"There is one speculation that Commodus suffered a great tragedy. Based On sculpture and reference, there is reason to see that Commodus was blinded by a man and his betrothed was butchered before his very eyes. This is speculative, but the references made in marble tell all. There is reason to think he fell deeply in love with a chieftans daughter who was sacrificed as part of a war demonstration on the fontlines, where Commodus was kicked in the eye by a horse and was replaced with the eye of a sheep. The wound may have gotten infectious and Commodus could have succumbed. However he died while being taken to Rome. This speculation arises from an examination of Sargon of Akkad, c.2500bc."
|
[
"Commodus",
"sculpture",
"Mortimer Wheeler",
"Rome",
"marble",
"god",
"portrait",
"Hercules"
] |
|
13423_T
|
Ka statue of king Hor
|
How does Ka statue of king Hor elucidate its abstract?
|
The Ka statue of King Hor dates to the Thirteenth Dynasty of Ancient Egypt around 1750 BC. It is now on display in the Egyptian Museum in Cairo and regarded as one of the major works of Egyptian art.
The statue was excavated in 1894 in the tomb of King Hor that was found by a team of excavators under the direction of Jacques de Morgan. The tomb is located close to the pyramid of Amenemhat III at Dahshur.
|
[
"Jacques de Morgan",
"Cairo",
"Ancient Egypt",
"Hor",
"Amenemhat III",
"Egyptian Museum",
"Dahshur",
"Ka",
"Thirteenth Dynasty"
] |
|
13423_NT
|
Ka statue of king Hor
|
How does this artwork elucidate its abstract?
|
The Ka statue of King Hor dates to the Thirteenth Dynasty of Ancient Egypt around 1750 BC. It is now on display in the Egyptian Museum in Cairo and regarded as one of the major works of Egyptian art.
The statue was excavated in 1894 in the tomb of King Hor that was found by a team of excavators under the direction of Jacques de Morgan. The tomb is located close to the pyramid of Amenemhat III at Dahshur.
|
[
"Jacques de Morgan",
"Cairo",
"Ancient Egypt",
"Hor",
"Amenemhat III",
"Egyptian Museum",
"Dahshur",
"Ka",
"Thirteenth Dynasty"
] |
|
13424_T
|
Ka statue of king Hor
|
Focus on Ka statue of king Hor and analyze the Significance.
|
Ancient Egyptians believed they had several types of souls or spirits. The Ka was the most important and the statue shows the king as his Ka. Dorothea Arnold observed that many offerings were found around the statue. She wonders whether the statue was once made for the king's cult temple. However the king reigned only very briefly; the temple was never built and the statue was placed into the tomb chamber.As an important work of art, the statue appears in many art histories of Ancient Egypt. W. Stevenson Smith sees in the figure an idealized naturalism, as other works of royal sculpture dating to about the late Twelfth Dynasty show often an elderly face, while that of Hor is idealized young.
|
[
"Dorothea Arnold",
"W. Stevenson Smith",
"Ancient Egypt",
"Hor",
"Ka"
] |
|
13424_NT
|
Ka statue of king Hor
|
Focus on this artwork and analyze the Significance.
|
Ancient Egyptians believed they had several types of souls or spirits. The Ka was the most important and the statue shows the king as his Ka. Dorothea Arnold observed that many offerings were found around the statue. She wonders whether the statue was once made for the king's cult temple. However the king reigned only very briefly; the temple was never built and the statue was placed into the tomb chamber.As an important work of art, the statue appears in many art histories of Ancient Egypt. W. Stevenson Smith sees in the figure an idealized naturalism, as other works of royal sculpture dating to about the late Twelfth Dynasty show often an elderly face, while that of Hor is idealized young.
|
[
"Dorothea Arnold",
"W. Stevenson Smith",
"Ancient Egypt",
"Hor",
"Ka"
] |
|
13425_T
|
Nødhavn Ved Norskekysten
|
In Nødhavn Ved Norskekysten, how is the abstract discussed?
|
Nødhavn Ved Norskekysten (English translation: Port of Refuge on the Norwegian Coast or Norwegian Harbor of Refuge) is a painting by Norwegian romanticist painter Hans Gude completed in 1873.
|
[
"romanticist",
"Norwegian",
"English translation",
"Hans Gude"
] |
|
13425_NT
|
Nødhavn Ved Norskekysten
|
In this artwork, how is the abstract discussed?
|
Nødhavn Ved Norskekysten (English translation: Port of Refuge on the Norwegian Coast or Norwegian Harbor of Refuge) is a painting by Norwegian romanticist painter Hans Gude completed in 1873.
|
[
"romanticist",
"Norwegian",
"English translation",
"Hans Gude"
] |
|
13426_T
|
Nødhavn Ved Norskekysten
|
Focus on Nødhavn Ved Norskekysten and explore the Exhibition history.
|
The painting was first shown at the World Exhibition in Vienna in 1873 where it won a gold medal. It was later displayed at an international exhibition of art at the Academy of Art in Berlin in 1896 while Gude was a professor at the Academy, and yet later still it was shown in Dresden in 1904, the year after Gude's death.
|
[
"Academy of Art in Berlin",
"Dresden",
"World Exhibition",
"Vienna"
] |
|
13426_NT
|
Nødhavn Ved Norskekysten
|
Focus on this artwork and explore the Exhibition history.
|
The painting was first shown at the World Exhibition in Vienna in 1873 where it won a gold medal. It was later displayed at an international exhibition of art at the Academy of Art in Berlin in 1896 while Gude was a professor at the Academy, and yet later still it was shown in Dresden in 1904, the year after Gude's death.
|
[
"Academy of Art in Berlin",
"Dresden",
"World Exhibition",
"Vienna"
] |
|
13427_T
|
Nødhavn Ved Norskekysten
|
Focus on Nødhavn Ved Norskekysten and explain the Scene and style.
|
The painting shows a realistic rendering of a storm hitting a Norwegian harbor, with a brig stranded in the distant breakers. The painting is divided into a foreground, where women and children watch the rescue effort; a middle ground, where various moored ships bob in the strong waves; and a background, where wavelike rocks enclose the refuge point and bring the eye down to the stranded brig. The colors used are predominantly the blue-grey of the sea and the beige of the reflections on the sea which serve to unify the piece. Various elements of the scene including the waterfront buildings, the groups of figures, and the departing rowboat, would be reused by Gude in later works.
|
[
"brig",
"grey",
"Norwegian",
"realistic",
"beige",
"blue",
"rowboat"
] |
|
13427_NT
|
Nødhavn Ved Norskekysten
|
Focus on this artwork and explain the Scene and style.
|
The painting shows a realistic rendering of a storm hitting a Norwegian harbor, with a brig stranded in the distant breakers. The painting is divided into a foreground, where women and children watch the rescue effort; a middle ground, where various moored ships bob in the strong waves; and a background, where wavelike rocks enclose the refuge point and bring the eye down to the stranded brig. The colors used are predominantly the blue-grey of the sea and the beige of the reflections on the sea which serve to unify the piece. Various elements of the scene including the waterfront buildings, the groups of figures, and the departing rowboat, would be reused by Gude in later works.
|
[
"brig",
"grey",
"Norwegian",
"realistic",
"beige",
"blue",
"rowboat"
] |
|
13428_T
|
Nødhavn Ved Norskekysten
|
Explore the Ownership of this artwork, Nødhavn Ved Norskekysten.
|
In 1875, the painting was purchased by the Bremen Art Society, although Gude incorrectly identifies them as the Stadtgalerie Bremen in his notes about the sale. In 1907 the painting was transferred to the Kunsthalle Bremen. In 1920 the painting was auctioned off due in part to changing tastes in art and the painting's large size (4.78 m2 or 51.5 sq ft) which made it difficult to store. In 1932 the painting was auctioned off again in Oslo where it was purchased by its current owner.
|
[
"Kunsthalle Bremen",
"Oslo",
"Stadtgalerie Bremen"
] |
|
13428_NT
|
Nødhavn Ved Norskekysten
|
Explore the Ownership of this artwork.
|
In 1875, the painting was purchased by the Bremen Art Society, although Gude incorrectly identifies them as the Stadtgalerie Bremen in his notes about the sale. In 1907 the painting was transferred to the Kunsthalle Bremen. In 1920 the painting was auctioned off due in part to changing tastes in art and the painting's large size (4.78 m2 or 51.5 sq ft) which made it difficult to store. In 1932 the painting was auctioned off again in Oslo where it was purchased by its current owner.
|
[
"Kunsthalle Bremen",
"Oslo",
"Stadtgalerie Bremen"
] |
|
13429_T
|
Homage to the Square
|
Focus on Homage to the Square and discuss the abstract.
|
Homage to the Square is the title of a series of paintings produced by Josef Albers between 1950 and his death in 1976. In 1971, the paintings were the subject of the first solo show devoted to a living artist at the Metropolitan Museum of Art. There are over 1000 works within the series.
|
[
"Metropolitan Museum of Art",
"Josef Albers"
] |
|
13429_NT
|
Homage to the Square
|
Focus on this artwork and discuss the abstract.
|
Homage to the Square is the title of a series of paintings produced by Josef Albers between 1950 and his death in 1976. In 1971, the paintings were the subject of the first solo show devoted to a living artist at the Metropolitan Museum of Art. There are over 1000 works within the series.
|
[
"Metropolitan Museum of Art",
"Josef Albers"
] |
|
13430_T
|
Homage to the Square
|
How does Homage to the Square elucidate its Description?
|
All of the paintings in the series show either three or four nested squares of color. The position of the interior squares is determined by a regular schema, with the margin below the square being smaller than the space above it. The works range in size from 406 x 406 mm to 1.22 x 1.22 meters.
|
[] |
|
13430_NT
|
Homage to the Square
|
How does this artwork elucidate its Description?
|
All of the paintings in the series show either three or four nested squares of color. The position of the interior squares is determined by a regular schema, with the margin below the square being smaller than the space above it. The works range in size from 406 x 406 mm to 1.22 x 1.22 meters.
|
[] |
|
13431_T
|
Homage to the Square
|
Focus on Homage to the Square and analyze the Process of creation.
|
Albers created the works under carefully controlled conditions to ensure uniformity across the series. He always painted the works on the rough side of Masonite panels. The panels were always covered with at least six coats of a white primer. Albers also controlled the lighting in the studio using fluorescent lights, which he arranged above his work table according to different patterns of light temperature. Albers used unmixed paint, directly from the tube. He applied it with his palette knife, generally beginning work on the central square and moving out toward the edge of the panel.
|
[
"palette knife",
"Masonite",
"light temperature"
] |
|
13431_NT
|
Homage to the Square
|
Focus on this artwork and analyze the Process of creation.
|
Albers created the works under carefully controlled conditions to ensure uniformity across the series. He always painted the works on the rough side of Masonite panels. The panels were always covered with at least six coats of a white primer. Albers also controlled the lighting in the studio using fluorescent lights, which he arranged above his work table according to different patterns of light temperature. Albers used unmixed paint, directly from the tube. He applied it with his palette knife, generally beginning work on the central square and moving out toward the edge of the panel.
|
[
"palette knife",
"Masonite",
"light temperature"
] |
|
13432_T
|
Homage to the Square
|
In Homage to the Square, how is the Examples discussed?
|
Examples of paintings from the series include: Homage to the Square: Ascending (1953), Whitney Museum
Homage to the Square: Soft Spoken (1969), Metropolitan Museum of Art
|
[
"Whitney Museum",
"Metropolitan Museum of Art"
] |
|
13432_NT
|
Homage to the Square
|
In this artwork, how is the Examples discussed?
|
Examples of paintings from the series include: Homage to the Square: Ascending (1953), Whitney Museum
Homage to the Square: Soft Spoken (1969), Metropolitan Museum of Art
|
[
"Whitney Museum",
"Metropolitan Museum of Art"
] |
|
13433_T
|
Joan of Arc Kissing the Sword of Deliverance
|
Focus on Joan of Arc Kissing the Sword of Deliverance and explore the abstract.
|
Joan of Arc Kissing the Sword of Deliverance is a 1863 painting by the English artist Dante Gabriel Rossetti. It was bought for the Strasbourg Museum of Modern and Contemporary Art (MAMCS) at the Piccadilly Gallery in 1996, as the first Rossetti painting ever bought by a French museum. Its inventory number is 55.996.8.1.The model for the painting has a noticeably big chin and strong neck. She may have been a Mrs. Beyer from Germany, or an acquaintance of Rossetti's named Agnes Manetti. The painting is on permanent loan from the MAMCS to the Musée des Beaux-Arts in Palais Rohan.
|
[
"Palais Rohan",
"Dante Gabriel Rossetti",
"French",
"English",
"Musée des Beaux-Arts",
"Joan of Arc",
"Strasbourg",
"Strasbourg Museum of Modern and Contemporary Art",
"Germany",
"Piccadilly Gallery"
] |
|
13433_NT
|
Joan of Arc Kissing the Sword of Deliverance
|
Focus on this artwork and explore the abstract.
|
Joan of Arc Kissing the Sword of Deliverance is a 1863 painting by the English artist Dante Gabriel Rossetti. It was bought for the Strasbourg Museum of Modern and Contemporary Art (MAMCS) at the Piccadilly Gallery in 1996, as the first Rossetti painting ever bought by a French museum. Its inventory number is 55.996.8.1.The model for the painting has a noticeably big chin and strong neck. She may have been a Mrs. Beyer from Germany, or an acquaintance of Rossetti's named Agnes Manetti. The painting is on permanent loan from the MAMCS to the Musée des Beaux-Arts in Palais Rohan.
|
[
"Palais Rohan",
"Dante Gabriel Rossetti",
"French",
"English",
"Musée des Beaux-Arts",
"Joan of Arc",
"Strasbourg",
"Strasbourg Museum of Modern and Contemporary Art",
"Germany",
"Piccadilly Gallery"
] |
|
13434_T
|
Young Man with an Apple (Raphael)
|
Focus on Young Man with an Apple (Raphael) and explain the abstract.
|
The Young Man with an Apple is an oil on poplar painting by the Italian High Renaissance painter Raphael, executed c. 1505. It is housed in the Uffizi Gallery in Florence. Most probably made for the della Rovere/Montefeltro family in Urbino, it is often thought to be the portrait of Francesco Maria I della Rovere, grandson of Federico da Montefeltro and future Duke of Urbino through an adoption arranged in 1504 by his uncle, pope Julius II.
|
[
"Italian",
"Uffizi Gallery",
"Florence",
"High Renaissance",
"Raphael",
"Uffizi"
] |
|
13434_NT
|
Young Man with an Apple (Raphael)
|
Focus on this artwork and explain the abstract.
|
The Young Man with an Apple is an oil on poplar painting by the Italian High Renaissance painter Raphael, executed c. 1505. It is housed in the Uffizi Gallery in Florence. Most probably made for the della Rovere/Montefeltro family in Urbino, it is often thought to be the portrait of Francesco Maria I della Rovere, grandson of Federico da Montefeltro and future Duke of Urbino through an adoption arranged in 1504 by his uncle, pope Julius II.
|
[
"Italian",
"Uffizi Gallery",
"Florence",
"High Renaissance",
"Raphael",
"Uffizi"
] |
|
13435_T
|
The Good Fortune Unicorn
|
Explore the abstract of this artwork, The Good Fortune Unicorn.
|
The Good Fortune Unicorn (Spanish: "El Unicornio de la Buena Fortuna") is a sculpture by Anibal Riebeling, installed along Puerto Vallarta's Malecón, in the Mexican state of Jalisco. According to Fodor's, "Its sleek and curvy shape makes it look like a natural part of the malecón."
|
[
"Anibal Riebeling",
"Fodor's",
"Puerto Vallarta",
"Jalisco",
"Malecón"
] |
|
13435_NT
|
The Good Fortune Unicorn
|
Explore the abstract of this artwork.
|
The Good Fortune Unicorn (Spanish: "El Unicornio de la Buena Fortuna") is a sculpture by Anibal Riebeling, installed along Puerto Vallarta's Malecón, in the Mexican state of Jalisco. According to Fodor's, "Its sleek and curvy shape makes it look like a natural part of the malecón."
|
[
"Anibal Riebeling",
"Fodor's",
"Puerto Vallarta",
"Jalisco",
"Malecón"
] |
|
13436_T
|
Statue of Sun Yat-sen (Seattle)
|
Focus on Statue of Sun Yat-sen (Seattle) and discuss the abstract.
|
A statue of Sun Yat-sen was installed in Seattle, in the U.S. state of Washington, in 2018.
|
[
"Seattle",
"U.S. state",
"Washington",
"Sun Yat-sen"
] |
|
13436_NT
|
Statue of Sun Yat-sen (Seattle)
|
Focus on this artwork and discuss the abstract.
|
A statue of Sun Yat-sen was installed in Seattle, in the U.S. state of Washington, in 2018.
|
[
"Seattle",
"U.S. state",
"Washington",
"Sun Yat-sen"
] |
|
13437_T
|
Rembrandt Laughing
|
How does Rembrandt Laughing elucidate its abstract?
|
Rembrandt Laughing is a c. 1628 oil on copper painting by the Dutch painter Rembrandt van Rijn. It is an elaborate study of a laughing face, a tronie, and, since it represents the painter himself, one of over 40 self-portraits by Rembrandt, probably the earliest elaborate one.
The painting, which was only recently discovered, is now in the J. Paul Getty Museum, California.
|
[
"California",
"tronie",
"Rembrandt van Rijn",
"Dutch",
"Rembrandt",
"J. Paul Getty Museum",
"self-portraits by Rembrandt",
"copper"
] |
|
13437_NT
|
Rembrandt Laughing
|
How does this artwork elucidate its abstract?
|
Rembrandt Laughing is a c. 1628 oil on copper painting by the Dutch painter Rembrandt van Rijn. It is an elaborate study of a laughing face, a tronie, and, since it represents the painter himself, one of over 40 self-portraits by Rembrandt, probably the earliest elaborate one.
The painting, which was only recently discovered, is now in the J. Paul Getty Museum, California.
|
[
"California",
"tronie",
"Rembrandt van Rijn",
"Dutch",
"Rembrandt",
"J. Paul Getty Museum",
"self-portraits by Rembrandt",
"copper"
] |
|
13438_T
|
Rembrandt Laughing
|
Focus on Rembrandt Laughing and analyze the Description.
|
The painting shows a laughing man, bareheaded, with his head tilted back, dressed in a deep purple robe, surrounded by a rougher brown woolen cape. He also wears a polished metal gorget, a piece of armor which is protecting the throat. The man's face has the features of the young Rembrandt, shown as a laughing soldier. His hair is long, "fluffy", light and dark blond, as in other Rembrandt portraits of the period (e.g. Self-Portrait in a Gorget in Nuremberg). He is looking directly at the viewer. The brushwork is sure, sensitive, spontaneous and bold, sometimes precise, sometimes broad and loose, and it clearly reveals the hand of a genius, who precisely knows how to best capture the transitory reaction of laughing.
|
[
"Gorget",
"Rembrandt",
"Self-Portrait in a Gorget",
"gorget"
] |
|
13438_NT
|
Rembrandt Laughing
|
Focus on this artwork and analyze the Description.
|
The painting shows a laughing man, bareheaded, with his head tilted back, dressed in a deep purple robe, surrounded by a rougher brown woolen cape. He also wears a polished metal gorget, a piece of armor which is protecting the throat. The man's face has the features of the young Rembrandt, shown as a laughing soldier. His hair is long, "fluffy", light and dark blond, as in other Rembrandt portraits of the period (e.g. Self-Portrait in a Gorget in Nuremberg). He is looking directly at the viewer. The brushwork is sure, sensitive, spontaneous and bold, sometimes precise, sometimes broad and loose, and it clearly reveals the hand of a genius, who precisely knows how to best capture the transitory reaction of laughing.
|
[
"Gorget",
"Rembrandt",
"Self-Portrait in a Gorget",
"gorget"
] |
|
13439_T
|
Rembrandt Laughing
|
In Rembrandt Laughing, how is the History of the painting discussed?
|
Similar to many other Dutch paintings of the 17th century, the early stage of this painting's life in Holland, after it left Rembrandt's Leiden studio in which it was created, is not known. Still, the painting was previously known from the late 18th, or, more probably, early 19th century print by Flemish engraver Lambertus Antonius Claessens, who reproduced it as a work by Franz Hals.In the 18th or 19th century it was owned by a French collector who wrote an inscription on its back: "Democrite Philosophe [?] son [?] profonde meditation des (de?) [?] faiblesses (?) [?] tous ensemble. Nous concevons mille différ? nous formons mille projets que nous ne (?) pouvons executer. C?est une espece de folie r[?] ce Philosophe Je (se?) ris." Despite that explanation, the painting is probably not representing Rembrandt as the laughing philosopher Democritus, because in the Dutch painting of the period, he is regularly shown with a globe. After that, the painting was lost, and its whereabouts unknown.
Thanks to the Claessen's print, it was mentioned in 1933 in Kurt Bauch's book on Rembrandt, and even before that, in Ernest Wilhelm Moes's book on Dutch painting.In 2007, it suddenly appeared in an auction in Gloucestershire, England, but just as the work of "a follower of Rembrandt". The reason was that although photos of the painting had been emailed to the experts at the Rijksmuseum in Amsterdam before the sale, "their response was pretty dismissive", as auctioneer Philip Allwood has said. So the painting was estimated at just £1000-1500, but was sold for £2.2 m.In 2013 the painting was sold to the Getty Museum in California for £16.5m
|
[
"Amsterdam",
"Democritus",
"Gloucestershire",
"California",
"Dutch",
"Rembrandt",
"Franz Hals",
"Lambertus Antonius Claessens",
"Rijksmuseum",
"globe"
] |
|
13439_NT
|
Rembrandt Laughing
|
In this artwork, how is the History of the painting discussed?
|
Similar to many other Dutch paintings of the 17th century, the early stage of this painting's life in Holland, after it left Rembrandt's Leiden studio in which it was created, is not known. Still, the painting was previously known from the late 18th, or, more probably, early 19th century print by Flemish engraver Lambertus Antonius Claessens, who reproduced it as a work by Franz Hals.In the 18th or 19th century it was owned by a French collector who wrote an inscription on its back: "Democrite Philosophe [?] son [?] profonde meditation des (de?) [?] faiblesses (?) [?] tous ensemble. Nous concevons mille différ? nous formons mille projets que nous ne (?) pouvons executer. C?est une espece de folie r[?] ce Philosophe Je (se?) ris." Despite that explanation, the painting is probably not representing Rembrandt as the laughing philosopher Democritus, because in the Dutch painting of the period, he is regularly shown with a globe. After that, the painting was lost, and its whereabouts unknown.
Thanks to the Claessen's print, it was mentioned in 1933 in Kurt Bauch's book on Rembrandt, and even before that, in Ernest Wilhelm Moes's book on Dutch painting.In 2007, it suddenly appeared in an auction in Gloucestershire, England, but just as the work of "a follower of Rembrandt". The reason was that although photos of the painting had been emailed to the experts at the Rijksmuseum in Amsterdam before the sale, "their response was pretty dismissive", as auctioneer Philip Allwood has said. So the painting was estimated at just £1000-1500, but was sold for £2.2 m.In 2013 the painting was sold to the Getty Museum in California for £16.5m
|
[
"Amsterdam",
"Democritus",
"Gloucestershire",
"California",
"Dutch",
"Rembrandt",
"Franz Hals",
"Lambertus Antonius Claessens",
"Rijksmuseum",
"globe"
] |
|
13440_T
|
Boy on the Rocks
|
Focus on Boy on the Rocks and explore the abstract.
|
Boy On The Rocks (French: Garçon sur les rochers) is a painting by French artist Henri Rousseau. It is an oil on canvas and was created sometime between 1895 and 1897. The painting was purchased by art collector Chester Dale in 1927 and was subsequently bequeathed to the National Gallery of Art in Washington, D.C. in 1963.Rousseau's work has been described as having a "mysterious poetry" and a "dreamlike force".
According to Nicolas Pioch's comments on the painting:"Only a child can so bestride the world with such ease, and only a childlike artist with a simple, naïve vision can understand this elevation and make us see it as dauntingly true."
The painting was used on the cover of the May 19, 1999, issue of the Journal of the American Medical Association.
|
[
"Washington, D.C.",
"Chester Dale",
"painting",
"National Gallery of Art",
"Henri Rousseau",
"Journal of the American Medical Association",
"Nicolas Pioch"
] |
|
13440_NT
|
Boy on the Rocks
|
Focus on this artwork and explore the abstract.
|
Boy On The Rocks (French: Garçon sur les rochers) is a painting by French artist Henri Rousseau. It is an oil on canvas and was created sometime between 1895 and 1897. The painting was purchased by art collector Chester Dale in 1927 and was subsequently bequeathed to the National Gallery of Art in Washington, D.C. in 1963.Rousseau's work has been described as having a "mysterious poetry" and a "dreamlike force".
According to Nicolas Pioch's comments on the painting:"Only a child can so bestride the world with such ease, and only a childlike artist with a simple, naïve vision can understand this elevation and make us see it as dauntingly true."
The painting was used on the cover of the May 19, 1999, issue of the Journal of the American Medical Association.
|
[
"Washington, D.C.",
"Chester Dale",
"painting",
"National Gallery of Art",
"Henri Rousseau",
"Journal of the American Medical Association",
"Nicolas Pioch"
] |
|
13441_T
|
Christ on the Cross Adored by Two Donors
|
Focus on Christ on the Cross Adored by Two Donors and explain the abstract.
|
Christ on the Cross Adored by Two Donors is a c.1590 oil on canvas painting by El Greco, now in the Louvre, Paris.Intended for a chapel in the Hieronymite monastery in Toledo, it was commissioned by one of the two figures shown beneath the cross in the places usually occupied by the Virgin Mary and St John the Evangelist. These had previously been identified as the Covarrubias brothers, sons of the architect Alonso de Covarrubias, but now they are believed to be Dionisio Melgar on the left and an unknown inhabitant of Toledo (possibly Blas de Fuentechada or Pablo Rodríguez de Belalcázar) on the right. Melgar was a canon of the aforementioned monastery and may have been one of the commissioners. It was still in the monastery in 1715, but was acquired by Louis Philippe of France in the 19th century. It appeared in the 1908 autumn salon in Paris, where it was acquired by its present owners.
|
[
"Alonso de Covarrubias",
"Louvre",
"Hieronymite",
"Louis Philippe of France",
"El Greco",
"Toledo"
] |
|
13441_NT
|
Christ on the Cross Adored by Two Donors
|
Focus on this artwork and explain the abstract.
|
Christ on the Cross Adored by Two Donors is a c.1590 oil on canvas painting by El Greco, now in the Louvre, Paris.Intended for a chapel in the Hieronymite monastery in Toledo, it was commissioned by one of the two figures shown beneath the cross in the places usually occupied by the Virgin Mary and St John the Evangelist. These had previously been identified as the Covarrubias brothers, sons of the architect Alonso de Covarrubias, but now they are believed to be Dionisio Melgar on the left and an unknown inhabitant of Toledo (possibly Blas de Fuentechada or Pablo Rodríguez de Belalcázar) on the right. Melgar was a canon of the aforementioned monastery and may have been one of the commissioners. It was still in the monastery in 1715, but was acquired by Louis Philippe of France in the 19th century. It appeared in the 1908 autumn salon in Paris, where it was acquired by its present owners.
|
[
"Alonso de Covarrubias",
"Louvre",
"Hieronymite",
"Louis Philippe of France",
"El Greco",
"Toledo"
] |
|
13442_T
|
Noli me tangere (Sustris)
|
Explore the abstract of this artwork, Noli me tangere (Sustris).
|
Noli me tangere or Christ Appearing As A Gardener To Mary Magdalene is a 1548-1560 painting by the Flemish painter Lambert Sustris. It is now in the Palais des beaux-arts de Lille.
It shows the eponymous scene from the Gospel of John, set in a Renaissance-style garden with geometric parterres, a fountain, a covered passageway and a cloister. Wearing a sumptuous gold and silver damask robe, Mary Magdalene kneels before Christ, holding her left hand to her breast and her right on an alabaster vase. He leans on a hoe and points to the sky, whilst a white bindweed around the trunk of the tree behind him symbolises the fall of sin. A woman's shadow stretches along the passageway, possibly symbolising Mary's spreading the news of the Resurrection to the Twelve Apostles.
|
[
"Lille",
"Mary Magdalene",
"Noli me tangere",
"parterre",
"Sustris",
"alabaster",
"Palais des beaux-arts",
"Palais des beaux-arts de Lille",
"eponymous scene",
"Lambert Sustris",
"damask",
"Gospel of John"
] |
|
13442_NT
|
Noli me tangere (Sustris)
|
Explore the abstract of this artwork.
|
Noli me tangere or Christ Appearing As A Gardener To Mary Magdalene is a 1548-1560 painting by the Flemish painter Lambert Sustris. It is now in the Palais des beaux-arts de Lille.
It shows the eponymous scene from the Gospel of John, set in a Renaissance-style garden with geometric parterres, a fountain, a covered passageway and a cloister. Wearing a sumptuous gold and silver damask robe, Mary Magdalene kneels before Christ, holding her left hand to her breast and her right on an alabaster vase. He leans on a hoe and points to the sky, whilst a white bindweed around the trunk of the tree behind him symbolises the fall of sin. A woman's shadow stretches along the passageway, possibly symbolising Mary's spreading the news of the Resurrection to the Twelve Apostles.
|
[
"Lille",
"Mary Magdalene",
"Noli me tangere",
"parterre",
"Sustris",
"alabaster",
"Palais des beaux-arts",
"Palais des beaux-arts de Lille",
"eponymous scene",
"Lambert Sustris",
"damask",
"Gospel of John"
] |
|
13443_T
|
Noli me tangere (Sustris)
|
Focus on Noli me tangere (Sustris) and discuss the History.
|
It was produced during Sustris' first or second stay in Augsburg, probably for count Fugger of Kirschberg and Weissenhorn, whose coat of arms are in the bottom left of the work. Around the time of his stay there the artist assimilated the Italian style and combined the Venetian style with the mannerism of Francesco Salviati and Parmigianino. This and other works of that period by him show the influence of Titian, with whom Sustris had collaborated since 1540, and anticipated Paolo Veronese's 1560s compositions.It was then acquired by a rich banker and collector, Everhard Jabach, who sold it to Louis XIV in 1671. Louis put it in the Salon des Bassans at the château de Versailles, near the entrance to his bedroom. After the Chaptal Decree of 1801 the French state assigned the painting (then attributed to Dosso Dossi) to the museum in Lille. It was re-attributed to Sustris between 1801 and 1835.
|
[
"Lille",
"château de Versailles",
"Parmigianino",
"mannerism",
"Fugger of Kirschberg and Weissenhorn",
"Louis XIV",
"Everhard Jabach",
"Sustris",
"Paolo Veronese",
"Titian",
"Francesco Salviati",
"Fugger",
"Chaptal Decree",
"Dosso Dossi",
"Augsburg"
] |
|
13443_NT
|
Noli me tangere (Sustris)
|
Focus on this artwork and discuss the History.
|
It was produced during Sustris' first or second stay in Augsburg, probably for count Fugger of Kirschberg and Weissenhorn, whose coat of arms are in the bottom left of the work. Around the time of his stay there the artist assimilated the Italian style and combined the Venetian style with the mannerism of Francesco Salviati and Parmigianino. This and other works of that period by him show the influence of Titian, with whom Sustris had collaborated since 1540, and anticipated Paolo Veronese's 1560s compositions.It was then acquired by a rich banker and collector, Everhard Jabach, who sold it to Louis XIV in 1671. Louis put it in the Salon des Bassans at the château de Versailles, near the entrance to his bedroom. After the Chaptal Decree of 1801 the French state assigned the painting (then attributed to Dosso Dossi) to the museum in Lille. It was re-attributed to Sustris between 1801 and 1835.
|
[
"Lille",
"château de Versailles",
"Parmigianino",
"mannerism",
"Fugger of Kirschberg and Weissenhorn",
"Louis XIV",
"Everhard Jabach",
"Sustris",
"Paolo Veronese",
"Titian",
"Francesco Salviati",
"Fugger",
"Chaptal Decree",
"Dosso Dossi",
"Augsburg"
] |
|
13444_T
|
Adoration of the Kings (Gossaert)
|
How does Adoration of the Kings (Gossaert) elucidate its abstract?
|
The Adoration of the Kings is a large oil-on-oak painting by Jan Gossaert (born Jean Gossart, also known as Jan Mabuse), dated to 1510–15, depicting the Adoration of the Magi. Although Gossaert's name is signed on the border of Balthazar's richly embroidered headdress, and on a collar worn by Balthazar's turbaned attendant, the painting was occasionally attributed to Albrecht Dürer in the 17th and 18th centuries. In 2010, Ainsworth suggested that the work was a collaboration between Gossaert and Gerard David.
|
[
"Jan Gossaert",
"Gossaert",
"Gerard David",
"Magi",
"oil-on-oak",
"Adoration of the Magi",
"Balthazar",
"Albrecht Dürer"
] |
|
13444_NT
|
Adoration of the Kings (Gossaert)
|
How does this artwork elucidate its abstract?
|
The Adoration of the Kings is a large oil-on-oak painting by Jan Gossaert (born Jean Gossart, also known as Jan Mabuse), dated to 1510–15, depicting the Adoration of the Magi. Although Gossaert's name is signed on the border of Balthazar's richly embroidered headdress, and on a collar worn by Balthazar's turbaned attendant, the painting was occasionally attributed to Albrecht Dürer in the 17th and 18th centuries. In 2010, Ainsworth suggested that the work was a collaboration between Gossaert and Gerard David.
|
[
"Jan Gossaert",
"Gossaert",
"Gerard David",
"Magi",
"oil-on-oak",
"Adoration of the Magi",
"Balthazar",
"Albrecht Dürer"
] |
|
13445_T
|
Adoration of the Kings (Gossaert)
|
Focus on Adoration of the Kings (Gossaert) and analyze the Painting.
|
In the centre of the painting, the Madonna and child sit in the ruins of a building, receiving a gift from the kneeling Caspar to the right; the Christ-child holds a gold coin in his left hand, almost as if he were offering Caspar a communion wafer. Six shepherds, an ass and a cow watch from behind, with a grey-bearded Joseph – depicted in a bright red robe, contrasting with Mary's traditional garb of deep blue – standing behind a column to the left. More shepherds and their flock are barely visible in the distance.
To the right of Caspar stands Melchior holding aloft his gift, accompanied by four attendants, with more attendants approaching from the distance on horseback. Balthazar stands to the left with his gift and three attendants. Balthazar's richly decorated crown is inscribed with his name at its peak and Gossaert's name towards the bottom; Gossaert's name also appears on a collar worn by Balthazar's turbaned black attendant. Further left, two more attendants in exotic dress watch from a window.
Nine angels (perhaps representing the nine orders of angels) look down through the structure of the ruined building, one holding a scroll bearing the words "Gloria in excelcis deo". A bird – symbolising the Holy Spirit – hovers above, while the Star of Bethlehem shines brightly at the top of the painting. Several babies appear as decorative details, in the architectural frieze and the capitals, and on the golden vessel for Balthazar's gift. A tenth angel – possibly a self-portrait of Gossaert – is barely visible, in a doorway behind the ox.
|
[
"Gossaert",
"Gloria in excelcis deo",
"Star of Bethlehem",
"Madonna and child",
"Caspar",
"Holy Spirit",
"communion wafer",
"Melchior",
"nine orders of angels",
"Joseph",
"Balthazar"
] |
|
13445_NT
|
Adoration of the Kings (Gossaert)
|
Focus on this artwork and analyze the Painting.
|
In the centre of the painting, the Madonna and child sit in the ruins of a building, receiving a gift from the kneeling Caspar to the right; the Christ-child holds a gold coin in his left hand, almost as if he were offering Caspar a communion wafer. Six shepherds, an ass and a cow watch from behind, with a grey-bearded Joseph – depicted in a bright red robe, contrasting with Mary's traditional garb of deep blue – standing behind a column to the left. More shepherds and their flock are barely visible in the distance.
To the right of Caspar stands Melchior holding aloft his gift, accompanied by four attendants, with more attendants approaching from the distance on horseback. Balthazar stands to the left with his gift and three attendants. Balthazar's richly decorated crown is inscribed with his name at its peak and Gossaert's name towards the bottom; Gossaert's name also appears on a collar worn by Balthazar's turbaned black attendant. Further left, two more attendants in exotic dress watch from a window.
Nine angels (perhaps representing the nine orders of angels) look down through the structure of the ruined building, one holding a scroll bearing the words "Gloria in excelcis deo". A bird – symbolising the Holy Spirit – hovers above, while the Star of Bethlehem shines brightly at the top of the painting. Several babies appear as decorative details, in the architectural frieze and the capitals, and on the golden vessel for Balthazar's gift. A tenth angel – possibly a self-portrait of Gossaert – is barely visible, in a doorway behind the ox.
|
[
"Gossaert",
"Gloria in excelcis deo",
"Star of Bethlehem",
"Madonna and child",
"Caspar",
"Holy Spirit",
"communion wafer",
"Melchior",
"nine orders of angels",
"Joseph",
"Balthazar"
] |
|
13446_T
|
Adoration of the Kings (Gossaert)
|
In Adoration of the Kings (Gossaert), how is the Technical details and composition discussed?
|
The work was painted on a wooden panel consisting of six oak boards, laid vertically, measuring 177.2 centimetres (69.8 in) high by 161.8 centimetres (63.7 in) wide. The paint was applied to a ground of chalk fixed with animal glue, with a thin priming layer of lead white mixed with a little lead-tin-yellow. There is much underdrawing, visible in some areas due to the paint having become more transparent. A number of details were added at a late stage, over areas previously painted, including the two figures at the window to the left; the ox and the ass; the two shepherds behind the ass and the shepherds in the distance; Joseph's stick; Caspar's sceptre and the lid of Caspar's goblet.
Gossaert's composition draws from several sources. It takes its main inspiration from the Monforte altarpiece by Hugo van der Goes (Gemäldegalerie, Staatliche Museen, Berlin), which has a similar grouping of richly dressed Mary and Magi among ruined architecture, with their attendants and bystanders, and glimpses of the landscape behind and angels above. The two dogs in the foreground, on a floor with many broken tiles, are copied from other engravings: one taken from the lower right corner of Dürer's engraving of Saint Eustace and the second is a reflection of the dog in an engraving of the "Adoration of the Kings" by Martin Schongauer. Other elements are drawn from other prints by Schongauer and Dürer.
|
[
"Gossaert",
"lead white",
"Caspar",
"Monforte altarpiece",
"Magi",
"Saint Eustace",
"Hugo van der Goes",
"priming",
"Staatliche Museen",
"lead-tin-yellow",
"Joseph",
"underdrawing",
"Martin Schongauer"
] |
|
13446_NT
|
Adoration of the Kings (Gossaert)
|
In this artwork, how is the Technical details and composition discussed?
|
The work was painted on a wooden panel consisting of six oak boards, laid vertically, measuring 177.2 centimetres (69.8 in) high by 161.8 centimetres (63.7 in) wide. The paint was applied to a ground of chalk fixed with animal glue, with a thin priming layer of lead white mixed with a little lead-tin-yellow. There is much underdrawing, visible in some areas due to the paint having become more transparent. A number of details were added at a late stage, over areas previously painted, including the two figures at the window to the left; the ox and the ass; the two shepherds behind the ass and the shepherds in the distance; Joseph's stick; Caspar's sceptre and the lid of Caspar's goblet.
Gossaert's composition draws from several sources. It takes its main inspiration from the Monforte altarpiece by Hugo van der Goes (Gemäldegalerie, Staatliche Museen, Berlin), which has a similar grouping of richly dressed Mary and Magi among ruined architecture, with their attendants and bystanders, and glimpses of the landscape behind and angels above. The two dogs in the foreground, on a floor with many broken tiles, are copied from other engravings: one taken from the lower right corner of Dürer's engraving of Saint Eustace and the second is a reflection of the dog in an engraving of the "Adoration of the Kings" by Martin Schongauer. Other elements are drawn from other prints by Schongauer and Dürer.
|
[
"Gossaert",
"lead white",
"Caspar",
"Monforte altarpiece",
"Magi",
"Saint Eustace",
"Hugo van der Goes",
"priming",
"Staatliche Museen",
"lead-tin-yellow",
"Joseph",
"underdrawing",
"Martin Schongauer"
] |
|
13447_T
|
Holy Allegory
|
Focus on Holy Allegory and explore the abstract.
|
The Holy Allegory is a painting by the Italian Renaissance master Giovanni Bellini, dating from c. 1490 to 1500. It is in the Uffizi gallery in Florence, Italy.
|
[
"Giovanni Bellini",
"Florence",
"Uffizi"
] |
|
13447_NT
|
Holy Allegory
|
Focus on this artwork and explore the abstract.
|
The Holy Allegory is a painting by the Italian Renaissance master Giovanni Bellini, dating from c. 1490 to 1500. It is in the Uffizi gallery in Florence, Italy.
|
[
"Giovanni Bellini",
"Florence",
"Uffizi"
] |
|
13448_T
|
Holy Allegory
|
Focus on Holy Allegory and explain the History.
|
There is no documentation about the commission and the original location of the work, which is known to have been part of the Austrian Imperial collections in Vienna in the 18th century. In 1793 the director of the Uffizi, Luigi Lanzi, exchanged it with another work in order to improve the Venetian Renaissance presence in the museum. At the time, it was attributed to Giorgione.
The Italian art historian Giovanni Battista Cavalcaselle was the first to identify it as a Bellini. Today his attribution is widely recognized, although another name sometimes mentioned is that of Marco Basaiti.
|
[
"Uffizi",
"Venetian Renaissance",
"Marco Basaiti",
"attribute",
"Vienna",
"Giorgione",
"Giovanni Battista Cavalcaselle"
] |
|
13448_NT
|
Holy Allegory
|
Focus on this artwork and explain the History.
|
There is no documentation about the commission and the original location of the work, which is known to have been part of the Austrian Imperial collections in Vienna in the 18th century. In 1793 the director of the Uffizi, Luigi Lanzi, exchanged it with another work in order to improve the Venetian Renaissance presence in the museum. At the time, it was attributed to Giorgione.
The Italian art historian Giovanni Battista Cavalcaselle was the first to identify it as a Bellini. Today his attribution is widely recognized, although another name sometimes mentioned is that of Marco Basaiti.
|
[
"Uffizi",
"Venetian Renaissance",
"Marco Basaiti",
"attribute",
"Vienna",
"Giorgione",
"Giovanni Battista Cavalcaselle"
] |
|
13449_T
|
Holy Allegory
|
Explore the Description of this artwork, Holy Allegory.
|
The scene is set on a wide terrace with a polychrome marble pavement, in perspective, separated from a lake shore by a parapet. On the left Mary is enthroned, under a baldachin whose support is in cornucopia shape, a symbol of her fertility. The baldachin has four steps, and on its side is a frieze with scenes of the myth of Marsyas, interpreted as a parallel with Jesus' Passion. Near to Mary are two unidentified female figures, which could represent two saints or two virtues. One of them looks to be floating in the air, although the effect could stem from a loss of color near her legs and feet.
In the middle of the scene are four children playing with a small tree and its silver fruits, perhaps a symbol of the knowledge tree, a symbol of life and wisdom. On the right are Job and St. Sebastian. Outside the parapet, are St. Joseph (or St. Peter) and St. Paul, the latter with his attribute of a sword. He is advancing to the left, where a man with a turban perhaps symbolizes an infidel.
In the background, beyond a large lake, is a landscape with rocky spurs with men and animals. On the shores are a shepherd in a grotto, and a centaur.
|
[
"St. Sebastian",
"Jesus",
"Marsyas",
"Job",
"St. Joseph",
"baldachin",
"cornucopia",
"attribute",
"left",
"perspective",
"polychrome",
"Passion",
"infidel",
"centaur",
"knowledge tree"
] |
|
13449_NT
|
Holy Allegory
|
Explore the Description of this artwork.
|
The scene is set on a wide terrace with a polychrome marble pavement, in perspective, separated from a lake shore by a parapet. On the left Mary is enthroned, under a baldachin whose support is in cornucopia shape, a symbol of her fertility. The baldachin has four steps, and on its side is a frieze with scenes of the myth of Marsyas, interpreted as a parallel with Jesus' Passion. Near to Mary are two unidentified female figures, which could represent two saints or two virtues. One of them looks to be floating in the air, although the effect could stem from a loss of color near her legs and feet.
In the middle of the scene are four children playing with a small tree and its silver fruits, perhaps a symbol of the knowledge tree, a symbol of life and wisdom. On the right are Job and St. Sebastian. Outside the parapet, are St. Joseph (or St. Peter) and St. Paul, the latter with his attribute of a sword. He is advancing to the left, where a man with a turban perhaps symbolizes an infidel.
In the background, beyond a large lake, is a landscape with rocky spurs with men and animals. On the shores are a shepherd in a grotto, and a centaur.
|
[
"St. Sebastian",
"Jesus",
"Marsyas",
"Job",
"St. Joseph",
"baldachin",
"cornucopia",
"attribute",
"left",
"perspective",
"polychrome",
"Passion",
"infidel",
"centaur",
"knowledge tree"
] |
|
13450_T
|
Holy Allegory
|
Focus on Holy Allegory and discuss the Interpretations.
|
The exact meaning of the painting had not been yet completely understood, although several hypotheses have been made by art historians. What is sure is that the painting was made for a refined élite, whose education allowed them to understand any subtle detail included in it.In the early 20th century, Ludwig interpreted it as a pictorial transcription of the early 14th century French poem Le Pèlerinage de l'Âme ("Pilgrimage of the Soul"), by Guillaume de Deguileville. According to him, the painting represents the ideal path of purification of the soul. The hermit shepherd would be St. Anthony the Abbot, descending from his hermitage in the spiritual path inspired to the first hermit, St. Paul, and overcoming several obstacles including the centaur which waits for him at the end of the staircase. The terrace would represent the Paradise Garden, where the souls in Purgatory, symbolized by the children, wait before they are admitted to heaven. Mary, advocate of the men before God, judges the souls with the help of the crowned Justice coronata. Amongst the children, who are playing with the mystic fruits, the one at the tree would be a soul called to the eternal beatitude. The two saints standing on the left would be the patrons, perhaps connected to the works' commissioners, while the two behind the parapet would be Peter and Paul, who guard the gate of Paradise. The river in the background would be Lethe, which surrounds Paradise. The animals would represent the hermits' virtue: the mule for the patience, and the sheep for humility.
According to other scholars, the painting would represent a common holy conversation or a vision of the Paradise. Some see Jesus in the children on the cushion, giving to the work the meaning of a meditation about incarnation and redemption.
|
[
"incarnation",
"Jesus",
"redemption",
"Le Pèlerinage de l'Âme",
"Purgatory",
"St. Anthony the Abbot",
"Guillaume de Deguileville",
"Lethe",
"left",
"holy conversation",
"centaur"
] |
|
13450_NT
|
Holy Allegory
|
Focus on this artwork and discuss the Interpretations.
|
The exact meaning of the painting had not been yet completely understood, although several hypotheses have been made by art historians. What is sure is that the painting was made for a refined élite, whose education allowed them to understand any subtle detail included in it.In the early 20th century, Ludwig interpreted it as a pictorial transcription of the early 14th century French poem Le Pèlerinage de l'Âme ("Pilgrimage of the Soul"), by Guillaume de Deguileville. According to him, the painting represents the ideal path of purification of the soul. The hermit shepherd would be St. Anthony the Abbot, descending from his hermitage in the spiritual path inspired to the first hermit, St. Paul, and overcoming several obstacles including the centaur which waits for him at the end of the staircase. The terrace would represent the Paradise Garden, where the souls in Purgatory, symbolized by the children, wait before they are admitted to heaven. Mary, advocate of the men before God, judges the souls with the help of the crowned Justice coronata. Amongst the children, who are playing with the mystic fruits, the one at the tree would be a soul called to the eternal beatitude. The two saints standing on the left would be the patrons, perhaps connected to the works' commissioners, while the two behind the parapet would be Peter and Paul, who guard the gate of Paradise. The river in the background would be Lethe, which surrounds Paradise. The animals would represent the hermits' virtue: the mule for the patience, and the sheep for humility.
According to other scholars, the painting would represent a common holy conversation or a vision of the Paradise. Some see Jesus in the children on the cushion, giving to the work the meaning of a meditation about incarnation and redemption.
|
[
"incarnation",
"Jesus",
"redemption",
"Le Pèlerinage de l'Âme",
"Purgatory",
"St. Anthony the Abbot",
"Guillaume de Deguileville",
"Lethe",
"left",
"holy conversation",
"centaur"
] |
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