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13451_T
|
Memorial To A Marriage
|
How does Memorial To A Marriage elucidate its abstract?
|
Memorial To A Marriage (2002) is the first marriage equality monument worldwide.Created by American artist Patricia Cronin as part of a series of works redressing the absence of female and LGBTQ+ representation in public monuments and the prohibition of same sex marriage in the United States, this three-ton Carrara marble monumental statue is a double full figure portrait of the artist and her then partner (now wife) artist Deborah Kass, recumbent embracing on an inclined mattress, on a shared pillow in marital bliss and eternal rest. As an act of political resistance of being denied representation in public civic space by municipal leadership and denied personal liberty by the federal government, Cronin reinterprets sepulchral sculptural portraiture in the canon of Western art history by modeling and carving their likenesses in the patriotic form of 19th century American neo-classical sculpture to address a local and federal governmental failures.Inspired by a range of art historical references from the Ancient sculpture Sleeping Hermaphrodite to 19th-century French painter, Gustove Courbet's The Sleep (1866) to American sculptor Harriet Hosmer's Beatrice Cenci, to William Henry Reinhart's Sleeping Children. It has also been pointed out that Cronin in titling the work was citing Lincoln Kirstein's book by the same title, Memorial To A Marriage on Augustus Saint-Gaudens' Adams Memorial sculpture.Prior to the Supreme Court's Obergefell v. Hodges decision on June 26, 2015, over turning the Defense of Marriage Act making the United States only the 29th country out of 195 countries worldwide legalizing same sex marriage, the only legal path for same sex couples to attain a few of the 1200 legal protections heterosexual marriage includes was to hire lawyers to draw up wills, health care proxies and powers of attorney documents. The only purpose for these documents is about attending to events at the end of one's life, not celebrating the beginning of a life together.
Using the trope of death, all she was legally allowed, Cronin created an equally poetic and political conceptual artistic protest. The art historian Robert Rosenblum described the work as "so imaginative a leap into an artist's personal life and so revolutionary a monument in terms of social history that it demands a full-scale monograph." He named the installation as one of the ten best shows of 2003 in Artforum.She bought their joint burial plot for the installation in at Woodlawn Cemetery, a National Historic Landmark, and the jewel in the crown of the nineteenth-century garden cemetery movement. Designed as America's Père Lachaise Cemetery, it is the resting place for powerful and prominent Americans in the fields of industry, politics and culture including everyone from J.P. Morgan, Joseph Pulitzer, Ralph Bunche, Fiorello LaGuardia, Elizabeth Cady Stanton, Madame C. J. Walker, to Herman Melville, Duke Ellington, Miles Davis and Celia Cruz. It quickly became the third most visited plot in the cemetery.On November 3, 2002, Cronin unveiled the work on her burial plot in Woodlawn Cemetery in the borough of The Bronx in New York City. She organized the day as a protest, parade, funeral and a party all rolled into one. It began with a historic walking tour followed by a graveside service, a reception at the Woolworth Chapel and then at the end of the day, friends and family gathered at their Tribeca loft. This project was produced in collaboration with Grand Arts and the Deitch Projects gallery in New York City.
The work, which is Cronin's first marble sculpture, stayed on the plot from November 3, 2002, until June 7, 2010, when it was removed responding to numerous exhibition requests from museums in the U.S. and Europe. It was immediately replaced with an identical bronze edition of the same size which will remain on the plot through eternity.
Memorial to a Marriage has been included in over 45 exhibitions in the U.S. and abroad, including: the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; American Academy in Rome, Rome, Italy; The Armory Show, New York, New York; Art Omi, Ghent, New York; Brooklyn Museum, Brooklyn, New York; The FLAG Art Foundation, New York, New York; Gallery of Modern Art, Glasgow, Scotland; Leslie-Lohman Museum of Gay and Lesbian Art, New York, New York; National Academy of Design, New York, New York; Neuberger Museum of Art, Purchase, New York; Newcomb Art Museum, New Orleans, Louisiana; Station Museum of Contemporary Art, Houston, Texas; and Tampa Museum of Art, Tampa, Florida, among others.
Bronze editions of the statue are in the permanent collections of several museums, including: Smithsonian National Portrait Gallery, Washington, DC; Perez Art Museum Miami, Miami, Florida; and Kelvingrove Art Gallery and Museum, Glasgow, Scotland where it is on permanent view since 2012.
Since the installation of Memorial To A Marriage, almost 20 years ago, same sex marriage was legalized in the United States in 2015. However, the monumental landscape has changed little with only a handful of monuments to women and members of the LGBTQ+ community realized and installed nationwide.
Cronin first explored lesbian themes of representation in her erotic watercolor series of the 1990s which were shown at numerous group exhibitions nationwide which examine adult sexual intimacy from a unique feminist lesbian perspective. In 1993, Cronin organized a panel discussion, Representing Lesbian Subjectivities at The Drawing Center which was expanded to a special issue of Art Papers which she guest edited.
In 2022, Memorial To A Marriage became the centerpiece of the first LGBTQ+ VR Museum headquartered in Bristol, England. It debuted the Tribeca Film Festival and won the New Voices Award in the Immersive Competition.
|
[
"Augustus Saint-Gaudens",
"Sleeping Hermaphrodite",
"Western art history",
"Père Lachaise Cemetery",
"Patricia Cronin",
"Robert Rosenblum",
"Lincoln Kirstein",
"Gustove Courbet",
"Deborah Kass",
"Neuberger Museum of Art",
"Harriet Hosmer",
"Defense of Marriage Act",
"Beatrice Cenci",
"Brooklyn Museum",
"worldwide legalizing same sex marriage",
"Obergefell v. Hodges",
"Smithsonian National Portrait Gallery",
"Deitch Projects",
"nineteenth-century garden cemetery movement",
"Woodlawn Cemetery",
"Adams Memorial",
"marriage equality"
] |
|
13451_NT
|
Memorial To A Marriage
|
How does this artwork elucidate its abstract?
|
Memorial To A Marriage (2002) is the first marriage equality monument worldwide.Created by American artist Patricia Cronin as part of a series of works redressing the absence of female and LGBTQ+ representation in public monuments and the prohibition of same sex marriage in the United States, this three-ton Carrara marble monumental statue is a double full figure portrait of the artist and her then partner (now wife) artist Deborah Kass, recumbent embracing on an inclined mattress, on a shared pillow in marital bliss and eternal rest. As an act of political resistance of being denied representation in public civic space by municipal leadership and denied personal liberty by the federal government, Cronin reinterprets sepulchral sculptural portraiture in the canon of Western art history by modeling and carving their likenesses in the patriotic form of 19th century American neo-classical sculpture to address a local and federal governmental failures.Inspired by a range of art historical references from the Ancient sculpture Sleeping Hermaphrodite to 19th-century French painter, Gustove Courbet's The Sleep (1866) to American sculptor Harriet Hosmer's Beatrice Cenci, to William Henry Reinhart's Sleeping Children. It has also been pointed out that Cronin in titling the work was citing Lincoln Kirstein's book by the same title, Memorial To A Marriage on Augustus Saint-Gaudens' Adams Memorial sculpture.Prior to the Supreme Court's Obergefell v. Hodges decision on June 26, 2015, over turning the Defense of Marriage Act making the United States only the 29th country out of 195 countries worldwide legalizing same sex marriage, the only legal path for same sex couples to attain a few of the 1200 legal protections heterosexual marriage includes was to hire lawyers to draw up wills, health care proxies and powers of attorney documents. The only purpose for these documents is about attending to events at the end of one's life, not celebrating the beginning of a life together.
Using the trope of death, all she was legally allowed, Cronin created an equally poetic and political conceptual artistic protest. The art historian Robert Rosenblum described the work as "so imaginative a leap into an artist's personal life and so revolutionary a monument in terms of social history that it demands a full-scale monograph." He named the installation as one of the ten best shows of 2003 in Artforum.She bought their joint burial plot for the installation in at Woodlawn Cemetery, a National Historic Landmark, and the jewel in the crown of the nineteenth-century garden cemetery movement. Designed as America's Père Lachaise Cemetery, it is the resting place for powerful and prominent Americans in the fields of industry, politics and culture including everyone from J.P. Morgan, Joseph Pulitzer, Ralph Bunche, Fiorello LaGuardia, Elizabeth Cady Stanton, Madame C. J. Walker, to Herman Melville, Duke Ellington, Miles Davis and Celia Cruz. It quickly became the third most visited plot in the cemetery.On November 3, 2002, Cronin unveiled the work on her burial plot in Woodlawn Cemetery in the borough of The Bronx in New York City. She organized the day as a protest, parade, funeral and a party all rolled into one. It began with a historic walking tour followed by a graveside service, a reception at the Woolworth Chapel and then at the end of the day, friends and family gathered at their Tribeca loft. This project was produced in collaboration with Grand Arts and the Deitch Projects gallery in New York City.
The work, which is Cronin's first marble sculpture, stayed on the plot from November 3, 2002, until June 7, 2010, when it was removed responding to numerous exhibition requests from museums in the U.S. and Europe. It was immediately replaced with an identical bronze edition of the same size which will remain on the plot through eternity.
Memorial to a Marriage has been included in over 45 exhibitions in the U.S. and abroad, including: the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; American Academy in Rome, Rome, Italy; The Armory Show, New York, New York; Art Omi, Ghent, New York; Brooklyn Museum, Brooklyn, New York; The FLAG Art Foundation, New York, New York; Gallery of Modern Art, Glasgow, Scotland; Leslie-Lohman Museum of Gay and Lesbian Art, New York, New York; National Academy of Design, New York, New York; Neuberger Museum of Art, Purchase, New York; Newcomb Art Museum, New Orleans, Louisiana; Station Museum of Contemporary Art, Houston, Texas; and Tampa Museum of Art, Tampa, Florida, among others.
Bronze editions of the statue are in the permanent collections of several museums, including: Smithsonian National Portrait Gallery, Washington, DC; Perez Art Museum Miami, Miami, Florida; and Kelvingrove Art Gallery and Museum, Glasgow, Scotland where it is on permanent view since 2012.
Since the installation of Memorial To A Marriage, almost 20 years ago, same sex marriage was legalized in the United States in 2015. However, the monumental landscape has changed little with only a handful of monuments to women and members of the LGBTQ+ community realized and installed nationwide.
Cronin first explored lesbian themes of representation in her erotic watercolor series of the 1990s which were shown at numerous group exhibitions nationwide which examine adult sexual intimacy from a unique feminist lesbian perspective. In 1993, Cronin organized a panel discussion, Representing Lesbian Subjectivities at The Drawing Center which was expanded to a special issue of Art Papers which she guest edited.
In 2022, Memorial To A Marriage became the centerpiece of the first LGBTQ+ VR Museum headquartered in Bristol, England. It debuted the Tribeca Film Festival and won the New Voices Award in the Immersive Competition.
|
[
"Augustus Saint-Gaudens",
"Sleeping Hermaphrodite",
"Western art history",
"Père Lachaise Cemetery",
"Patricia Cronin",
"Robert Rosenblum",
"Lincoln Kirstein",
"Gustove Courbet",
"Deborah Kass",
"Neuberger Museum of Art",
"Harriet Hosmer",
"Defense of Marriage Act",
"Beatrice Cenci",
"Brooklyn Museum",
"worldwide legalizing same sex marriage",
"Obergefell v. Hodges",
"Smithsonian National Portrait Gallery",
"Deitch Projects",
"nineteenth-century garden cemetery movement",
"Woodlawn Cemetery",
"Adams Memorial",
"marriage equality"
] |
|
13452_T
|
The Entombment of Christ (Caravaggio)
|
Focus on The Entombment of Christ (Caravaggio) and analyze the abstract.
|
Caravaggio created one of his most admired altarpieces, The Entombment of Christ, in 1603–1604 for the second chapel on the right in Santa Maria in Vallicella (the Chiesa Nuova), a church built for the Oratory of Saint Philip Neri. A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens, Fragonard, Géricault and Cézanne.
|
[
"Christ",
"Santa Maria in Vallicella",
"Vatican Pinacoteca",
"Oratory of Saint Philip Neri",
"Cézanne",
"Philip Neri",
"Géricault",
"Caravaggio",
"Rubens",
"Fragonard"
] |
|
13452_NT
|
The Entombment of Christ (Caravaggio)
|
Focus on this artwork and analyze the abstract.
|
Caravaggio created one of his most admired altarpieces, The Entombment of Christ, in 1603–1604 for the second chapel on the right in Santa Maria in Vallicella (the Chiesa Nuova), a church built for the Oratory of Saint Philip Neri. A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens, Fragonard, Géricault and Cézanne.
|
[
"Christ",
"Santa Maria in Vallicella",
"Vatican Pinacoteca",
"Oratory of Saint Philip Neri",
"Cézanne",
"Philip Neri",
"Géricault",
"Caravaggio",
"Rubens",
"Fragonard"
] |
|
13453_T
|
The Entombment of Christ (Caravaggio)
|
In The Entombment of Christ (Caravaggio), how is the History discussed?
|
On 11 July 1575, Pope Gregory XIII (1572-1585) issued a bull confirming the formation of a new society called the Oratory and granting it the church of Santa Maria in Vallicella. Two months after the bull, the rebuilding of the church commenced. Envisaged in the planned reconstruction of the Chiesa Nuova (new church), as it became known, was the dedication of all the altars to the mysteries of the Virgin. Starting in the left transept and continuing around the five chapels on either side of the nave to the right transept, the altars are dedicated to the Presentation of the Temple, the Annunciation, the Visitation, the Nativity, the Adoration of the Shepherds, the Circumcision, the Crucifixion, the Pietà, the Resurrection, the Ascension, the Descent of the Holy Ghost, the Assumption and the Coronation.The Entombment was probably planned and begun in 1602/3. The chapel in which the Entombment was to be hung, was dedicated to the Pietà, and was founded by Pietro Vittrice, a friend of Pope Gregory XIII and close follower of Filippo Neri. The Capella della Pietà occupied a 'privileged' position in the Chiesa Nuova: Mass could be celebrated from it and it was granted special indulgences.The chapel, placed in the right nave of the Chiesa Nuova, was conceded to Vittrice in June 1577, and the foundation of the chapel ratified in September 1580. Some time after his death in March 1600, a legacy of 1,000 scudi became available for the maintenance of the chapel, and it was built in 1602, which is then held to be the earliest date for the commission of Caravaggio's painting. Indeed, on 1 September 1604, it is described as 'new' in a document recording that it had been paid for by Girolamo Vittrice, Pietro's nephew and heir.Girolamo Vittrice had a direct connection with Caravaggio: in August 1586 he married Orinzia di Lucio Orsi, the sister of Caravaggio's friend Prospero Orsi and the niece of the humanist Aurelio Orsi. Aurelio, in turn, was a one-time mentor to the young Maffeo Barberini, who became Pope Urban VIII in 1623. It is through these connections that Girolamo's son, Alessandro, became bishop of Alatri in 1632, and was able to bestow the gift of Caravaggio's Fortune Teller (now in the Louvre) on Pope Innocent X Pamphilij after being appointed governor of Rome in 1647.The painting was universally admired and written about by such critics as Giulio Mancini, Giovanni Baglione (1642), Gian Pietro Bellori (1672) and Francesco Scanelli (1657).The painting was taken to Paris in 1797 for the Musée Napoléon, returned to Rome and installed in the Vatican in 1816.
|
[
"Maffeo Barberini",
"Musée Napoléon",
"Pietà",
"Adoration of the Shepherds",
"Assumption",
"Pope Urban VIII",
"Santa Maria in Vallicella",
"Annunciation",
"Francesco Scanelli",
"Pope Gregory XIII",
"Giulio Mancini",
"Mass",
"Descent of the Holy Ghost",
"bull",
"Circumcision",
"Louvre",
"Gian Pietro Bellori",
"Prospero Orsi",
"Resurrection",
"Caravaggio",
"Aurelio Orsi",
"Coronation",
"Pope Innocent X Pamphilij",
"Alessandro",
"Fortune Teller",
"Girolamo Vittrice",
"Presentation of the Temple",
"left",
"Nativity",
"Giovanni Baglione",
"Filippo Neri",
"Pope Innocent X",
"Pietro Vittrice",
"Crucifixion",
"Visitation"
] |
|
13453_NT
|
The Entombment of Christ (Caravaggio)
|
In this artwork, how is the History discussed?
|
On 11 July 1575, Pope Gregory XIII (1572-1585) issued a bull confirming the formation of a new society called the Oratory and granting it the church of Santa Maria in Vallicella. Two months after the bull, the rebuilding of the church commenced. Envisaged in the planned reconstruction of the Chiesa Nuova (new church), as it became known, was the dedication of all the altars to the mysteries of the Virgin. Starting in the left transept and continuing around the five chapels on either side of the nave to the right transept, the altars are dedicated to the Presentation of the Temple, the Annunciation, the Visitation, the Nativity, the Adoration of the Shepherds, the Circumcision, the Crucifixion, the Pietà, the Resurrection, the Ascension, the Descent of the Holy Ghost, the Assumption and the Coronation.The Entombment was probably planned and begun in 1602/3. The chapel in which the Entombment was to be hung, was dedicated to the Pietà, and was founded by Pietro Vittrice, a friend of Pope Gregory XIII and close follower of Filippo Neri. The Capella della Pietà occupied a 'privileged' position in the Chiesa Nuova: Mass could be celebrated from it and it was granted special indulgences.The chapel, placed in the right nave of the Chiesa Nuova, was conceded to Vittrice in June 1577, and the foundation of the chapel ratified in September 1580. Some time after his death in March 1600, a legacy of 1,000 scudi became available for the maintenance of the chapel, and it was built in 1602, which is then held to be the earliest date for the commission of Caravaggio's painting. Indeed, on 1 September 1604, it is described as 'new' in a document recording that it had been paid for by Girolamo Vittrice, Pietro's nephew and heir.Girolamo Vittrice had a direct connection with Caravaggio: in August 1586 he married Orinzia di Lucio Orsi, the sister of Caravaggio's friend Prospero Orsi and the niece of the humanist Aurelio Orsi. Aurelio, in turn, was a one-time mentor to the young Maffeo Barberini, who became Pope Urban VIII in 1623. It is through these connections that Girolamo's son, Alessandro, became bishop of Alatri in 1632, and was able to bestow the gift of Caravaggio's Fortune Teller (now in the Louvre) on Pope Innocent X Pamphilij after being appointed governor of Rome in 1647.The painting was universally admired and written about by such critics as Giulio Mancini, Giovanni Baglione (1642), Gian Pietro Bellori (1672) and Francesco Scanelli (1657).The painting was taken to Paris in 1797 for the Musée Napoléon, returned to Rome and installed in the Vatican in 1816.
|
[
"Maffeo Barberini",
"Musée Napoléon",
"Pietà",
"Adoration of the Shepherds",
"Assumption",
"Pope Urban VIII",
"Santa Maria in Vallicella",
"Annunciation",
"Francesco Scanelli",
"Pope Gregory XIII",
"Giulio Mancini",
"Mass",
"Descent of the Holy Ghost",
"bull",
"Circumcision",
"Louvre",
"Gian Pietro Bellori",
"Prospero Orsi",
"Resurrection",
"Caravaggio",
"Aurelio Orsi",
"Coronation",
"Pope Innocent X Pamphilij",
"Alessandro",
"Fortune Teller",
"Girolamo Vittrice",
"Presentation of the Temple",
"left",
"Nativity",
"Giovanni Baglione",
"Filippo Neri",
"Pope Innocent X",
"Pietro Vittrice",
"Crucifixion",
"Visitation"
] |
|
13454_T
|
The Entombment of Christ (Caravaggio)
|
Focus on The Entombment of Christ (Caravaggio) and explore the Composition.
|
This counter-reformation painting – with a diagonal cascade of mourners and cadaver-bearers descending to the limp, dead Christ and the bare stone – is not a moment of transfiguration, but of mourning. As the viewer's eye descends from the gloom there is, too, a descent from the hysteria of Mary of Clopas through subdued emotion to death as the final emotional silencing. Unlike the gory post-crucifixion Jesus in morbid Spanish displays, Italian Christs die generally bloodlessly, and slump in a geometrically challenging display. As if emphasizing the dead Christ's inability to feel pain, a hand enters the wound at his side. His body is one of a muscled, veined, thick-limbed laborer rather than the usual, bony-thin depiction.
Two men carry the body. John the Evangelist, identified only by his youthful appearance and red cloak supports the dead Christ on his right knee and with his right arm, inadvertently opening the wound. Nicodemus (with the face of Michelangelo) grasps the knees in his arms, with his feet planted at the edge of the slab. Caravaggio balances the stable, dignified position of the body and the unstable exertions of the bearers.
While faces are important in painting generally, in Caravaggio it is important always to note where the arms are pointing. Skyward in The Conversion of Saint Paul on the Road to Damascus, towards Levi in The Calling of Saint Matthew. Here, the dead God's fallen arm and immaculate shroud touch stone; the grieving Mary of Cleophas gesticulates to Heaven. In some ways, that was the message of Christ: God come to earth, and mankind reconciled with the heavens. As usual, even with his works of highest devotion, Caravaggio never fails to ground himself. In the center is Mary Magdalene, drying her tears with a white handkerchief, face shadowed. Tradition held that the Virgin Mary be depicted as eternally young, but here Caravaggio paints the Virgin as an old woman. The figure of the Virgin Mary is also partially obscured behind John; we see her in the robes of a nun and her arms are held out to her side, imitating the line of the stone they stand upon. Her right hand hovers above his head as if she is reaching out to touch him. Seen together, the three women constitute different, complementary expressions of suffering.The left figure imitates the costume from Caravaggio's Penitent Magdalene (Doria Pamphilj Gallery, Rome); the right figure reminds us of his Mary in Conversion of the Magdalene (Detroit Institute of Art). Andrew Graham-Dixon asserts that these figures were modelled by Fillide Melandroni, a frequent model in his works and about 22 years old at the time.
Caravaggio's composition also seems to be related to Michelangelo's Pietà as St. Peters (especially in the figure of the Madonna), and his Florentine Pietà (Museo dell'Opera del Duomo, Florence), from which he takes the figure of Nicodemus. In the latter case, Caravaggio transports Michelangelo's self-portrait to his own painting.Although Caravaggio's Entombment of Christ is related to Michelangelo's Pieta, it is not a Pieta because even if there is the presence of the Virgin Mary in the painting there are not the right number nor types of people present.Caravaggio also sets up a comparison with Raphael by using as a source for the main group, that of Raphael's Borghese Deposition. This comparison contrasts High Renaissance idealism with Caravaggio's own naturalism.
Caravaggio's Entombment of Christ is not a Burial because the body of Christ is not being lowered on to a tomb but instead being laid on a stone slab.
|
[
"Mary Magdalene",
"Conversion of the Magdalene",
"Jesus",
"Raphael",
"counter-reformation",
"The Conversion of Saint Paul on the Road to Damascus",
"Christ",
"Pietà",
"Fillide Melandroni",
"Virgin Mary",
"Florentine Pietà",
"Mary of Clopas",
"crucifixion",
"Heaven",
"Andrew Graham-Dixon",
"Italian",
"Borghese Deposition",
"John the Evangelist",
"St. Peters",
"High Renaissance",
"Caravaggio",
"Spanish",
"Mary of Cleophas",
"Nicodemus",
"Penitent Magdalene",
"Michelangelo",
"Deposition",
"left",
"Raphael's",
"Detroit Institute of Art",
"Doria Pamphilj Gallery"
] |
|
13454_NT
|
The Entombment of Christ (Caravaggio)
|
Focus on this artwork and explore the Composition.
|
This counter-reformation painting – with a diagonal cascade of mourners and cadaver-bearers descending to the limp, dead Christ and the bare stone – is not a moment of transfiguration, but of mourning. As the viewer's eye descends from the gloom there is, too, a descent from the hysteria of Mary of Clopas through subdued emotion to death as the final emotional silencing. Unlike the gory post-crucifixion Jesus in morbid Spanish displays, Italian Christs die generally bloodlessly, and slump in a geometrically challenging display. As if emphasizing the dead Christ's inability to feel pain, a hand enters the wound at his side. His body is one of a muscled, veined, thick-limbed laborer rather than the usual, bony-thin depiction.
Two men carry the body. John the Evangelist, identified only by his youthful appearance and red cloak supports the dead Christ on his right knee and with his right arm, inadvertently opening the wound. Nicodemus (with the face of Michelangelo) grasps the knees in his arms, with his feet planted at the edge of the slab. Caravaggio balances the stable, dignified position of the body and the unstable exertions of the bearers.
While faces are important in painting generally, in Caravaggio it is important always to note where the arms are pointing. Skyward in The Conversion of Saint Paul on the Road to Damascus, towards Levi in The Calling of Saint Matthew. Here, the dead God's fallen arm and immaculate shroud touch stone; the grieving Mary of Cleophas gesticulates to Heaven. In some ways, that was the message of Christ: God come to earth, and mankind reconciled with the heavens. As usual, even with his works of highest devotion, Caravaggio never fails to ground himself. In the center is Mary Magdalene, drying her tears with a white handkerchief, face shadowed. Tradition held that the Virgin Mary be depicted as eternally young, but here Caravaggio paints the Virgin as an old woman. The figure of the Virgin Mary is also partially obscured behind John; we see her in the robes of a nun and her arms are held out to her side, imitating the line of the stone they stand upon. Her right hand hovers above his head as if she is reaching out to touch him. Seen together, the three women constitute different, complementary expressions of suffering.The left figure imitates the costume from Caravaggio's Penitent Magdalene (Doria Pamphilj Gallery, Rome); the right figure reminds us of his Mary in Conversion of the Magdalene (Detroit Institute of Art). Andrew Graham-Dixon asserts that these figures were modelled by Fillide Melandroni, a frequent model in his works and about 22 years old at the time.
Caravaggio's composition also seems to be related to Michelangelo's Pietà as St. Peters (especially in the figure of the Madonna), and his Florentine Pietà (Museo dell'Opera del Duomo, Florence), from which he takes the figure of Nicodemus. In the latter case, Caravaggio transports Michelangelo's self-portrait to his own painting.Although Caravaggio's Entombment of Christ is related to Michelangelo's Pieta, it is not a Pieta because even if there is the presence of the Virgin Mary in the painting there are not the right number nor types of people present.Caravaggio also sets up a comparison with Raphael by using as a source for the main group, that of Raphael's Borghese Deposition. This comparison contrasts High Renaissance idealism with Caravaggio's own naturalism.
Caravaggio's Entombment of Christ is not a Burial because the body of Christ is not being lowered on to a tomb but instead being laid on a stone slab.
|
[
"Mary Magdalene",
"Conversion of the Magdalene",
"Jesus",
"Raphael",
"counter-reformation",
"The Conversion of Saint Paul on the Road to Damascus",
"Christ",
"Pietà",
"Fillide Melandroni",
"Virgin Mary",
"Florentine Pietà",
"Mary of Clopas",
"crucifixion",
"Heaven",
"Andrew Graham-Dixon",
"Italian",
"Borghese Deposition",
"John the Evangelist",
"St. Peters",
"High Renaissance",
"Caravaggio",
"Spanish",
"Mary of Cleophas",
"Nicodemus",
"Penitent Magdalene",
"Michelangelo",
"Deposition",
"left",
"Raphael's",
"Detroit Institute of Art",
"Doria Pamphilj Gallery"
] |
|
13455_T
|
The Entombment of Christ (Caravaggio)
|
Focus on The Entombment of Christ (Caravaggio) and explain the Interpretations.
|
Caravaggio's painting is a visual counterpart to the Mass, with the priest raising the newly consecrated host with the Entombment as a backdrop. The privileged placement of the altar would have meant that this was a daily occurrence; the act perfectly juxtaposing the body in the picture with the host as the priest intones "This is my very body." Jacopo Pontormo's Deposition (ca. 1525–1528) in Florence performs a similar function, similarly displayed over an altar. Such pictures are presentations of the Corpus Domini rather than enactments of the deposition of entombment of Christ.
Starting in the 17th-century, Caravaggio's picture has been considered a scene of active burial. This interpretation was based on heroic formula derived from antique sources, that of Adonis or Meleager: head thrown back and one arm hanging limply by the side. Indeed, Raphael's Borghese Deposition is an example of this formula. The placing of Christ's body on a flat stone also had precedents in painting, notably Rogier van der Weyden's Lamentation in the Uffizi Gallery, Florence.On closer inspection, Caravaggio painting does not fit this formula, since these ancient types are transportation scenes, whereas his, as in Van der Weyden's case, is decidedly not. Instead the composition assumes the traditional pyramidal shape of a traditional Pietà type. Given the interpretation of the picture as a Pietà type, the flat stone (previously interpreted as a lid or door to a tomb) can be reinterpreted as a reference to the Stone of Unction, today enshrined in the Church of the Holy Sepulchre at Jerusalem. This stone was used to place Christ's body when it was anointed and wound in linen clothes, as related in the Gospel of John.Seldom noticed by modern viewers is Caravaggio's insertion of the plant in the lower left of the Entombment. Commonly called mullein, Verbascum thapsus was thought to have medicinal properties and was said to ward off evil spirits. It was associated with the iconography of Saint John the Baptist. Caravaggio also uses it in his Saint John the Baptist and Rest on the Flight into Egypt.
|
[
"Raphael",
"Church of the Holy Sepulchre",
"Rest on the Flight into Egypt",
"Uffizi",
"Christ",
"Meleager",
"Pietà",
"Gospel of John",
"Adonis",
"Jacopo Pontormo",
"Mass",
"John the Baptist",
"Corpus Domini",
"Uffizi Gallery",
"Rogier van der Weyden",
"Borghese Deposition",
"Verbascum thapsus",
"Caravaggio",
"Deposition",
"Jerusalem",
"Saint John the Baptist",
"Pontormo",
"left",
"Raphael's",
"Lamentation"
] |
|
13455_NT
|
The Entombment of Christ (Caravaggio)
|
Focus on this artwork and explain the Interpretations.
|
Caravaggio's painting is a visual counterpart to the Mass, with the priest raising the newly consecrated host with the Entombment as a backdrop. The privileged placement of the altar would have meant that this was a daily occurrence; the act perfectly juxtaposing the body in the picture with the host as the priest intones "This is my very body." Jacopo Pontormo's Deposition (ca. 1525–1528) in Florence performs a similar function, similarly displayed over an altar. Such pictures are presentations of the Corpus Domini rather than enactments of the deposition of entombment of Christ.
Starting in the 17th-century, Caravaggio's picture has been considered a scene of active burial. This interpretation was based on heroic formula derived from antique sources, that of Adonis or Meleager: head thrown back and one arm hanging limply by the side. Indeed, Raphael's Borghese Deposition is an example of this formula. The placing of Christ's body on a flat stone also had precedents in painting, notably Rogier van der Weyden's Lamentation in the Uffizi Gallery, Florence.On closer inspection, Caravaggio painting does not fit this formula, since these ancient types are transportation scenes, whereas his, as in Van der Weyden's case, is decidedly not. Instead the composition assumes the traditional pyramidal shape of a traditional Pietà type. Given the interpretation of the picture as a Pietà type, the flat stone (previously interpreted as a lid or door to a tomb) can be reinterpreted as a reference to the Stone of Unction, today enshrined in the Church of the Holy Sepulchre at Jerusalem. This stone was used to place Christ's body when it was anointed and wound in linen clothes, as related in the Gospel of John.Seldom noticed by modern viewers is Caravaggio's insertion of the plant in the lower left of the Entombment. Commonly called mullein, Verbascum thapsus was thought to have medicinal properties and was said to ward off evil spirits. It was associated with the iconography of Saint John the Baptist. Caravaggio also uses it in his Saint John the Baptist and Rest on the Flight into Egypt.
|
[
"Raphael",
"Church of the Holy Sepulchre",
"Rest on the Flight into Egypt",
"Uffizi",
"Christ",
"Meleager",
"Pietà",
"Gospel of John",
"Adonis",
"Jacopo Pontormo",
"Mass",
"John the Baptist",
"Corpus Domini",
"Uffizi Gallery",
"Rogier van der Weyden",
"Borghese Deposition",
"Verbascum thapsus",
"Caravaggio",
"Deposition",
"Jerusalem",
"Saint John the Baptist",
"Pontormo",
"left",
"Raphael's",
"Lamentation"
] |
|
13456_T
|
The Entombment of Christ (Caravaggio)
|
Focus on The Entombment of Christ (Caravaggio) and discuss the In Popular Culture.
|
The painting featured on the cover art for the 2023 album, And Then You Pray For Me, by American rapper Westside Gunn. The cover was designed by the fashion designer Virgil Abloh and features a cropped version of the painting with photoshopped chains on John the Evangelist’s neck.
|
[
"Virgil Abloh",
"And Then You Pray For Me",
"John the Evangelist",
"Westside Gunn"
] |
|
13456_NT
|
The Entombment of Christ (Caravaggio)
|
Focus on this artwork and discuss the In Popular Culture.
|
The painting featured on the cover art for the 2023 album, And Then You Pray For Me, by American rapper Westside Gunn. The cover was designed by the fashion designer Virgil Abloh and features a cropped version of the painting with photoshopped chains on John the Evangelist’s neck.
|
[
"Virgil Abloh",
"And Then You Pray For Me",
"John the Evangelist",
"Westside Gunn"
] |
|
13457_T
|
Vegetation (quilt)
|
How does Vegetation (quilt) elucidate its Description?
|
Vegetation is a 2009 quilt by Gee's Bend quilter Loretta Pettway Bennett designed in the style of the quilts of Gee's Bend, which uses recycled household and thrift store clothing. This quilt consists of strips and squares of fabric in shades of blue, green, brown, and cream that, together, create a large rectangle measuring 98.5" x 83", framed. Bennett originally created Vegetation for her own personal bed.
|
[
"quilts of Gee's Bend",
"Gee's Bend quilter",
"quilt",
"Loretta Pettway Bennett"
] |
|
13457_NT
|
Vegetation (quilt)
|
How does this artwork elucidate its Description?
|
Vegetation is a 2009 quilt by Gee's Bend quilter Loretta Pettway Bennett designed in the style of the quilts of Gee's Bend, which uses recycled household and thrift store clothing. This quilt consists of strips and squares of fabric in shades of blue, green, brown, and cream that, together, create a large rectangle measuring 98.5" x 83", framed. Bennett originally created Vegetation for her own personal bed.
|
[
"quilts of Gee's Bend",
"Gee's Bend quilter",
"quilt",
"Loretta Pettway Bennett"
] |
|
13458_T
|
Vegetation (quilt)
|
Focus on Vegetation (quilt) and analyze the Artist.
|
Loretta Pettway Bennett is a fifth-generation quilter from Gee’s Bend, Alabama; she is the great-great-granddaughter of Dinah Miller, a former slave and the ancestor of one of the prominent quilt-making families in the area. Bennett has exhibited her work in several museums, including the Houston Museum of Fine Arts, the Indianapolis Museum of Art, the Orlando Museum of Art, the Tacoma Art Museum, the Denver Art Museum and the Philadelphia Museum of Art. Additionally, her work has appeared in numerous galleries, including the Greg Kucera Gallery in Seattle and the Paulson Press Gallery in Berkeley, California. Selected by the Foundation for Art and Preservation in Embassies (FAPE), Bennett’s work also hangs on the walls of United States embassies worldwide.
|
[
"Denver Art Museum",
"Orlando Museum of Art",
"Tacoma Art Museum",
"Indianapolis",
"Seattle",
"Foundation for Art and Preservation in Embassies",
"Indianapolis Museum of Art",
"United States",
"Berkeley, California",
"Indiana",
"quilt",
"Houston Museum of Fine Arts",
"Gee’s Bend, Alabama",
"United States embassies",
"Loretta Pettway Bennett",
"Philadelphia Museum of Art",
"Paulson Press Gallery"
] |
|
13458_NT
|
Vegetation (quilt)
|
Focus on this artwork and analyze the Artist.
|
Loretta Pettway Bennett is a fifth-generation quilter from Gee’s Bend, Alabama; she is the great-great-granddaughter of Dinah Miller, a former slave and the ancestor of one of the prominent quilt-making families in the area. Bennett has exhibited her work in several museums, including the Houston Museum of Fine Arts, the Indianapolis Museum of Art, the Orlando Museum of Art, the Tacoma Art Museum, the Denver Art Museum and the Philadelphia Museum of Art. Additionally, her work has appeared in numerous galleries, including the Greg Kucera Gallery in Seattle and the Paulson Press Gallery in Berkeley, California. Selected by the Foundation for Art and Preservation in Embassies (FAPE), Bennett’s work also hangs on the walls of United States embassies worldwide.
|
[
"Denver Art Museum",
"Orlando Museum of Art",
"Tacoma Art Museum",
"Indianapolis",
"Seattle",
"Foundation for Art and Preservation in Embassies",
"Indianapolis Museum of Art",
"United States",
"Berkeley, California",
"Indiana",
"quilt",
"Houston Museum of Fine Arts",
"Gee’s Bend, Alabama",
"United States embassies",
"Loretta Pettway Bennett",
"Philadelphia Museum of Art",
"Paulson Press Gallery"
] |
|
13459_T
|
Never War
|
In Never War, how is the abstract discussed?
|
The "Never war" monument is an antiwar statue located in the Żabikowo area of Luboń, Poland, on the site of a former German internment camp known as Poggenburg. The monument was designed and built by Józef Gosławski in 1955, using granite and sandstone. It was unveiled 4 November 1956 by General Zygmunt Berling.
The monument depicts a man embracing a woman and child. On the pedestal is an inscription: NEVER WAR (Polish: NIGDY WOJNY).
|
[
"Józef Gosławski",
"Poland",
"granite",
"Polish",
"Luboń",
"Żabikowo",
"German",
"sandstone",
"internment camp",
"Zygmunt Berling"
] |
|
13459_NT
|
Never War
|
In this artwork, how is the abstract discussed?
|
The "Never war" monument is an antiwar statue located in the Żabikowo area of Luboń, Poland, on the site of a former German internment camp known as Poggenburg. The monument was designed and built by Józef Gosławski in 1955, using granite and sandstone. It was unveiled 4 November 1956 by General Zygmunt Berling.
The monument depicts a man embracing a woman and child. On the pedestal is an inscription: NEVER WAR (Polish: NIGDY WOJNY).
|
[
"Józef Gosławski",
"Poland",
"granite",
"Polish",
"Luboń",
"Żabikowo",
"German",
"sandstone",
"internment camp",
"Zygmunt Berling"
] |
|
13460_T
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Focus on The Banquet of the Officers of the St George Militia Company in 1627 and explore the abstract.
|
The Banquet of the Officers of the St George Militia Company is an oil-on-canvas painting by the Dutch artist Frans Hals, painted from 1626 - 1627, during the Dutch Golden Age. Today, the piece is considered one of the main attractions of the Frans Hals Museum.
This group portrait or schuttersstuk of the St. George (or St. Joris) civic guard of Haarlem serves as the celebration of a banquet for the officers, commemorating their end of service.
Hals's group portraiture is well known for its unique and groundbreaking approach to group portraits, using spontaneous and loose brushstrokes, along with expert use of color that create lively visuals and palpable interaction among the officers within the piece.
|
[
"Haarlem",
"portraiture",
"schuttersstuk",
"civic guard",
"Dutch Golden Age",
"Frans Hals",
"Frans Hals Museum"
] |
|
13460_NT
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Focus on this artwork and explore the abstract.
|
The Banquet of the Officers of the St George Militia Company is an oil-on-canvas painting by the Dutch artist Frans Hals, painted from 1626 - 1627, during the Dutch Golden Age. Today, the piece is considered one of the main attractions of the Frans Hals Museum.
This group portrait or schuttersstuk of the St. George (or St. Joris) civic guard of Haarlem serves as the celebration of a banquet for the officers, commemorating their end of service.
Hals's group portraiture is well known for its unique and groundbreaking approach to group portraits, using spontaneous and loose brushstrokes, along with expert use of color that create lively visuals and palpable interaction among the officers within the piece.
|
[
"Haarlem",
"portraiture",
"schuttersstuk",
"civic guard",
"Dutch Golden Age",
"Frans Hals",
"Frans Hals Museum"
] |
|
13461_T
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Focus on The Banquet of the Officers of the St George Militia Company in 1627 and explain the Analysis.
|
The painting consists of multiple Haarlem schutterij officers sitting near a long table in the banquet hall of St St. Jorisdoelen (now called the Proveniershuis). Each man wears a sash that represents their company; all three are represented with their flag-bearers wearing the colors orange, white or blue. The figures are varied and have a lot of implied movement. The way the officers bodies are displayed show them having interactions between one another in smaller groups while others look to the side or forward as if something that we are not seeing has their attention.
|
[
"Haarlem schutterij",
"Proveniershuis",
"Haarlem"
] |
|
13461_NT
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Focus on this artwork and explain the Analysis.
|
The painting consists of multiple Haarlem schutterij officers sitting near a long table in the banquet hall of St St. Jorisdoelen (now called the Proveniershuis). Each man wears a sash that represents their company; all three are represented with their flag-bearers wearing the colors orange, white or blue. The figures are varied and have a lot of implied movement. The way the officers bodies are displayed show them having interactions between one another in smaller groups while others look to the side or forward as if something that we are not seeing has their attention.
|
[
"Haarlem schutterij",
"Proveniershuis",
"Haarlem"
] |
|
13462_T
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Explore the Identity of figures about the Analysis of this artwork, The Banquet of the Officers of the St George Militia Company in 1627.
|
At the head of the table is Colonel Aart Jansz Druyvesteyn; he wears an orange sash holding a glass of wine sitting at the table on the left, looking at Captain Michiel de Wael with an empty glass. The men featured are from left to right; Lieutenant Cornelis Boudewijns (standing above Colonel Aernout Druyvesteyn), Captain Nicolaes Verbeek, Flag bearer Boudewijn van Offenberg, Lieutenant Jacob Pietersz Olycan, Captain Michiel de Wael, and above him, standing, is Flag bearer Dirck Dicx looking down at Jacob Olycan. Just behind him in the background is the servant Arent Jacobsz Koets, and below him, seated, is Lieutenant Frederik Coning. Behind the servant in the far right, is the flag bearer Jacob Cornelisz Schout who towers above the dwarf in the lower right, Captain Nicolaes le Febure.
|
[
"Boudewijn van Offenberg",
"Cornelis Boudewijns",
"Nicolaes le Febure",
"Nicolaes Verbeek",
"Jacob Cornelisz Schout",
"Aart Jansz Druyvesteyn",
"Michiel de Wael",
"Jacob Pietersz Olycan",
"Frederik Coning",
"Arent Jacobsz Koets",
"Dirck Dicx"
] |
|
13462_NT
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Explore the Identity of figures about the Analysis of this artwork.
|
At the head of the table is Colonel Aart Jansz Druyvesteyn; he wears an orange sash holding a glass of wine sitting at the table on the left, looking at Captain Michiel de Wael with an empty glass. The men featured are from left to right; Lieutenant Cornelis Boudewijns (standing above Colonel Aernout Druyvesteyn), Captain Nicolaes Verbeek, Flag bearer Boudewijn van Offenberg, Lieutenant Jacob Pietersz Olycan, Captain Michiel de Wael, and above him, standing, is Flag bearer Dirck Dicx looking down at Jacob Olycan. Just behind him in the background is the servant Arent Jacobsz Koets, and below him, seated, is Lieutenant Frederik Coning. Behind the servant in the far right, is the flag bearer Jacob Cornelisz Schout who towers above the dwarf in the lower right, Captain Nicolaes le Febure.
|
[
"Boudewijn van Offenberg",
"Cornelis Boudewijns",
"Nicolaes le Febure",
"Nicolaes Verbeek",
"Jacob Cornelisz Schout",
"Aart Jansz Druyvesteyn",
"Michiel de Wael",
"Jacob Pietersz Olycan",
"Frederik Coning",
"Arent Jacobsz Koets",
"Dirck Dicx"
] |
|
13463_T
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Focus on The Banquet of the Officers of the St George Militia Company in 1627 and discuss the Historical context.
|
During the Eighty Years War or Dutch Revolt, Dutch cities had an established network of able-bodied recruitments of militiamen to keep their cities safe. These reserves of militia were established during the late Middle Ages, serving as far back as Haarlem in 1374. They consisted of archers and crossbowmen until the Spanish occupation killed three hundred servicemen in 1573. After Spanish occupation ceased in 1580, new officers were elected to lead four new militia companies of servicemen. This included St George Guild (of archers and crossbowmen) and St Hadrian Guild (of new modern riflemen), with an additional third unit in 1612.According to Claus Grimm, from the top, the hierarchy of a guild starts with a colonel, and the administrative coordinator is the closest subordinate supervising each company. Each company is led by a captain, a lieutenant, two sergeants, and an ensign, who were standard-bearers of the company's flag.Militia men also had to pay for their service, with only well-known citizens and wealthy members serving as officers. Additionally, people could not join the civic guard if they could not afford a uniform and weaponry. The highest ranks came from the wealthy merchant class, such as Captain Michiel de Wael who was a popular tavern keep in the region.During the Dutch Golden Age, Frans Hals had painted five schuttersstukken or group portraits of various Haarlem companies between the years 1616 to 1639. The group portrait for The Banquet of the Officers of the St George Militia Company in 1627 was commissioned by the members of the company to commemorate the end of their three years of service. The artist would be reimbursed equally by each member, though some members had the potential in paying more than what they were owed, which they used to adjust their placement on the painting. On the other end, those that were not able to pay their sum would have a diminished role in their placement on the canvas.
|
[
"Haarlem",
"the late Middle Ages",
"schuttersstuk",
"Claus Grimm",
"crossbowmen",
"Eighty Years War or Dutch Revolt",
"merchant",
"archers",
"Michiel de Wael",
"civic guard",
"Dutch Golden Age",
"Frans Hals",
"riflemen"
] |
|
13463_NT
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Focus on this artwork and discuss the Historical context.
|
During the Eighty Years War or Dutch Revolt, Dutch cities had an established network of able-bodied recruitments of militiamen to keep their cities safe. These reserves of militia were established during the late Middle Ages, serving as far back as Haarlem in 1374. They consisted of archers and crossbowmen until the Spanish occupation killed three hundred servicemen in 1573. After Spanish occupation ceased in 1580, new officers were elected to lead four new militia companies of servicemen. This included St George Guild (of archers and crossbowmen) and St Hadrian Guild (of new modern riflemen), with an additional third unit in 1612.According to Claus Grimm, from the top, the hierarchy of a guild starts with a colonel, and the administrative coordinator is the closest subordinate supervising each company. Each company is led by a captain, a lieutenant, two sergeants, and an ensign, who were standard-bearers of the company's flag.Militia men also had to pay for their service, with only well-known citizens and wealthy members serving as officers. Additionally, people could not join the civic guard if they could not afford a uniform and weaponry. The highest ranks came from the wealthy merchant class, such as Captain Michiel de Wael who was a popular tavern keep in the region.During the Dutch Golden Age, Frans Hals had painted five schuttersstukken or group portraits of various Haarlem companies between the years 1616 to 1639. The group portrait for The Banquet of the Officers of the St George Militia Company in 1627 was commissioned by the members of the company to commemorate the end of their three years of service. The artist would be reimbursed equally by each member, though some members had the potential in paying more than what they were owed, which they used to adjust their placement on the painting. On the other end, those that were not able to pay their sum would have a diminished role in their placement on the canvas.
|
[
"Haarlem",
"the late Middle Ages",
"schuttersstuk",
"Claus Grimm",
"crossbowmen",
"Eighty Years War or Dutch Revolt",
"merchant",
"archers",
"Michiel de Wael",
"civic guard",
"Dutch Golden Age",
"Frans Hals",
"riflemen"
] |
|
13464_T
|
The Banquet of the Officers of the St George Militia Company in 1627
|
In the context of The Banquet of the Officers of the St George Militia Company in 1627, analyze the Style of the Subject matter.
|
Frans' portraiture depicting the St George Militia Company is heavily focused on impressionism; the loose and brisk brushstrokes are very clear up close, but allow the details to come out from afar. The painting is group portraiture but can also be seen as a genre painting, as it portrays an event where the figures are captured and frozen at a moment in time. Frans Hals's group portraiture, as described by art historian Ann Sutherland Harris, evokes what is called "seeming realism" as they tend to feel very lifelike despite the subject being fake. The reason for this is that this painting was not created in front of the civic guard during the banquet; Frans Hals made an original composition and later had each of the members model for him in his studio.
|
[
"portraiture",
"genre painting",
"realism",
"civic guard",
"impressionism",
"Ann Sutherland Harris",
"Frans Hals"
] |
|
13464_NT
|
The Banquet of the Officers of the St George Militia Company in 1627
|
In the context of this artwork, analyze the Style of the Subject matter.
|
Frans' portraiture depicting the St George Militia Company is heavily focused on impressionism; the loose and brisk brushstrokes are very clear up close, but allow the details to come out from afar. The painting is group portraiture but can also be seen as a genre painting, as it portrays an event where the figures are captured and frozen at a moment in time. Frans Hals's group portraiture, as described by art historian Ann Sutherland Harris, evokes what is called "seeming realism" as they tend to feel very lifelike despite the subject being fake. The reason for this is that this painting was not created in front of the civic guard during the banquet; Frans Hals made an original composition and later had each of the members model for him in his studio.
|
[
"portraiture",
"genre painting",
"realism",
"civic guard",
"impressionism",
"Ann Sutherland Harris",
"Frans Hals"
] |
|
13465_T
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Describe the characteristics of the Composition in The Banquet of the Officers of the St George Militia Company in 1627's Subject matter.
|
In Ann Sutherland Harris' book, Seventeenth-century Art and Architecture, Harris praises Hals for his compositional prowess and that his methods in painting this series of schuttersstukken allow for varied events all throughout. How the figures are arranged and how their body language is translated is very life-like. He utilizes varying heights across the canvas, giving the piece depth, while also placing the officers in the front, having them turn around as if to look forward. This choice created this extra illusion of interaction where the figures are looking at someone outside the borders of the painting. It displays this sense of realism that feels like a moment taken out of time.
Hals was more concerned on how the arrangement and body language of the officers interacted in the piece over any kind of symbolism, a bi-product of the Dutch Golden Age that came from the emphasis on group portraiture. Frans wanted to emphasize the individual silhouettes in excerpts of conversations and interacting movements, any ceremonial symbolism in the banquet was only minor.
|
[
"portraiture",
"schuttersstuk",
"realism",
"Dutch Golden Age",
"Ann Sutherland Harris"
] |
|
13465_NT
|
The Banquet of the Officers of the St George Militia Company in 1627
|
Describe the characteristics of the Composition in this artwork's Subject matter.
|
In Ann Sutherland Harris' book, Seventeenth-century Art and Architecture, Harris praises Hals for his compositional prowess and that his methods in painting this series of schuttersstukken allow for varied events all throughout. How the figures are arranged and how their body language is translated is very life-like. He utilizes varying heights across the canvas, giving the piece depth, while also placing the officers in the front, having them turn around as if to look forward. This choice created this extra illusion of interaction where the figures are looking at someone outside the borders of the painting. It displays this sense of realism that feels like a moment taken out of time.
Hals was more concerned on how the arrangement and body language of the officers interacted in the piece over any kind of symbolism, a bi-product of the Dutch Golden Age that came from the emphasis on group portraiture. Frans wanted to emphasize the individual silhouettes in excerpts of conversations and interacting movements, any ceremonial symbolism in the banquet was only minor.
|
[
"portraiture",
"schuttersstuk",
"realism",
"Dutch Golden Age",
"Ann Sutherland Harris"
] |
|
13466_T
|
The Banquet of the Officers of the St George Militia Company in 1627
|
In the context of The Banquet of the Officers of the St George Militia Company in 1627, explore the Color of the Subject matter.
|
As a colorist, Frans Hals expertly applies vibrant colors deducing each of the members of the civic guard clearly. A prominent example can be found in the standard bearer, Boudewijn van Offenberg, the oranges contrast well with the deep darks of his uniform. His spontaneous but deliberate brushstrokes bring out the folds and texture of his uniform that evokes realism but still rooted in impressionism.
|
[
"Boudewijn van Offenberg",
"realism",
"civic guard",
"impressionism",
"Frans Hals"
] |
|
13466_NT
|
The Banquet of the Officers of the St George Militia Company in 1627
|
In the context of this artwork, explore the Color of the Subject matter.
|
As a colorist, Frans Hals expertly applies vibrant colors deducing each of the members of the civic guard clearly. A prominent example can be found in the standard bearer, Boudewijn van Offenberg, the oranges contrast well with the deep darks of his uniform. His spontaneous but deliberate brushstrokes bring out the folds and texture of his uniform that evokes realism but still rooted in impressionism.
|
[
"Boudewijn van Offenberg",
"realism",
"civic guard",
"impressionism",
"Frans Hals"
] |
|
13467_T
|
The Artist's Mother Ane Hedvig Brøndum in the Blue Room
|
Focus on The Artist's Mother Ane Hedvig Brøndum in the Blue Room and explain the abstract.
|
The artist's mother Ane Hedvig Brøndum in the blue room (Danish: Kunstnerens mor Ane Hedvig Brøndum i den blå stue) is an oil on canvas painting by Danish painter Anna Ancher from 1909. It is held at the National Gallery of Denmark, in Copenhagen.
|
[
"Copenhagen",
"National Gallery of Denmark",
"Anna Ancher"
] |
|
13467_NT
|
The Artist's Mother Ane Hedvig Brøndum in the Blue Room
|
Focus on this artwork and explain the abstract.
|
The artist's mother Ane Hedvig Brøndum in the blue room (Danish: Kunstnerens mor Ane Hedvig Brøndum i den blå stue) is an oil on canvas painting by Danish painter Anna Ancher from 1909. It is held at the National Gallery of Denmark, in Copenhagen.
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[
"Copenhagen",
"National Gallery of Denmark",
"Anna Ancher"
] |
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13468_T
|
The Artist's Mother Ane Hedvig Brøndum in the Blue Room
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Explore the Description of this artwork, The Artist's Mother Ane Hedvig Brøndum in the Blue Room.
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The painting is oil on canvas, and has dimensions of 38.8 x 56.8 cm.
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[] |
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13468_NT
|
The Artist's Mother Ane Hedvig Brøndum in the Blue Room
|
Explore the Description of this artwork.
|
The painting is oil on canvas, and has dimensions of 38.8 x 56.8 cm.
|
[] |
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13469_T
|
The Artist's Mother Ane Hedvig Brøndum in the Blue Room
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Focus on The Artist's Mother Ane Hedvig Brøndum in the Blue Room and discuss the Analysis.
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Anna Ancher made several paintings of her mother, Anna Hedvig (Ane) Brøndum (1826-1916), who was married to merchant and innkeeper Erik Andersen Brøndum (1820–90). After her husband's death in 1890 she ran Brøndum's Hotel, with her son Degn Brøndum, until she was 70 years old. The portrait depicts the blue room at the hotel where she lived when at the time, and where she used to read. Several of Anna Ancher's portraits of her mother have the blue room as a setting.
|
[
"Anna Ancher"
] |
|
13469_NT
|
The Artist's Mother Ane Hedvig Brøndum in the Blue Room
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Focus on this artwork and discuss the Analysis.
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Anna Ancher made several paintings of her mother, Anna Hedvig (Ane) Brøndum (1826-1916), who was married to merchant and innkeeper Erik Andersen Brøndum (1820–90). After her husband's death in 1890 she ran Brøndum's Hotel, with her son Degn Brøndum, until she was 70 years old. The portrait depicts the blue room at the hotel where she lived when at the time, and where she used to read. Several of Anna Ancher's portraits of her mother have the blue room as a setting.
|
[
"Anna Ancher"
] |
|
13470_T
|
Plato's Academy mosaic
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How does Plato's Academy mosaic elucidate its abstract?
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Plato's Academy mosaic is a free standing mosaic panel found in the villa of T. Siminius Stephanus in Pompeii. It is roughly a square, 86 cm x 85 cm, and can be seen presently at the National Archaeological Museum of Naples, where it is kept as item MANN 124545.
Most generally it is taken to present some variation on the topic of the Seven Sages of Ancient Greece. The figures are in classical attire of toga and sandals, gathered under a tree, against a backdrop of allusive elements, including stone columns suggestive of the grand civic architecture of the age, and glimpses of distant cliffs or havens, perhaps metaphysical in nature. Since its discovery in 1897 many hypotheses about the personages and the meaning of the representation have been proposed.
|
[
"Seven Sages",
"National Archaeological Museum of Naples",
"Pompei",
"Naples",
"mosaic",
"Plato's Academy",
"T. Siminius Stephanus",
"Plato",
"Pompeii"
] |
|
13470_NT
|
Plato's Academy mosaic
|
How does this artwork elucidate its abstract?
|
Plato's Academy mosaic is a free standing mosaic panel found in the villa of T. Siminius Stephanus in Pompeii. It is roughly a square, 86 cm x 85 cm, and can be seen presently at the National Archaeological Museum of Naples, where it is kept as item MANN 124545.
Most generally it is taken to present some variation on the topic of the Seven Sages of Ancient Greece. The figures are in classical attire of toga and sandals, gathered under a tree, against a backdrop of allusive elements, including stone columns suggestive of the grand civic architecture of the age, and glimpses of distant cliffs or havens, perhaps metaphysical in nature. Since its discovery in 1897 many hypotheses about the personages and the meaning of the representation have been proposed.
|
[
"Seven Sages",
"National Archaeological Museum of Naples",
"Pompei",
"Naples",
"mosaic",
"Plato's Academy",
"T. Siminius Stephanus",
"Plato",
"Pompeii"
] |
|
13471_T
|
Plato's Academy mosaic
|
Focus on Plato's Academy mosaic and analyze the Overview.
|
Otto Brendel published in 1936 a book length study arguing that the scene should be interpreted by focusing on the sphere seen as central for the mosaic. His reading has been challenged by pointing that the object is actually the omphalos and the depicted gathering is located at Delphi. Others have emphasized that the central figure is Plato pointing with a stick at a celestial model. Mattusch (2008) suggests for the other figures, the Greek philosophers and scholars: Thales, Anaxagoras, Pythagoras, Xenophanes, Democritus, Eudoxus, Euctemon, Callippus, Meton, Philippus, Hipparchus, and Aratus. However, Mattusch also points out that the number of figures could relate to the Seven Sages of Greece, and points out that the sages often had fluid identities. David Sedley identifies the figures as Timaeus, Eudoxus, Plato, Xenocrates, Archytas, Speusippus and Aristotle.A strikingly similar mosaic has been found in Sarsina (now at Villa Albani) and as it has been dated after the volcanic eruption at Pompeii, a common source has been reasonably conjectured. Also Rowe and Rees noted that a set of sculptures found at Memphis showed some similarity.
|
[
"Democritus",
"Otto Brendel",
"Seven Sages",
"Meton",
"Pompei",
"omphalos",
"Timaeus",
"Speusippus",
"Aristotle",
"Anaxagoras",
"Euctemon",
"Rowe",
"Rees",
"Hipparchus",
"mosaic",
"Xenophanes",
"Pythagoras",
"Villa Albani",
"Xenocrates",
"Thales",
"Plato",
"David Sedley",
"Eudoxus",
"Pompeii",
"Callippus",
"Aratus",
"Memphis",
"Philippus",
"Delphi",
"Archytas",
"Seven Sages of Greece"
] |
|
13471_NT
|
Plato's Academy mosaic
|
Focus on this artwork and analyze the Overview.
|
Otto Brendel published in 1936 a book length study arguing that the scene should be interpreted by focusing on the sphere seen as central for the mosaic. His reading has been challenged by pointing that the object is actually the omphalos and the depicted gathering is located at Delphi. Others have emphasized that the central figure is Plato pointing with a stick at a celestial model. Mattusch (2008) suggests for the other figures, the Greek philosophers and scholars: Thales, Anaxagoras, Pythagoras, Xenophanes, Democritus, Eudoxus, Euctemon, Callippus, Meton, Philippus, Hipparchus, and Aratus. However, Mattusch also points out that the number of figures could relate to the Seven Sages of Greece, and points out that the sages often had fluid identities. David Sedley identifies the figures as Timaeus, Eudoxus, Plato, Xenocrates, Archytas, Speusippus and Aristotle.A strikingly similar mosaic has been found in Sarsina (now at Villa Albani) and as it has been dated after the volcanic eruption at Pompeii, a common source has been reasonably conjectured. Also Rowe and Rees noted that a set of sculptures found at Memphis showed some similarity.
|
[
"Democritus",
"Otto Brendel",
"Seven Sages",
"Meton",
"Pompei",
"omphalos",
"Timaeus",
"Speusippus",
"Aristotle",
"Anaxagoras",
"Euctemon",
"Rowe",
"Rees",
"Hipparchus",
"mosaic",
"Xenophanes",
"Pythagoras",
"Villa Albani",
"Xenocrates",
"Thales",
"Plato",
"David Sedley",
"Eudoxus",
"Pompeii",
"Callippus",
"Aratus",
"Memphis",
"Philippus",
"Delphi",
"Archytas",
"Seven Sages of Greece"
] |
|
13472_T
|
His Majesty the King (Miró)
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In His Majesty the King (Miró), how is the abstract discussed?
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His Majesty the King is a sculpture-object made by Joan Miró in 1974 and now part of the permanent collection of the Fundació Joan Miró in Barcelona.
|
[
"Fundació Joan Miró",
"Barcelona",
"Joan Miró"
] |
|
13472_NT
|
His Majesty the King (Miró)
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In this artwork, how is the abstract discussed?
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His Majesty the King is a sculpture-object made by Joan Miró in 1974 and now part of the permanent collection of the Fundació Joan Miró in Barcelona.
|
[
"Fundació Joan Miró",
"Barcelona",
"Joan Miró"
] |
|
13473_T
|
His Majesty the King (Miró)
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Focus on His Majesty the King (Miró) and explore the History.
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Miró lived to see the fall of the Falange regime after the death of Francisco Franco in 1975, along with the transition to democracy in Spain.
In his acceptance speech for an honorary doctorate from the University of Barcelona in 1979, Miró discussed the civic responsibility of the artist: "I understand that an artist is someone who, in the midst of others’ silence, uses his own voice to say something and who makes sure that what he says is not useless, but something that is useful to mankind."
|
[
"Francisco Franco",
"Falange",
"University of Barcelona",
"Barcelona",
"Spain"
] |
|
13473_NT
|
His Majesty the King (Miró)
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Focus on this artwork and explore the History.
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Miró lived to see the fall of the Falange regime after the death of Francisco Franco in 1975, along with the transition to democracy in Spain.
In his acceptance speech for an honorary doctorate from the University of Barcelona in 1979, Miró discussed the civic responsibility of the artist: "I understand that an artist is someone who, in the midst of others’ silence, uses his own voice to say something and who makes sure that what he says is not useless, but something that is useful to mankind."
|
[
"Francisco Franco",
"Falange",
"University of Barcelona",
"Barcelona",
"Spain"
] |
|
13474_T
|
His Majesty the King (Miró)
|
Focus on His Majesty the King (Miró) and explain the Description.
|
His Majesty the King, along with Her Majesty the Queen and His Highness the Prince are part of a series of sculptures—as was often the case with Miró, composed from found objects. The everyday origins of the items comprising the sculptures implicitly contradict the majesty of the works' titles.
The creative activity, artistic expression in Joan Miró is an experience closely related to their physical and social environment. The roots in the earth to the cosmos, the objects quotidiants, simple, often linked to rural areas are sources of inspiration to stimulate your ability to dream and give a universal work. The found objects, features traditional objects from the peasant environment of Montroig are transformed into sculptures. The choice of these materials by Miró is not aesthetic but is attracted to each object that radiates energy. We have to stick to the land has been hearing the cry of the earth [...]. Tarragona, Mallorca and Palma Montroig [...].
When I weighed very Mont-Roig. Mallorca is poetry, light [...]. And Catalonia [...]; Auxois is mental strength. Face! The strength plastic.
|
[
"Her Majesty the Queen",
"Joan Miró",
"His Highness the Prince",
"found object"
] |
|
13474_NT
|
His Majesty the King (Miró)
|
Focus on this artwork and explain the Description.
|
His Majesty the King, along with Her Majesty the Queen and His Highness the Prince are part of a series of sculptures—as was often the case with Miró, composed from found objects. The everyday origins of the items comprising the sculptures implicitly contradict the majesty of the works' titles.
The creative activity, artistic expression in Joan Miró is an experience closely related to their physical and social environment. The roots in the earth to the cosmos, the objects quotidiants, simple, often linked to rural areas are sources of inspiration to stimulate your ability to dream and give a universal work. The found objects, features traditional objects from the peasant environment of Montroig are transformed into sculptures. The choice of these materials by Miró is not aesthetic but is attracted to each object that radiates energy. We have to stick to the land has been hearing the cry of the earth [...]. Tarragona, Mallorca and Palma Montroig [...].
When I weighed very Mont-Roig. Mallorca is poetry, light [...]. And Catalonia [...]; Auxois is mental strength. Face! The strength plastic.
|
[
"Her Majesty the Queen",
"Joan Miró",
"His Highness the Prince",
"found object"
] |
|
13475_T
|
His Majesty the King (Miró)
|
Explore the 2011 Exhibition of this artwork, His Majesty the King (Miró).
|
The exhibition L'escala de l'evasió that opened in October 2011 was supported by access to Wikipedia using QRpedia codes that allowed access to visitors in Catalan, English and several other languages.
|
[
"L'escala de l'evasió",
"QRpedia",
"Catalan"
] |
|
13475_NT
|
His Majesty the King (Miró)
|
Explore the 2011 Exhibition of this artwork.
|
The exhibition L'escala de l'evasió that opened in October 2011 was supported by access to Wikipedia using QRpedia codes that allowed access to visitors in Catalan, English and several other languages.
|
[
"L'escala de l'evasió",
"QRpedia",
"Catalan"
] |
|
13476_T
|
The Jewish Bride
|
Focus on The Jewish Bride and discuss the abstract.
|
The Jewish Bride (Dutch: Het Joodse bruidje) is a painting by Rembrandt, painted around 1665‒1669.The painting gained its current name in the early 19th century, when an Amsterdam art collector identified the subject as that of a Jewish father bestowing a necklace upon his daughter on her wedding day. This interpretation is no longer accepted, and the identity of the couple is uncertain. The ambiguity is heightened by the lack of anecdotal context, leaving only the central universal theme, that of a couple joined in love. Speculative suggestions as to the couple's identity have ranged from Rembrandt's son Titus and his bride, or Amsterdam poet Miguel de Barrios and his wife. Also considered are several couples from the Old Testament, including Abraham and Sarah, Boaz and Ruth, or Isaac and Rebekah, which is supported by a drawing by the artist several years prior.While technical evidence suggests that Rembrandt initially envisioned a larger and more elaborate composition, the placement of his signature at lower left indicates that its current dimensions are not significantly different from those at the time of its completion. According to Rembrandt biographer Christopher White, the completed composition is "one of the greatest expressions of the tender fusion of spiritual and physical love in the history of painting."The painting is in the permanent collection of the Rijksmuseum in Amsterdam.
|
[
"Amsterdam",
"Boaz",
"Ruth",
"Abraham",
"Rembrandt",
"Isaac",
"Jewish Bride",
"Sarah",
"Miguel de Barrios",
"Rijksmuseum",
"Rebekah",
"painting",
"Old Testament"
] |
|
13476_NT
|
The Jewish Bride
|
Focus on this artwork and discuss the abstract.
|
The Jewish Bride (Dutch: Het Joodse bruidje) is a painting by Rembrandt, painted around 1665‒1669.The painting gained its current name in the early 19th century, when an Amsterdam art collector identified the subject as that of a Jewish father bestowing a necklace upon his daughter on her wedding day. This interpretation is no longer accepted, and the identity of the couple is uncertain. The ambiguity is heightened by the lack of anecdotal context, leaving only the central universal theme, that of a couple joined in love. Speculative suggestions as to the couple's identity have ranged from Rembrandt's son Titus and his bride, or Amsterdam poet Miguel de Barrios and his wife. Also considered are several couples from the Old Testament, including Abraham and Sarah, Boaz and Ruth, or Isaac and Rebekah, which is supported by a drawing by the artist several years prior.While technical evidence suggests that Rembrandt initially envisioned a larger and more elaborate composition, the placement of his signature at lower left indicates that its current dimensions are not significantly different from those at the time of its completion. According to Rembrandt biographer Christopher White, the completed composition is "one of the greatest expressions of the tender fusion of spiritual and physical love in the history of painting."The painting is in the permanent collection of the Rijksmuseum in Amsterdam.
|
[
"Amsterdam",
"Boaz",
"Ruth",
"Abraham",
"Rembrandt",
"Isaac",
"Jewish Bride",
"Sarah",
"Miguel de Barrios",
"Rijksmuseum",
"Rebekah",
"painting",
"Old Testament"
] |
|
13477_T
|
Coronation of the Virgin (Lorenzo Monaco)
|
How does Coronation of the Virgin (Lorenzo Monaco) elucidate its History?
|
The painting is mentioned in the early 15th century by Antonio Billi.
In the late 16th century, it was replaced in the altar it occupied by a large canvas by Alessandro Allori. The Coronation was rediscovered in the 19th century, when it was housed in the Camaldolese abbey of San Pietro a Cerreto, in poor condition. In 1872 it was restored to its frame. In 1990 the painted part was found to contain the precious and (for the time) expensive use of lapis lazuli blue.
|
[
"lapis lazuli blue",
"Alessandro Allori"
] |
|
13477_NT
|
Coronation of the Virgin (Lorenzo Monaco)
|
How does this artwork elucidate its History?
|
The painting is mentioned in the early 15th century by Antonio Billi.
In the late 16th century, it was replaced in the altar it occupied by a large canvas by Alessandro Allori. The Coronation was rediscovered in the 19th century, when it was housed in the Camaldolese abbey of San Pietro a Cerreto, in poor condition. In 1872 it was restored to its frame. In 1990 the painted part was found to contain the precious and (for the time) expensive use of lapis lazuli blue.
|
[
"lapis lazuli blue",
"Alessandro Allori"
] |
|
13478_T
|
Le Rêve (Picasso)
|
Focus on Le Rêve (Picasso) and analyze the abstract.
|
Le Rêve (English: The Dream) is a 1932 oil on canvas painting (130 × 97 cm) by Pablo Picasso, then 50 years old, portraying his 22-year-old mistress Marie-Thérèse Walter. It is said to have been painted in one afternoon, on 24 January 1932. It belongs to Picasso's period of distorted depictions, with its oversimplified outlines and contrasted colors resembling early cubism. The erotic content of the painting has been noted repeatedly, with critics pointing out that Picasso painted an erect penis, presumably symbolizing his own, in the upturned face of his model. On 26 March 2013, the painting was sold in a private sale for $155 million, making it one of the most expensive paintings ever sold.
|
[
"cubism",
"one of the most expensive paintings",
"Marie-Thérèse Walter",
"oil on canvas",
"most expensive painting",
"Pablo Picasso"
] |
|
13478_NT
|
Le Rêve (Picasso)
|
Focus on this artwork and analyze the abstract.
|
Le Rêve (English: The Dream) is a 1932 oil on canvas painting (130 × 97 cm) by Pablo Picasso, then 50 years old, portraying his 22-year-old mistress Marie-Thérèse Walter. It is said to have been painted in one afternoon, on 24 January 1932. It belongs to Picasso's period of distorted depictions, with its oversimplified outlines and contrasted colors resembling early cubism. The erotic content of the painting has been noted repeatedly, with critics pointing out that Picasso painted an erect penis, presumably symbolizing his own, in the upturned face of his model. On 26 March 2013, the painting was sold in a private sale for $155 million, making it one of the most expensive paintings ever sold.
|
[
"cubism",
"one of the most expensive paintings",
"Marie-Thérèse Walter",
"oil on canvas",
"most expensive painting",
"Pablo Picasso"
] |
|
13479_T
|
Le Rêve (Picasso)
|
In Le Rêve (Picasso), how is the Provenance discussed?
|
Le Rêve was purchased for $7,000 in 1941 by Victor and Sally Ganz of New York City. This purchase began their 50-year collection of works by just five artists: Picasso, Jasper Johns, Robert Rauschenberg, Frank Stella, and Eva Hesse. After the Ganzes died (Victor in 1987 and Sally in 1997), their collection, including Le Rêve, was sold at Christie's auction house on November 11, 1997, as a means of settling their inheritance tax bill. Le Rêve sold for an unexpectedly high $48.4 million, at the time the fourth most expensive painting sold (tenth when taking inflation into account). The entire collection set a record for the sale of a private collection, bringing $206.5 million. The total amount paid by the Ganzes over their lifetime of collecting these pieces was around $2 million.
The buyer who purchased Le Rêve at Christie's in 1997 appears to have been the Austrian-born investment fund manager Wolfgang Flöttl, who also briefly held Van Gogh's Portrait of Dr. Gachet in possession in the late 1990s. In 2001, under financial pressure, he sold Le Rêve to casino magnate Steve Wynn for an undisclosed sum, estimated to be about $60 million.
|
[
"Portrait of Dr. Gachet",
"New York City",
"Wolfgang Flöttl",
"Van Gogh",
"Victor and Sally Ganz",
"Jasper Johns",
"Frank Stella",
"Robert Rauschenberg",
"Christie's",
"Eva Hesse",
"most expensive painting",
"Steve Wynn"
] |
|
13479_NT
|
Le Rêve (Picasso)
|
In this artwork, how is the Provenance discussed?
|
Le Rêve was purchased for $7,000 in 1941 by Victor and Sally Ganz of New York City. This purchase began their 50-year collection of works by just five artists: Picasso, Jasper Johns, Robert Rauschenberg, Frank Stella, and Eva Hesse. After the Ganzes died (Victor in 1987 and Sally in 1997), their collection, including Le Rêve, was sold at Christie's auction house on November 11, 1997, as a means of settling their inheritance tax bill. Le Rêve sold for an unexpectedly high $48.4 million, at the time the fourth most expensive painting sold (tenth when taking inflation into account). The entire collection set a record for the sale of a private collection, bringing $206.5 million. The total amount paid by the Ganzes over their lifetime of collecting these pieces was around $2 million.
The buyer who purchased Le Rêve at Christie's in 1997 appears to have been the Austrian-born investment fund manager Wolfgang Flöttl, who also briefly held Van Gogh's Portrait of Dr. Gachet in possession in the late 1990s. In 2001, under financial pressure, he sold Le Rêve to casino magnate Steve Wynn for an undisclosed sum, estimated to be about $60 million.
|
[
"Portrait of Dr. Gachet",
"New York City",
"Wolfgang Flöttl",
"Van Gogh",
"Victor and Sally Ganz",
"Jasper Johns",
"Frank Stella",
"Robert Rauschenberg",
"Christie's",
"Eva Hesse",
"most expensive painting",
"Steve Wynn"
] |
|
13480_T
|
Le Rêve (Picasso)
|
Focus on Le Rêve (Picasso) and explore the Wynn incident.
|
In 2006, the painting was the centerpiece of Wynn's collection and he had considered naming his Wynn Las Vegas resort after it. During a period of anti-French sentiment in the United States in response to France's opposition to the United States' proposed invasion of Iraq, Wynn decided it was inadvisable to give the resort a French name. In October 2006, Wynn told a group of his friends (including the screenwriter Nora Ephron and her husband Nick Pileggi, the broadcaster Barbara Walters, the art dealer Serge Sorokko and his wife, the model Tatiana Sorokko and the lawyer David Boies and his wife, Mary) that he had agreed the day before to sell Le Rêve for $139 million to Steve Cohen. At the time, this price would have made Le Rêve the most expensive piece of art ever. While Wynn was showing the painting to his friends, apparently about to reveal the now still officially undisclosed previous owner (see above), he put his right elbow through the canvas, puncturing the left forearm of the figure and creating a six-inch tear.
Ephron offered as an explanation that Wynn uses wild gestures while speaking and has retinitis pigmentosa, which affects his peripheral vision. Later, Wynn said that he took the event as a sign to not sell the painting.After a $90,000 repair, the painting was re-valued at $85 million. Wynn filed a claim to recover the $54 million perceived loss from his Lloyd's of London insurers, an amount which would have covered most of the initial cost of buying the painting. When the insurers balked, Wynn sued them in January 2007.
The case was eventually settled out of court in March 2007. Cohen bought the painting from Wynn in 2013 for $155 million (ca. $134 million in 2006 dollars). Ignoring inflation, the price was estimated to be the highest ever paid for an artwork by a U.S. collector until Kenneth C. Griffin's ~$300 million purchase of Willem de Kooning's Interchange in September 2015.
|
[
"Steve Cohen",
"Nora Ephron",
"David Boies",
"Barbara Walters",
"Kenneth C. Griffin",
"Willem de Kooning",
"Lloyd's of London",
"Interchange",
"Tatiana Sorokko",
"Serge Sorokko",
"Nick Pileggi",
"retinitis pigmentosa",
"Wynn Las Vegas"
] |
|
13480_NT
|
Le Rêve (Picasso)
|
Focus on this artwork and explore the Wynn incident.
|
In 2006, the painting was the centerpiece of Wynn's collection and he had considered naming his Wynn Las Vegas resort after it. During a period of anti-French sentiment in the United States in response to France's opposition to the United States' proposed invasion of Iraq, Wynn decided it was inadvisable to give the resort a French name. In October 2006, Wynn told a group of his friends (including the screenwriter Nora Ephron and her husband Nick Pileggi, the broadcaster Barbara Walters, the art dealer Serge Sorokko and his wife, the model Tatiana Sorokko and the lawyer David Boies and his wife, Mary) that he had agreed the day before to sell Le Rêve for $139 million to Steve Cohen. At the time, this price would have made Le Rêve the most expensive piece of art ever. While Wynn was showing the painting to his friends, apparently about to reveal the now still officially undisclosed previous owner (see above), he put his right elbow through the canvas, puncturing the left forearm of the figure and creating a six-inch tear.
Ephron offered as an explanation that Wynn uses wild gestures while speaking and has retinitis pigmentosa, which affects his peripheral vision. Later, Wynn said that he took the event as a sign to not sell the painting.After a $90,000 repair, the painting was re-valued at $85 million. Wynn filed a claim to recover the $54 million perceived loss from his Lloyd's of London insurers, an amount which would have covered most of the initial cost of buying the painting. When the insurers balked, Wynn sued them in January 2007.
The case was eventually settled out of court in March 2007. Cohen bought the painting from Wynn in 2013 for $155 million (ca. $134 million in 2006 dollars). Ignoring inflation, the price was estimated to be the highest ever paid for an artwork by a U.S. collector until Kenneth C. Griffin's ~$300 million purchase of Willem de Kooning's Interchange in September 2015.
|
[
"Steve Cohen",
"Nora Ephron",
"David Boies",
"Barbara Walters",
"Kenneth C. Griffin",
"Willem de Kooning",
"Lloyd's of London",
"Interchange",
"Tatiana Sorokko",
"Serge Sorokko",
"Nick Pileggi",
"retinitis pigmentosa",
"Wynn Las Vegas"
] |
|
13481_T
|
Statue of Nelson Mandela, Johannesburg
|
Focus on Statue of Nelson Mandela, Johannesburg and explain the abstract.
|
The statue of Nelson Mandela is a large bronze sculpture of the former President of South Africa and anti-apartheid activist Nelson Mandela, located in Nelson Mandela Square in Sandton, Gauteng.
|
[
"President of South Africa",
"Sandton",
"Nelson Mandela",
"Nelson Mandela Square"
] |
|
13481_NT
|
Statue of Nelson Mandela, Johannesburg
|
Focus on this artwork and explain the abstract.
|
The statue of Nelson Mandela is a large bronze sculpture of the former President of South Africa and anti-apartheid activist Nelson Mandela, located in Nelson Mandela Square in Sandton, Gauteng.
|
[
"President of South Africa",
"Sandton",
"Nelson Mandela",
"Nelson Mandela Square"
] |
|
13482_T
|
Statue of Nelson Mandela, Johannesburg
|
Explore the Location of this artwork, Statue of Nelson Mandela, Johannesburg.
|
Prior to the statue's unveiling, the square had been named Sandton Square after the surrounding area of Sandton. The square was officially renamed Nelson Mandela Square on 31 March 2004. Sandton City, the largest retail complex in Africa, lies behind the statue. The location of the statue has been criticized due to Sandton Square's perception as a "symbol of commercial and social elitism".
|
[
"Sandton City",
"Sandton",
"Nelson Mandela",
"Nelson Mandela Square"
] |
|
13482_NT
|
Statue of Nelson Mandela, Johannesburg
|
Explore the Location of this artwork.
|
Prior to the statue's unveiling, the square had been named Sandton Square after the surrounding area of Sandton. The square was officially renamed Nelson Mandela Square on 31 March 2004. Sandton City, the largest retail complex in Africa, lies behind the statue. The location of the statue has been criticized due to Sandton Square's perception as a "symbol of commercial and social elitism".
|
[
"Sandton City",
"Sandton",
"Nelson Mandela",
"Nelson Mandela Square"
] |
|
13483_T
|
Statue of Nelson Mandela, Johannesburg
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Focus on Statue of Nelson Mandela, Johannesburg and discuss the History.
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The statue was commissioned in July 2002 and completed in February 2004. It was unveiled in the square on 31 March 2004. It was sculpted by Kobus Hattingh and Jacob Maponyane.The statue was erected in conjunction with the 10th anniversary of South Africa's first democratic elections. It was the first-ever public statue of Mandela and was unveiled by his eldest granddaughter, Ndileka Mandela, who said of the statue that "While we honour Nelson Mandela in this statue, we are also honouring South Africa. He's not just a grandfather to us, but to the whole nation". A box for donations for the Nelson Mandela Foundation was placed beside the statue.
|
[
"South Africa's first democratic elections",
"Nelson Mandela"
] |
|
13483_NT
|
Statue of Nelson Mandela, Johannesburg
|
Focus on this artwork and discuss the History.
|
The statue was commissioned in July 2002 and completed in February 2004. It was unveiled in the square on 31 March 2004. It was sculpted by Kobus Hattingh and Jacob Maponyane.The statue was erected in conjunction with the 10th anniversary of South Africa's first democratic elections. It was the first-ever public statue of Mandela and was unveiled by his eldest granddaughter, Ndileka Mandela, who said of the statue that "While we honour Nelson Mandela in this statue, we are also honouring South Africa. He's not just a grandfather to us, but to the whole nation". A box for donations for the Nelson Mandela Foundation was placed beside the statue.
|
[
"South Africa's first democratic elections",
"Nelson Mandela"
] |
|
13484_T
|
Statue of Nelson Mandela, Johannesburg
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How does Statue of Nelson Mandela, Johannesburg elucidate its Description?
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The statue stands 6 metres (20 ft) high and measures 2.3 metres (7 ft 7 in) from elbow to elbow. The statue weighs 2.5 tons. It has been described as "towering", "imposing", and a "focal point" for the entire area.The statue depicts Mandela wearing his Madiba shirt and dancing in what was referred to at the unveiling as the "Madiba jive". Basetsana Kumalo, the master of ceremonies at the statue's unveiling, said that it was "a very happy statue. The dancing stance pays tribute to the spirit of joy and celebration inherent in the people of South Africa – this is the Madiba jive".
|
[
"Madiba shirt",
"master of ceremonies"
] |
|
13484_NT
|
Statue of Nelson Mandela, Johannesburg
|
How does this artwork elucidate its Description?
|
The statue stands 6 metres (20 ft) high and measures 2.3 metres (7 ft 7 in) from elbow to elbow. The statue weighs 2.5 tons. It has been described as "towering", "imposing", and a "focal point" for the entire area.The statue depicts Mandela wearing his Madiba shirt and dancing in what was referred to at the unveiling as the "Madiba jive". Basetsana Kumalo, the master of ceremonies at the statue's unveiling, said that it was "a very happy statue. The dancing stance pays tribute to the spirit of joy and celebration inherent in the people of South Africa – this is the Madiba jive".
|
[
"Madiba shirt",
"master of ceremonies"
] |
|
13485_T
|
The Victors of the Bastille in Front of the Hôtel de Ville
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Focus on The Victors of the Bastille in Front of the Hôtel de Ville and analyze the abstract.
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The Victors of the Bastille in Front of the Hôtel de Ville (Les Vainqueurs de la Bastille devant l'Hôtel de Ville) is a large oil on canvas painting by French painter Paul Delaroche, from c. 1835. it is held in the Petit Palais, in Paris.
|
[
"Petit Palais",
"Paul Delaroche",
"Hôtel de Ville",
"Paris"
] |
|
13485_NT
|
The Victors of the Bastille in Front of the Hôtel de Ville
|
Focus on this artwork and analyze the abstract.
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The Victors of the Bastille in Front of the Hôtel de Ville (Les Vainqueurs de la Bastille devant l'Hôtel de Ville) is a large oil on canvas painting by French painter Paul Delaroche, from c. 1835. it is held in the Petit Palais, in Paris.
|
[
"Petit Palais",
"Paul Delaroche",
"Hôtel de Ville",
"Paris"
] |
|
13486_T
|
The Victors of the Bastille in Front of the Hôtel de Ville
|
In The Victors of the Bastille in Front of the Hôtel de Ville, how is the Subject discussed?
|
On the evening of 14 July 1789 the crowd who had stormed the Bastille, wounded but triumphant, arrived in front of the Hôtel de Ville, bearing trophies seized from the fortress. The central figure in the painting, Jacob Job Élie, is brandishing in his right hand a sword and in his left hand the key to the fortress and a letter signed by de Launay, its governor, who had just been lynched.
|
[
"July 1789",
"stormed the Bastille",
"de Launay",
"Jacob Job Élie",
"Hôtel de Ville"
] |
|
13486_NT
|
The Victors of the Bastille in Front of the Hôtel de Ville
|
In this artwork, how is the Subject discussed?
|
On the evening of 14 July 1789 the crowd who had stormed the Bastille, wounded but triumphant, arrived in front of the Hôtel de Ville, bearing trophies seized from the fortress. The central figure in the painting, Jacob Job Élie, is brandishing in his right hand a sword and in his left hand the key to the fortress and a letter signed by de Launay, its governor, who had just been lynched.
|
[
"July 1789",
"stormed the Bastille",
"de Launay",
"Jacob Job Élie",
"Hôtel de Ville"
] |
|
13487_T
|
The Victors of the Bastille in Front of the Hôtel de Ville
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Focus on The Victors of the Bastille in Front of the Hôtel de Ville and explore the History.
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Shortly after the accession of Louis-Philippe I, Delaroche, Cogniet, Schnetz and Drolling were commissioned to paint four large canvases for the Throne Room in the Hôtel de Ville to celebrate the heroes of the revolutions of July 1789 and July 1830. Delaroche was charged with depicting “the People returning victorious from the Bastille”. He began work in it in 1834, and Charles Séchan assisted him with drawing the architectural elements of the background. Purchased from the artist in 1839, the painting was never hung during the reign of Louis-Philippe. It was placed in external storerooms, and thus escaped the fire that destroyed the Hôtel de Ville in the semaine sanglante of 1871.While the original canvas is in the collection of the Petit Palais, the Musée d'Orsay also holds an 1858 albumen print photograph of the work by Robert Jefferson Bingham and the Louvre holds a sketch for the work by Delaroche.
|
[
"July 1789",
"semaine sanglante",
"Robert Jefferson Bingham",
"Musée d'Orsay",
"July 1830",
"Cogniet",
"Petit Palais",
"Louis-Philippe I",
"Drolling",
"Schnetz",
"Louvre",
"Hôtel de Ville",
"Charles Séchan"
] |
|
13487_NT
|
The Victors of the Bastille in Front of the Hôtel de Ville
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Focus on this artwork and explore the History.
|
Shortly after the accession of Louis-Philippe I, Delaroche, Cogniet, Schnetz and Drolling were commissioned to paint four large canvases for the Throne Room in the Hôtel de Ville to celebrate the heroes of the revolutions of July 1789 and July 1830. Delaroche was charged with depicting “the People returning victorious from the Bastille”. He began work in it in 1834, and Charles Séchan assisted him with drawing the architectural elements of the background. Purchased from the artist in 1839, the painting was never hung during the reign of Louis-Philippe. It was placed in external storerooms, and thus escaped the fire that destroyed the Hôtel de Ville in the semaine sanglante of 1871.While the original canvas is in the collection of the Petit Palais, the Musée d'Orsay also holds an 1858 albumen print photograph of the work by Robert Jefferson Bingham and the Louvre holds a sketch for the work by Delaroche.
|
[
"July 1789",
"semaine sanglante",
"Robert Jefferson Bingham",
"Musée d'Orsay",
"July 1830",
"Cogniet",
"Petit Palais",
"Louis-Philippe I",
"Drolling",
"Schnetz",
"Louvre",
"Hôtel de Ville",
"Charles Séchan"
] |
|
13488_T
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The Victors of the Bastille in Front of the Hôtel de Ville
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Focus on The Victors of the Bastille in Front of the Hôtel de Ville and explain the Restoration.
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The work was restored in 2015 with sponsorship from the Galerie Mendes.
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[] |
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13488_NT
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The Victors of the Bastille in Front of the Hôtel de Ville
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Focus on this artwork and explain the Restoration.
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The work was restored in 2015 with sponsorship from the Galerie Mendes.
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[] |
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13489_T
|
Fountain of the Virtues
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Explore the abstract of this artwork, Fountain of the Virtues.
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The Fountain of the Virtues (Portuguese: Chafariz das Virtudes) is a fountain in the civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória, in the municipality of Porto.
|
[
"Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória",
"municipality",
"civil parish",
"Porto",
"fountain",
"Fountain"
] |
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13489_NT
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Fountain of the Virtues
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Explore the abstract of this artwork.
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The Fountain of the Virtues (Portuguese: Chafariz das Virtudes) is a fountain in the civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória, in the municipality of Porto.
|
[
"Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória",
"municipality",
"civil parish",
"Porto",
"fountain",
"Fountain"
] |
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13490_T
|
Fountain of the Virtues
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Focus on Fountain of the Virtues and discuss the Architecture.
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The fountain is at the end of the calçada das Virtudes in the north, a grandioso support wall for the pedestrian Passeio das Virtudes, in the south and west, are the terraced estates that belong to the majorat manors and spring of Calçada das Virtudes.It consists of a central, high backrest with two pilasters supporting a cornice and frontispiece interrupted by royal coat of arms. Between the fluted pilasters, is a lower cartouche with inscription, while the upper cartouche consists of two castles in high relief, one on either side of an edicule (where at one time there would have existed an image of the Virgin, in her invocation as Senhora dos Virtudes). This combination of imagery taken together represents the coat-of-arms of the city of Oporto. On each side of this set is an acrobatic pyramid attached to their respective pilasters by a scroll. The lower central part includes two frowning Renaissance faces from which are the water spouts.The Latin inscription is inserted within a decorative rectangle in marble:
Fons scalet illustri virtutum nomine dictus: Qui sitit, has lymphas absque tomire bibat. Ante cavernoso de pumice degener ibat: Obstabant pigra limus et umbra mora. Publica conspicuas expensa duxit in auras, Utque loco flueret commodiore dedit. Inde viau stavit, dejecitque ordines se des, Gratiatam gratis maior ut esset aquis. Anno MDCXIXIs a fountain of Scalea, the illustrious was given the name of virtues: He who is thirsty, has, without the volumes of the water 's edge to drink. Before the cavernous roof of a degenerate go barred inert clay and shadow time. The public, can be seen that he had paid, and brought him into the air, Just as she gave the place, might flow in a more comfortable. From this it is Viau up slowly, dejecitque inherent order, des, with greater grace, that it might be by the waters of its recipient. In the year 1619
|
[
"Senhora dos Virtudes",
"fountain"
] |
|
13490_NT
|
Fountain of the Virtues
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Focus on this artwork and discuss the Architecture.
|
The fountain is at the end of the calçada das Virtudes in the north, a grandioso support wall for the pedestrian Passeio das Virtudes, in the south and west, are the terraced estates that belong to the majorat manors and spring of Calçada das Virtudes.It consists of a central, high backrest with two pilasters supporting a cornice and frontispiece interrupted by royal coat of arms. Between the fluted pilasters, is a lower cartouche with inscription, while the upper cartouche consists of two castles in high relief, one on either side of an edicule (where at one time there would have existed an image of the Virgin, in her invocation as Senhora dos Virtudes). This combination of imagery taken together represents the coat-of-arms of the city of Oporto. On each side of this set is an acrobatic pyramid attached to their respective pilasters by a scroll. The lower central part includes two frowning Renaissance faces from which are the water spouts.The Latin inscription is inserted within a decorative rectangle in marble:
Fons scalet illustri virtutum nomine dictus: Qui sitit, has lymphas absque tomire bibat. Ante cavernoso de pumice degener ibat: Obstabant pigra limus et umbra mora. Publica conspicuas expensa duxit in auras, Utque loco flueret commodiore dedit. Inde viau stavit, dejecitque ordines se des, Gratiatam gratis maior ut esset aquis. Anno MDCXIXIs a fountain of Scalea, the illustrious was given the name of virtues: He who is thirsty, has, without the volumes of the water 's edge to drink. Before the cavernous roof of a degenerate go barred inert clay and shadow time. The public, can be seen that he had paid, and brought him into the air, Just as she gave the place, might flow in a more comfortable. From this it is Viau up slowly, dejecitque inherent order, des, with greater grace, that it might be by the waters of its recipient. In the year 1619
|
[
"Senhora dos Virtudes",
"fountain"
] |
|
13491_T
|
La Defense (sculpture)
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How does La Defense (sculpture) elucidate its abstract?
|
La Defense, also known as The Call to Arms, is a sculpture by Auguste Rodin.
|
[
"Auguste Rodin"
] |
|
13491_NT
|
La Defense (sculpture)
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How does this artwork elucidate its abstract?
|
La Defense, also known as The Call to Arms, is a sculpture by Auguste Rodin.
|
[
"Auguste Rodin"
] |
|
13492_T
|
La Defense (sculpture)
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Focus on La Defense (sculpture) and analyze the History.
|
Rodin created a model for a competition for a monument to the siege of Paris in 1870 during the Franco-Prussian War. It was rejected in favor of a bronze sculpture by Louis-Ernest Barrias. Later, it was enlarged to four times its size to be used as a monument in Verdun.
|
[
"bronze sculpture",
"siege of Paris in 1870",
"bronze sculpture by Louis-Ernest Barrias",
"Franco-Prussian War"
] |
|
13492_NT
|
La Defense (sculpture)
|
Focus on this artwork and analyze the History.
|
Rodin created a model for a competition for a monument to the siege of Paris in 1870 during the Franco-Prussian War. It was rejected in favor of a bronze sculpture by Louis-Ernest Barrias. Later, it was enlarged to four times its size to be used as a monument in Verdun.
|
[
"bronze sculpture",
"siege of Paris in 1870",
"bronze sculpture by Louis-Ernest Barrias",
"Franco-Prussian War"
] |
|
13493_T
|
La Defense (sculpture)
|
In La Defense (sculpture), how is the Description discussed?
|
The bronze sculpture in the Portland Art Museum's Evan H. Roberts Memorial Sculpture Collection was modeled in 1879 and cast c. 1910, and measures 44 in x 23 in x 16 inches.
|
[
"bronze sculpture",
"Portland Art Museum"
] |
|
13493_NT
|
La Defense (sculpture)
|
In this artwork, how is the Description discussed?
|
The bronze sculpture in the Portland Art Museum's Evan H. Roberts Memorial Sculpture Collection was modeled in 1879 and cast c. 1910, and measures 44 in x 23 in x 16 inches.
|
[
"bronze sculpture",
"Portland Art Museum"
] |
|
13494_T
|
Last Supper (Rosselli)
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Focus on Last Supper (Rosselli) and explore the abstract.
|
The Last Supper is a fresco by the Italian Renaissance painters Cosimo Rosselli and Biagio d'Antonio. Created during the years 1481–1482, it is located in the Sistine Chapel in Rome.
|
[
"Biagio d'Antonio",
"Sistine Chapel",
"Last Supper",
"Rome",
"Rosselli",
"Cosimo Rosselli"
] |
|
13494_NT
|
Last Supper (Rosselli)
|
Focus on this artwork and explore the abstract.
|
The Last Supper is a fresco by the Italian Renaissance painters Cosimo Rosselli and Biagio d'Antonio. Created during the years 1481–1482, it is located in the Sistine Chapel in Rome.
|
[
"Biagio d'Antonio",
"Sistine Chapel",
"Last Supper",
"Rome",
"Rosselli",
"Cosimo Rosselli"
] |
|
13495_T
|
Last Supper (Rosselli)
|
Focus on Last Supper (Rosselli) and explain the History.
|
On 27 October 1480 Rosselli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.
The theme of the decoration was a parallel between the stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament, as well as between the divine law of the Tables and the message of Jesus, who had chosen Peter (the first alleged bishop of Rome) as his successor: This would finally result in a legitimation of the latter's successors, the popes of Rome.
Due to the commission's size, the artists brought with them numerous assistants. Rosselli brought his son-in-law Piero di Cosimo. According to the Renaissance art historian Giorgio Vasari, Rosselli was considered one of the less gifted among the painters at the Sistine Chapel, and his paintings in the chapel were the subject of the other artists' irony. However, his sheer adoption of brilliant colors granted him the appreciation of the pope, who apparently, was not considered an art expert.
|
[
"Sistine Chapel",
"Giorgio Vasari",
"Florence",
"Old",
"Jesus",
"Moses",
"Rome",
"Pope Sixtus IV",
"Pietro Perugino",
"New Testament",
"Piero di Cosimo",
"Lorenzo de' Medici",
"Rosselli"
] |
|
13495_NT
|
Last Supper (Rosselli)
|
Focus on this artwork and explain the History.
|
On 27 October 1480 Rosselli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.
The theme of the decoration was a parallel between the stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament, as well as between the divine law of the Tables and the message of Jesus, who had chosen Peter (the first alleged bishop of Rome) as his successor: This would finally result in a legitimation of the latter's successors, the popes of Rome.
Due to the commission's size, the artists brought with them numerous assistants. Rosselli brought his son-in-law Piero di Cosimo. According to the Renaissance art historian Giorgio Vasari, Rosselli was considered one of the less gifted among the painters at the Sistine Chapel, and his paintings in the chapel were the subject of the other artists' irony. However, his sheer adoption of brilliant colors granted him the appreciation of the pope, who apparently, was not considered an art expert.
|
[
"Sistine Chapel",
"Giorgio Vasari",
"Florence",
"Old",
"Jesus",
"Moses",
"Rome",
"Pope Sixtus IV",
"Pietro Perugino",
"New Testament",
"Piero di Cosimo",
"Lorenzo de' Medici",
"Rosselli"
] |
|
13496_T
|
Last Supper (Rosselli)
|
Explore the Description of this artwork, Last Supper (Rosselli).
|
The scene is part of the Stories of Jesus cycle and, like the others, shows more than one episode at the same time. The frieze has the inscription REPLICATIO LEGIS EVANGELICAE A CHRISTO ('Repetition of the Evangelical Law by Christ'). The supper is set in a semi-circular apse, with a horseshoe-shaped table at whose center sits Jesus, the apostles at his side. Judas, as usual, is depicted on the side, from behind; the fighting cat and dog are elements which further stress his negative connotation. The scene shows the moment immediately after Jesus' annunciation that one apostle would betray him. His hearers' reactions include touching their own chests, or muttering to each other.The table has no meals, but a single chalice in front of Jesus; some gilded or silvered kitchenware is shown in the foreground, an example of still life inspired by contemporary Flemish painting and widespread in Florentine art at the time. At the sides, are two couples of figures dressing rich garments. Another dog is jumping on the left.
Within the three windows behind the table are three scenes of the Passion: the Prayer at Gethsemane, the Arrest of Jesus and the Crucifixion. These are attributed by some authorities to Biagio d'Antonio. Perugino used the same panel-within-a-panel effect in his later Last Supper.
|
[
"Biagio d'Antonio",
"apse",
"Last Supper",
"Jesus",
"Prayer at Gethsemane",
"Flemish painting",
"Arrest of Jesus",
"supper"
] |
|
13496_NT
|
Last Supper (Rosselli)
|
Explore the Description of this artwork.
|
The scene is part of the Stories of Jesus cycle and, like the others, shows more than one episode at the same time. The frieze has the inscription REPLICATIO LEGIS EVANGELICAE A CHRISTO ('Repetition of the Evangelical Law by Christ'). The supper is set in a semi-circular apse, with a horseshoe-shaped table at whose center sits Jesus, the apostles at his side. Judas, as usual, is depicted on the side, from behind; the fighting cat and dog are elements which further stress his negative connotation. The scene shows the moment immediately after Jesus' annunciation that one apostle would betray him. His hearers' reactions include touching their own chests, or muttering to each other.The table has no meals, but a single chalice in front of Jesus; some gilded or silvered kitchenware is shown in the foreground, an example of still life inspired by contemporary Flemish painting and widespread in Florentine art at the time. At the sides, are two couples of figures dressing rich garments. Another dog is jumping on the left.
Within the three windows behind the table are three scenes of the Passion: the Prayer at Gethsemane, the Arrest of Jesus and the Crucifixion. These are attributed by some authorities to Biagio d'Antonio. Perugino used the same panel-within-a-panel effect in his later Last Supper.
|
[
"Biagio d'Antonio",
"apse",
"Last Supper",
"Jesus",
"Prayer at Gethsemane",
"Flemish painting",
"Arrest of Jesus",
"supper"
] |
|
13497_T
|
A Clinical Lesson at the Salpêtrière
|
Focus on A Clinical Lesson at the Salpêtrière and discuss the abstract.
|
A Clinical Lesson at the Salpêtrière (French: Une leçon clinique à la Salpêtrière) is an 1887 group tableau portrait painted by the history and genre artist André Brouillet (1857–1914). The painting, one of the best-known in the history of medicine, shows the neurologist Jean-Martin Charcot giving a clinical demonstration with patient Marie Wittman to a group of postgraduate students. Many of his students are identifiable; one is Georges Gilles de la Tourette, the physician who described Tourette syndrome.
It hangs in a corridor of the Descartes University in Paris.
|
[
"Descartes University in Paris",
"André Brouillet",
"Tourette syndrome",
"Georges Gilles de la Tourette",
"genre",
"Jean-Martin Charcot",
"genre art",
"Marie Wittman",
"Paris"
] |
|
13497_NT
|
A Clinical Lesson at the Salpêtrière
|
Focus on this artwork and discuss the abstract.
|
A Clinical Lesson at the Salpêtrière (French: Une leçon clinique à la Salpêtrière) is an 1887 group tableau portrait painted by the history and genre artist André Brouillet (1857–1914). The painting, one of the best-known in the history of medicine, shows the neurologist Jean-Martin Charcot giving a clinical demonstration with patient Marie Wittman to a group of postgraduate students. Many of his students are identifiable; one is Georges Gilles de la Tourette, the physician who described Tourette syndrome.
It hangs in a corridor of the Descartes University in Paris.
|
[
"Descartes University in Paris",
"André Brouillet",
"Tourette syndrome",
"Georges Gilles de la Tourette",
"genre",
"Jean-Martin Charcot",
"genre art",
"Marie Wittman",
"Paris"
] |
|
13498_T
|
A Clinical Lesson at the Salpêtrière
|
How does A Clinical Lesson at the Salpêtrière elucidate its History?
|
The painting is a large work—"remarkable for its dimensions, the figures being nearly life size"—measuring 290 cm × 430 cm, and is painted in bright, highly contrasting colours. It was painted by Brouillet at the age of thirty from individual studies made of the thirty participants, and presented in the prevailing tradition of academic group portraits. It was first displayed (with favourable notices) at the salon d'art of 1 May 1887, and later purchased by the Académie des Beaux-Arts for 3,000 francs.Brouillet was a pupil of the academic painter Jean-Léon Gérôme who was, himself, also renowned for the fact that his paintings, such as Phryne before the Areopagus (1861), were so popular as prints that it seemed they were "painted in order to be reproduced."
|
[
"Académie des Beaux-Arts",
"right",
"Phryne before the Areopagus",
"Jean-Léon Gérôme"
] |
|
13498_NT
|
A Clinical Lesson at the Salpêtrière
|
How does this artwork elucidate its History?
|
The painting is a large work—"remarkable for its dimensions, the figures being nearly life size"—measuring 290 cm × 430 cm, and is painted in bright, highly contrasting colours. It was painted by Brouillet at the age of thirty from individual studies made of the thirty participants, and presented in the prevailing tradition of academic group portraits. It was first displayed (with favourable notices) at the salon d'art of 1 May 1887, and later purchased by the Académie des Beaux-Arts for 3,000 francs.Brouillet was a pupil of the academic painter Jean-Léon Gérôme who was, himself, also renowned for the fact that his paintings, such as Phryne before the Areopagus (1861), were so popular as prints that it seemed they were "painted in order to be reproduced."
|
[
"Académie des Beaux-Arts",
"right",
"Phryne before the Areopagus",
"Jean-Léon Gérôme"
] |
|
13499_T
|
A Clinical Lesson at the Salpêtrière
|
Focus on A Clinical Lesson at the Salpêtrière and analyze the The setting.
|
The painting represents an imaginary scene of a contemporary scientific demonstration, based on real life, and depicts the eminent French neurologist Jean-Martin Charcot (1825–1893) delivering a clinical lecture and demonstration at the Pitié-Salpêtrière Hospital in Paris (the room in which these demonstrations took place no longer exists at the Salpêtrière).On the rear wall of the lecture room is the (1878) large charcoal work, drawn by the anatomist and medical artist Paul Richer, which reproduces the hysterical pose captured in one of the many photographs taken in the Salpêtrière.
Entitled Periode de contortions ("During the contortions"), it depicts "a woman convulsing and assuming the arc-in-circle" posture: the arc en circle, or Opisthotonus, "the hysteric's classic posture".
Morloch (2007, p. 133), from his study of the actual painting, remarks on the striking and dramatic coincidence that, "in 1878 Richer reproduced the pose in [his] drawing from a photograph ... [and] now, 1887 ... the hysteric is reproducing in life the pose from the drawing."
Resting on the table to Charcot's right "are a reflex hammer and what is thought to be a Duchenne electrotherapy apparatus".
|
[
"right",
"Jean-Martin Charcot",
"Paul Richer",
"Opisthotonus",
"Paris",
"Pitié-Salpêtrière Hospital"
] |
|
13499_NT
|
A Clinical Lesson at the Salpêtrière
|
Focus on this artwork and analyze the The setting.
|
The painting represents an imaginary scene of a contemporary scientific demonstration, based on real life, and depicts the eminent French neurologist Jean-Martin Charcot (1825–1893) delivering a clinical lecture and demonstration at the Pitié-Salpêtrière Hospital in Paris (the room in which these demonstrations took place no longer exists at the Salpêtrière).On the rear wall of the lecture room is the (1878) large charcoal work, drawn by the anatomist and medical artist Paul Richer, which reproduces the hysterical pose captured in one of the many photographs taken in the Salpêtrière.
Entitled Periode de contortions ("During the contortions"), it depicts "a woman convulsing and assuming the arc-in-circle" posture: the arc en circle, or Opisthotonus, "the hysteric's classic posture".
Morloch (2007, p. 133), from his study of the actual painting, remarks on the striking and dramatic coincidence that, "in 1878 Richer reproduced the pose in [his] drawing from a photograph ... [and] now, 1887 ... the hysteric is reproducing in life the pose from the drawing."
Resting on the table to Charcot's right "are a reflex hammer and what is thought to be a Duchenne electrotherapy apparatus".
|
[
"right",
"Jean-Martin Charcot",
"Paul Richer",
"Opisthotonus",
"Paris",
"Pitié-Salpêtrière Hospital"
] |
|
13500_T
|
A Clinical Lesson at the Salpêtrière
|
In A Clinical Lesson at the Salpêtrière, how is the The participants discussed?
|
Except for the four individuals to Charcot's left, the participants are arranged in two concentric arcs: the inner circle displaying "sixteen of his current and former physician associates [arranged] in reverse order of seniority", and the outer, depicting "the older generation of [physician associates] ... along with philosophers, writers, and friends of Charcot".Both Signoret (1983, p. 689) and Harris (2005, p. 471) have identified each of the individuals depicted in Brouillet's tableau; and Signoret (passim) provides substantial biographical details of each.
|
[] |
|
13500_NT
|
A Clinical Lesson at the Salpêtrière
|
In this artwork, how is the The participants discussed?
|
Except for the four individuals to Charcot's left, the participants are arranged in two concentric arcs: the inner circle displaying "sixteen of his current and former physician associates [arranged] in reverse order of seniority", and the outer, depicting "the older generation of [physician associates] ... along with philosophers, writers, and friends of Charcot".Both Signoret (1983, p. 689) and Harris (2005, p. 471) have identified each of the individuals depicted in Brouillet's tableau; and Signoret (passim) provides substantial biographical details of each.
|
[] |
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