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|---|---|---|---|---|---|
13501_T
|
A Clinical Lesson at the Salpêtrière
|
In the context of A Clinical Lesson at the Salpêtrière, explore the The Charcot group of the The participants.
|
The Charcot group of five are (from right-to-left): Mlle. Ecary, a nurse at the Salpêtrière; Marguerite Bottard, the Salpêtrière's nursing director; Joseph Babinski (1857–1933), Charcot's chief house officer; Marie "Blanche" Wittman, Charcot's patient; and Jean-Martin Charcot himself.
|
[
"Marie \"Blanche\" Wittman",
"right",
"Jean-Martin Charcot",
"Joseph Babinski"
] |
|
13501_NT
|
A Clinical Lesson at the Salpêtrière
|
In the context of this artwork, explore the The Charcot group of the The participants.
|
The Charcot group of five are (from right-to-left): Mlle. Ecary, a nurse at the Salpêtrière; Marguerite Bottard, the Salpêtrière's nursing director; Joseph Babinski (1857–1933), Charcot's chief house officer; Marie "Blanche" Wittman, Charcot's patient; and Jean-Martin Charcot himself.
|
[
"Marie \"Blanche\" Wittman",
"right",
"Jean-Martin Charcot",
"Joseph Babinski"
] |
|
13502_T
|
A Clinical Lesson at the Salpêtrière
|
In the context of A Clinical Lesson at the Salpêtrière, explain the The inner window-side group of the The participants.
|
The six sitting in the window-side of the painting are (from right to left): Paul Richer (1849–1933), medical artist, anatomist and physician (who created the painting on the back wall); Charles Samson Féré (1852–1907), psychiatrist, Charcot's assistant, and Charcot's secretary; Pierre Marie (1853–1940), neurologist; Édouard Brissaud (1852–1909), neurologist and pathologist; Paul-Adrien Berbez (1859–?), physician, and a student of Charcot, and neurologist; and Gilbert Ballet (1853–1917), destined to be one of Charcot's last chief residents.
|
[
"right",
"Paul Richer",
"Charles Samson Féré",
"Édouard Brissaud",
"Pierre Marie",
"Gilbert Ballet"
] |
|
13502_NT
|
A Clinical Lesson at the Salpêtrière
|
In the context of this artwork, explain the The inner window-side group of the The participants.
|
The six sitting in the window-side of the painting are (from right to left): Paul Richer (1849–1933), medical artist, anatomist and physician (who created the painting on the back wall); Charles Samson Féré (1852–1907), psychiatrist, Charcot's assistant, and Charcot's secretary; Pierre Marie (1853–1940), neurologist; Édouard Brissaud (1852–1909), neurologist and pathologist; Paul-Adrien Berbez (1859–?), physician, and a student of Charcot, and neurologist; and Gilbert Ballet (1853–1917), destined to be one of Charcot's last chief residents.
|
[
"right",
"Paul Richer",
"Charles Samson Féré",
"Édouard Brissaud",
"Pierre Marie",
"Gilbert Ballet"
] |
|
13503_T
|
A Clinical Lesson at the Salpêtrière
|
Explore the The outer window-side group about the The participants of this artwork, A Clinical Lesson at the Salpêtrière.
|
The six standing at the window-side of the painting are (from right to left): Alix Joffroy (1844–1908), anatomical pathologist, neurologist and psychiatrist; Jean-Baptiste Charcot (1867–1936), Charcot's son, at the time a medical student and, later, a polar explorer; Mathias-Marie Duval (1844–1907), Professor of anatomy and histology; Georges Maurice Debove (1845–1920), later Dean of the medical school; Philippe Burty, art collector, critic, and writer; and Victor André Cornil (1837–1908), pathologist, histologist, and politician.
|
[
"Victor André Cornil",
"Alix Joffroy",
"right",
"Mathias-Marie Duval",
"Jean-Baptiste Charcot",
"Georges Maurice Debove",
"Philippe Burty"
] |
|
13503_NT
|
A Clinical Lesson at the Salpêtrière
|
Explore the The outer window-side group about the The participants of this artwork.
|
The six standing at the window-side of the painting are (from right to left): Alix Joffroy (1844–1908), anatomical pathologist, neurologist and psychiatrist; Jean-Baptiste Charcot (1867–1936), Charcot's son, at the time a medical student and, later, a polar explorer; Mathias-Marie Duval (1844–1907), Professor of anatomy and histology; Georges Maurice Debove (1845–1920), later Dean of the medical school; Philippe Burty, art collector, critic, and writer; and Victor André Cornil (1837–1908), pathologist, histologist, and politician.
|
[
"Victor André Cornil",
"Alix Joffroy",
"right",
"Mathias-Marie Duval",
"Jean-Baptiste Charcot",
"Georges Maurice Debove",
"Philippe Burty"
] |
|
13504_T
|
A Clinical Lesson at the Salpêtrière
|
In the context of A Clinical Lesson at the Salpêtrière, discuss the The remaining group of the The participants.
|
The remainder are either sitting parallel to the back wall, or on the side of the lecture theatre immediately opposite the windows. The remaining thirteen individuals are (from left to right): Théodule-Armand Ribot (1839–1916), psychologist; Georges Guinon (1859–1932), neuropsychiatrist, and one of Charcot's last chief residents; Albert Londe (1858–1917), medical photographer, and chronophotographer (wearing an apron); Léon Grujon Le Bas (1834–1907), chief hospital administrator at Salpêtrière; Albert Gombault (1844–1904), neurologist and anatomist; Paul Arène (1843–1896), novelist; Jules Claretie (1840–1913), journalist and literary figure; Alfred Joseph Naquet (1834–1916), physician, chemist, and politician; Désiré-Magloire Bourneville (1840–1909), neurologist and politician; Henry Berbez (with pen and notebook), younger brother of Paul-Adrien Berbez (who is sitting opposite at the table); Henri Parinaud (1844–1905), ophthalmologist and neurologist; Romain Vigouroux (1831–1911), chief of electrodiagnostics, discoverer of the electrical activity of the skin (in the skull-cap); and, finally, in the apron, Georges Gilles de la Tourette (1857–1904), neurologist and physician.
|
[
"Jules Claretie",
"chronophotographer",
"Georges Gilles de la Tourette",
"Henri Parinaud",
"right",
"Paul Arène",
"Désiré-Magloire Bourneville",
"Théodule-Armand Ribot",
"Alfred Joseph Naquet",
"Albert Gombault",
"Albert Londe"
] |
|
13504_NT
|
A Clinical Lesson at the Salpêtrière
|
In the context of this artwork, discuss the The remaining group of the The participants.
|
The remainder are either sitting parallel to the back wall, or on the side of the lecture theatre immediately opposite the windows. The remaining thirteen individuals are (from left to right): Théodule-Armand Ribot (1839–1916), psychologist; Georges Guinon (1859–1932), neuropsychiatrist, and one of Charcot's last chief residents; Albert Londe (1858–1917), medical photographer, and chronophotographer (wearing an apron); Léon Grujon Le Bas (1834–1907), chief hospital administrator at Salpêtrière; Albert Gombault (1844–1904), neurologist and anatomist; Paul Arène (1843–1896), novelist; Jules Claretie (1840–1913), journalist and literary figure; Alfred Joseph Naquet (1834–1916), physician, chemist, and politician; Désiré-Magloire Bourneville (1840–1909), neurologist and politician; Henry Berbez (with pen and notebook), younger brother of Paul-Adrien Berbez (who is sitting opposite at the table); Henri Parinaud (1844–1905), ophthalmologist and neurologist; Romain Vigouroux (1831–1911), chief of electrodiagnostics, discoverer of the electrical activity of the skin (in the skull-cap); and, finally, in the apron, Georges Gilles de la Tourette (1857–1904), neurologist and physician.
|
[
"Jules Claretie",
"chronophotographer",
"Georges Gilles de la Tourette",
"Henri Parinaud",
"right",
"Paul Arène",
"Désiré-Magloire Bourneville",
"Théodule-Armand Ribot",
"Alfred Joseph Naquet",
"Albert Gombault",
"Albert Londe"
] |
|
13505_T
|
A Clinical Lesson at the Salpêtrière
|
How does A Clinical Lesson at the Salpêtrière elucidate its Current location?
|
Apparently the painting has only recently returned to Paris, having "spent most of its life in obscurity in Nice and Lyon."
Today it hangs, unframed, in a corridor of the Descartes University in Paris, near to the entrance of the Museum of the History of Medicine, which houses one of the oldest collections of surgical, diagnostic, and physiological instrumentation in Europe.
|
[
"Descartes University in Paris",
"Paris"
] |
|
13505_NT
|
A Clinical Lesson at the Salpêtrière
|
How does this artwork elucidate its Current location?
|
Apparently the painting has only recently returned to Paris, having "spent most of its life in obscurity in Nice and Lyon."
Today it hangs, unframed, in a corridor of the Descartes University in Paris, near to the entrance of the Museum of the History of Medicine, which houses one of the oldest collections of surgical, diagnostic, and physiological instrumentation in Europe.
|
[
"Descartes University in Paris",
"Paris"
] |
|
13506_T
|
Head III
|
Focus on Head III and analyze the abstract.
|
Head III is an oil painting by Francis Bacon, one of series of works made in 1949 for his first one-man exhibition at the Hanover Gallery, in London. As with the other six paintings in the series, it focuses on the disembodied head of male figure, who looks out with a penetrating gaze, but is fixed against an isolating, flat, nondescript background, while also enfolded by hazy horizontal foreground curtain-like folds which seems to function like a surrounding cage.Head III was first exhibited in November 1949 at the Hanover in a showing commissioned by one of the artist's early champions, Erica Brausen. The six head paintings were painted during a short period of time, when Bacon was under pressure to provide works for the Hanover exhibition. Of the series, Head I, Head II, and Head VI are today seen as artistically successful, with Head VI as ground breaking, and a direct precursor to Bacon's seminal 1950s many representations of Popes. Head III is important in the development in that it is the first of the series in which Bacon masters the effect of the horizontal folds, and the ambiguous facial expression of the subject nears that of his Diego Velázquez's Portrait of Innocent X; his primary source for these paintings.The painting is in a private collection, having been sold at auction at Sotheby's in 2013 for £10,442,500.
|
[
"Francis Bacon",
"Head V",
"Sotheby's",
"Hanover Gallery",
"Head VI",
"Velázquez",
"Diego Velázquez",
"Erica Brausen",
"Head I",
"Head II",
"Portrait of Innocent X"
] |
|
13506_NT
|
Head III
|
Focus on this artwork and analyze the abstract.
|
Head III is an oil painting by Francis Bacon, one of series of works made in 1949 for his first one-man exhibition at the Hanover Gallery, in London. As with the other six paintings in the series, it focuses on the disembodied head of male figure, who looks out with a penetrating gaze, but is fixed against an isolating, flat, nondescript background, while also enfolded by hazy horizontal foreground curtain-like folds which seems to function like a surrounding cage.Head III was first exhibited in November 1949 at the Hanover in a showing commissioned by one of the artist's early champions, Erica Brausen. The six head paintings were painted during a short period of time, when Bacon was under pressure to provide works for the Hanover exhibition. Of the series, Head I, Head II, and Head VI are today seen as artistically successful, with Head VI as ground breaking, and a direct precursor to Bacon's seminal 1950s many representations of Popes. Head III is important in the development in that it is the first of the series in which Bacon masters the effect of the horizontal folds, and the ambiguous facial expression of the subject nears that of his Diego Velázquez's Portrait of Innocent X; his primary source for these paintings.The painting is in a private collection, having been sold at auction at Sotheby's in 2013 for £10,442,500.
|
[
"Francis Bacon",
"Head V",
"Sotheby's",
"Hanover Gallery",
"Head VI",
"Velázquez",
"Diego Velázquez",
"Erica Brausen",
"Head I",
"Head II",
"Portrait of Innocent X"
] |
|
13507_T
|
Head III
|
In Head III, how is the Description discussed?
|
The painting measures 81 by 66 centimetres (32 in × 26 in). Perhaps a portrait of Bacon's lover Eric Hall, the grisaille work depicts a bald man's head with pock-marked discolored off-white face, partially concealed by diaphanous curtains.The face has an enigmatic expression, with his cold eyes - emphasised by bright marks of zinc white - looking out through broken pince-nez spectacles. This is the first occasion when the motif of broken glasses appears in Bacon's work, inspired by the image of an injured nurse in the 1925 film Battleship Potemkin. The open-mouthed scream of the nurse in the film would also become a theme of Bacon's work, including Head VI, and Fragment of a Crucifixion.
|
[
"Battleship Potemkin",
"Fragment of a Crucifixion",
"pince-nez",
"Head V",
"zinc white",
"Head VI",
"grisaille"
] |
|
13507_NT
|
Head III
|
In this artwork, how is the Description discussed?
|
The painting measures 81 by 66 centimetres (32 in × 26 in). Perhaps a portrait of Bacon's lover Eric Hall, the grisaille work depicts a bald man's head with pock-marked discolored off-white face, partially concealed by diaphanous curtains.The face has an enigmatic expression, with his cold eyes - emphasised by bright marks of zinc white - looking out through broken pince-nez spectacles. This is the first occasion when the motif of broken glasses appears in Bacon's work, inspired by the image of an injured nurse in the 1925 film Battleship Potemkin. The open-mouthed scream of the nurse in the film would also become a theme of Bacon's work, including Head VI, and Fragment of a Crucifixion.
|
[
"Battleship Potemkin",
"Fragment of a Crucifixion",
"pince-nez",
"Head V",
"zinc white",
"Head VI",
"grisaille"
] |
|
13508_T
|
Head III
|
Focus on Head III and explore the Commission and provenance.
|
The 1949 Hanover gallery exhibition included the six Head paintings, and four other important early works by Bacon: Three Studies for Figures at the Base of a Crucifixion, Figure in a landscape, Study from the Human Body (also known as Study for Figure) and Study for Portrait (also known as Man in a Blue Box).They are usually interpreted as intermediate steps from the preliminary images in Head I and Head II towards the final image of Head VI, the first of Bacon's paintings to reference Velázquez and his Portrait of Innocent X of 1650. Head III was the first of the six paintings to be sold at the Hanover Gallery exhibition. It was acquired by US art collector Wright Saltus Ludington (brother of Charles Townsend Ludington) in October 1949, shortly before the exhibition opened in November 1949. It was later sold to Sir Edward and Lady Hulton, and passed through the hands of several private collectors. It was included in Bacon retrospective at the Tate Gallery in 1985, and sold again at Sotheby's in London in 2013.
|
[
"Wright Saltus Ludington",
"Edward",
"Tate",
"Three Studies for Figures at the Base of a Crucifixion",
"Tate Gallery",
"Figure in a landscape",
"Charles Townsend Ludington",
"Head V",
"Sotheby's",
"Hanover Gallery",
"Head VI",
"Velázquez",
"Study for Portrait",
"Head I",
"Head II",
"Portrait of Innocent X"
] |
|
13508_NT
|
Head III
|
Focus on this artwork and explore the Commission and provenance.
|
The 1949 Hanover gallery exhibition included the six Head paintings, and four other important early works by Bacon: Three Studies for Figures at the Base of a Crucifixion, Figure in a landscape, Study from the Human Body (also known as Study for Figure) and Study for Portrait (also known as Man in a Blue Box).They are usually interpreted as intermediate steps from the preliminary images in Head I and Head II towards the final image of Head VI, the first of Bacon's paintings to reference Velázquez and his Portrait of Innocent X of 1650. Head III was the first of the six paintings to be sold at the Hanover Gallery exhibition. It was acquired by US art collector Wright Saltus Ludington (brother of Charles Townsend Ludington) in October 1949, shortly before the exhibition opened in November 1949. It was later sold to Sir Edward and Lady Hulton, and passed through the hands of several private collectors. It was included in Bacon retrospective at the Tate Gallery in 1985, and sold again at Sotheby's in London in 2013.
|
[
"Wright Saltus Ludington",
"Edward",
"Tate",
"Three Studies for Figures at the Base of a Crucifixion",
"Tate Gallery",
"Figure in a landscape",
"Charles Townsend Ludington",
"Head V",
"Sotheby's",
"Hanover Gallery",
"Head VI",
"Velázquez",
"Study for Portrait",
"Head I",
"Head II",
"Portrait of Innocent X"
] |
|
13509_T
|
Head III
|
Focus on Head III and explain the Reception.
|
Head III was described by Wyndham Lewis in The Listener on 12 May 1949, page 811: "Bacon's picture, as usual, is in lamp-black monochrome, the zinc white of the monster’s eyes glittering in the cold crumbling grey of the face. Bacon is a Grand Guignol artist: the mouths in his heads are unpleasant places, evil passions make a glittering white mess of the lips." and then in The Listener on 17 November 1949, page 860. He later wrote that "part of the head is rotting away into space".
|
[
"Wyndham Lewis",
"The Listener",
"zinc white",
"Head I",
"Head II"
] |
|
13509_NT
|
Head III
|
Focus on this artwork and explain the Reception.
|
Head III was described by Wyndham Lewis in The Listener on 12 May 1949, page 811: "Bacon's picture, as usual, is in lamp-black monochrome, the zinc white of the monster’s eyes glittering in the cold crumbling grey of the face. Bacon is a Grand Guignol artist: the mouths in his heads are unpleasant places, evil passions make a glittering white mess of the lips." and then in The Listener on 17 November 1949, page 860. He later wrote that "part of the head is rotting away into space".
|
[
"Wyndham Lewis",
"The Listener",
"zinc white",
"Head I",
"Head II"
] |
|
13510_T
|
Self-Portrait with Halo and Snake
|
Explore the abstract of this artwork, Self-Portrait with Halo and Snake.
|
Self-Portrait with Halo and Snake, also known as Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait in the dining room with its companion piece, Portrait of Jacob Meyer de Haan (1889).
The painting shows Gauguin against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand while plants or flowers appear in the foreground. The religious symbolism and the stylistic influence of Japanese wood-block prints and cloisonnism are apparent. The portrait was completed several years before Gauguin visited Tahiti and is one of more than 40 self-portraits he completed during his lifetime. The work reached the art market in 1919 when Marie Henry sold it at the Galerie Barbazanges in Paris as part of her collected works from the Le Pouldu period. American banker Chester Dale acquired the painting in 1928, gifting it upon his death in 1962 to the National Gallery of Art in Washington, D.C.
|
[
"National Gallery of Art",
"Meijer de Haan",
"Chester Dale",
"cloisonnism",
"Le Pouldu",
"Japanese wood-block prints",
"Washington, D.C.",
"oil-on-wood",
"wood",
"Paul Gauguin",
"Pont-Aven",
"Galerie Barbazanges",
"Brittany",
"religious symbolism"
] |
|
13510_NT
|
Self-Portrait with Halo and Snake
|
Explore the abstract of this artwork.
|
Self-Portrait with Halo and Snake, also known as Self-Portrait, is an 1889 oil-on-wood painting by French artist Paul Gauguin, which represents his late Brittany period in the fishing village of Le Pouldu in northwestern France. No longer comfortable with Pont-Aven, Gauguin moved on to Le Pouldu with his friend and student Meijer de Haan and a small group of artists. He stayed for several months in the autumn of 1889 and the summer of 1890, where the group spent their time decorating the interior of Marie Henry's inn with every major type of art work. Gauguin painted his Self-Portrait in the dining room with its companion piece, Portrait of Jacob Meyer de Haan (1889).
The painting shows Gauguin against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand while plants or flowers appear in the foreground. The religious symbolism and the stylistic influence of Japanese wood-block prints and cloisonnism are apparent. The portrait was completed several years before Gauguin visited Tahiti and is one of more than 40 self-portraits he completed during his lifetime. The work reached the art market in 1919 when Marie Henry sold it at the Galerie Barbazanges in Paris as part of her collected works from the Le Pouldu period. American banker Chester Dale acquired the painting in 1928, gifting it upon his death in 1962 to the National Gallery of Art in Washington, D.C.
|
[
"National Gallery of Art",
"Meijer de Haan",
"Chester Dale",
"cloisonnism",
"Le Pouldu",
"Japanese wood-block prints",
"Washington, D.C.",
"oil-on-wood",
"wood",
"Paul Gauguin",
"Pont-Aven",
"Galerie Barbazanges",
"Brittany",
"religious symbolism"
] |
|
13511_T
|
Self-Portrait with Halo and Snake
|
Focus on Self-Portrait with Halo and Snake and discuss the Background.
|
Paul Gauguin (1848–1903) was a French Post-Impressionist artist and figure in the Symbolist movement known for his contributions to the Synthetist style. In 1886, he spent the summer in Pont-Aven in Brittany, an artists colony that became known as the Pont-Aven School for Gauguin's influence and the work they produced. In late 1888, Gauguin painted for nine weeks with Vincent van Gogh at his Yellow House in Arles in the south of France before van Gogh had a breakdown, leading him to cut off his ear and be hospitalized. Gauguin left Arles and never saw van Gogh again, but they continued to exchange letters and ideas.
He briefly returned to Paris where he lived with painter Émile Schuffenecker, but returned to Pont-Aven in the spring of 1889 only to find it too crowded. Gauguin moved farther away "to escape the tourists and the Parisian and foreign painters" and arrived at Le Pouldu on October 2, 1889. He found lodgings with Meijer de Haan at Buvette de la Plage, an inn run by Marie Henry. De Haan introduced Gauguin to Thomas Carlyle's novel Sartor Resartus (1836) by way of conversation. Although he would not read the novel for several more years, Gauguin became acquainted with Carlyle's ideas which would influence his approach to art during this time.The interior of Marie Henry's inn became their canvas, and they painted their work on the walls, ceilings, and windows. They were later joined by artists Paul Sérusier and Charles Filiger. According to Nora M. Heimann, when the room was completed, it "encompassed paintings of every major type—genre, landscape, self-portraiture, portraiture, still life, and even history painting—in media ranging from tempera and oil on plaster to oil on canvas and panel; as well as prints and drawings; painted and glazed ceramic vessels; exotic found objects; and carved, polychromed figures in wood."
Gauguin tried to win the affection of Marie Henry, the innkeeper, but she spurned his advances and became intimate with de Haan instead, leaving Gauguin jealous. Gauguin departed on November 7, 1890, leaving his work at Marie Henry's inn. She retired in 1893 and moved to Kerfany, taking many of the art works with her. She continued to lease the inn until 1911 when she sold it. When the new owner was redecorating the inn in 1924, which by then had been converted into a restaurant, the rest of the murals were discovered buried intact under wallpaper.
|
[
"Meijer de Haan",
"Le Pouldu",
"Paul Sérusier",
"cut off his ear and be hospitalized",
"Arles",
"Charles Filiger",
"Symbolist",
"wood",
"Émile Schuffenecker",
"Paul Gauguin",
"Thomas Carlyle",
"Pont-Aven School",
"Vincent van Gogh",
"Pont-Aven",
"polychrome",
"Synthetist",
"Sartor Resartus",
"polychromed figures",
"left",
"Brittany"
] |
|
13511_NT
|
Self-Portrait with Halo and Snake
|
Focus on this artwork and discuss the Background.
|
Paul Gauguin (1848–1903) was a French Post-Impressionist artist and figure in the Symbolist movement known for his contributions to the Synthetist style. In 1886, he spent the summer in Pont-Aven in Brittany, an artists colony that became known as the Pont-Aven School for Gauguin's influence and the work they produced. In late 1888, Gauguin painted for nine weeks with Vincent van Gogh at his Yellow House in Arles in the south of France before van Gogh had a breakdown, leading him to cut off his ear and be hospitalized. Gauguin left Arles and never saw van Gogh again, but they continued to exchange letters and ideas.
He briefly returned to Paris where he lived with painter Émile Schuffenecker, but returned to Pont-Aven in the spring of 1889 only to find it too crowded. Gauguin moved farther away "to escape the tourists and the Parisian and foreign painters" and arrived at Le Pouldu on October 2, 1889. He found lodgings with Meijer de Haan at Buvette de la Plage, an inn run by Marie Henry. De Haan introduced Gauguin to Thomas Carlyle's novel Sartor Resartus (1836) by way of conversation. Although he would not read the novel for several more years, Gauguin became acquainted with Carlyle's ideas which would influence his approach to art during this time.The interior of Marie Henry's inn became their canvas, and they painted their work on the walls, ceilings, and windows. They were later joined by artists Paul Sérusier and Charles Filiger. According to Nora M. Heimann, when the room was completed, it "encompassed paintings of every major type—genre, landscape, self-portraiture, portraiture, still life, and even history painting—in media ranging from tempera and oil on plaster to oil on canvas and panel; as well as prints and drawings; painted and glazed ceramic vessels; exotic found objects; and carved, polychromed figures in wood."
Gauguin tried to win the affection of Marie Henry, the innkeeper, but she spurned his advances and became intimate with de Haan instead, leaving Gauguin jealous. Gauguin departed on November 7, 1890, leaving his work at Marie Henry's inn. She retired in 1893 and moved to Kerfany, taking many of the art works with her. She continued to lease the inn until 1911 when she sold it. When the new owner was redecorating the inn in 1924, which by then had been converted into a restaurant, the rest of the murals were discovered buried intact under wallpaper.
|
[
"Meijer de Haan",
"Le Pouldu",
"Paul Sérusier",
"cut off his ear and be hospitalized",
"Arles",
"Charles Filiger",
"Symbolist",
"wood",
"Émile Schuffenecker",
"Paul Gauguin",
"Thomas Carlyle",
"Pont-Aven School",
"Vincent van Gogh",
"Pont-Aven",
"polychrome",
"Synthetist",
"Sartor Resartus",
"polychromed figures",
"left",
"Brittany"
] |
|
13512_T
|
Self-Portrait with Halo and Snake
|
How does Self-Portrait with Halo and Snake elucidate its Development?
|
Van Gogh had previously decorated rooms with his paintings, in particular the rooms of several restaurants in Paris and the Yellow House in Arles. Gauguin and de Haan appear to have been influenced by this work, as they began decorating the dining room of Buvette de la Plage in a similar fashion. Gauguin's Self-Portrait was prepared along with its pendant, Portrait of Jacob Meyer de Haan (1889), to the right and left respectively of a fireplace on the upper panels of two wooden cupboard doors. Gauguin gave the panels a subtle, textured matte surface using white chalk ground and a combed wave pattern. Both works were completed sometime between mid-November and mid-December 1889.
|
[
"chalk",
"right",
"Arles",
"pendant",
"wood",
"matte surface",
"white chalk ground",
"Van Gogh",
"left"
] |
|
13512_NT
|
Self-Portrait with Halo and Snake
|
How does this artwork elucidate its Development?
|
Van Gogh had previously decorated rooms with his paintings, in particular the rooms of several restaurants in Paris and the Yellow House in Arles. Gauguin and de Haan appear to have been influenced by this work, as they began decorating the dining room of Buvette de la Plage in a similar fashion. Gauguin's Self-Portrait was prepared along with its pendant, Portrait of Jacob Meyer de Haan (1889), to the right and left respectively of a fireplace on the upper panels of two wooden cupboard doors. Gauguin gave the panels a subtle, textured matte surface using white chalk ground and a combed wave pattern. Both works were completed sometime between mid-November and mid-December 1889.
|
[
"chalk",
"right",
"Arles",
"pendant",
"wood",
"matte surface",
"white chalk ground",
"Van Gogh",
"left"
] |
|
13513_T
|
Self-Portrait with Halo and Snake
|
Focus on Self-Portrait with Halo and Snake and analyze the Description.
|
French art historian Françoise Cachin notes that Gauguin designed both Self-Portrait with Halo and Snake and its companion piece Portrait of Jacob Meyer de Haan as a caricature. In his Self-Portrat, Gauguin appears against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand with what appear to be either plants or flowers in the foreground. Curator Philip Conisbee observes the religious symbolism in the images, noting that the "apples and snake refer to the Garden of Eden, temptation, sin, and the Fall of Man." Gauguin divides the canvas in half, painting himself as both saint and sinner, reflecting his own personal myth as an artist. In the top portion of the painting, Gauguin is almost angelic with the halo, looking away from the apples of temptation. In the bottom portion, he holds the snake, completing the duality.
Jirat-Wasiutyński notes that art historian Denys Sutton was the first critic to interpret Gauguin's self-portrait as "demonic". This interpretation is illustrated by the pendant, the companion piece Portrait of Jacob Meyer de Haan (1889), which visually complements the Self-Portrait. De Haan's devilish eyes and red hair shaped like horns in his portrait on the left side of the dining room where it was created in situ, corresponds to the snake held in Gauguin's hand in his self-portrait on the right door of the dining room. Two books appear on the table in de Haan's portrait: Paradise Lost (1667–74) by seventeenth-century English poet John Milton, and Sartor Resartus by Thomas Carlyle. These respective literary allusions, to Milton's Satan and to Carlyle's Diogenes Teufelsdröckh, a character described as both angelic and diabolical, play directly into de Haan's and Gauguin's corresponding self-portraits. Jirat-Wasiutyński argues that Gauguin portrays himself as a magus, as "both seer and demonic angel".The work shows the influence of Japanese wood-block prints and cloisonnism. In the painting, Gauguin wears what art historian Henri Dorra compares to the saffron colored robe of a Buddhist monk, perhaps influenced by Van Gogh's earlier Self-Portrait Dedicated to Paul Gauguin (1888). In a letter to Gauguin dated October 3, 1888, Van Gogh describes himself in the self-portrait as "a character of a bonze, a simple worshiper of the eternal Buddha". Compared to Gauguin's more traditional Self-Portrait Dedicated to Carrière (1888 or 1889), the self-portrait painted at Le Pouldu is more "sinister".
|
[
"Garden of Eden",
"magus",
"bonze",
"John Milton",
"Denys Sutton",
"cloisonnism",
"Le Pouldu",
"Japanese wood-block prints",
"Françoise Cachin",
"right",
"Paradise Lost",
"Henri Dorra",
"Philip Conisbee",
"pendant",
"wood",
"Paul Gauguin",
"Thomas Carlyle",
"Fall of Man",
"Sartor Resartus",
"personal myth",
"Van Gogh",
"left",
"caricature",
"religious symbolism"
] |
|
13513_NT
|
Self-Portrait with Halo and Snake
|
Focus on this artwork and analyze the Description.
|
French art historian Françoise Cachin notes that Gauguin designed both Self-Portrait with Halo and Snake and its companion piece Portrait of Jacob Meyer de Haan as a caricature. In his Self-Portrat, Gauguin appears against a red background with a halo above his head and apples hanging beside him as he holds a snake in his hand with what appear to be either plants or flowers in the foreground. Curator Philip Conisbee observes the religious symbolism in the images, noting that the "apples and snake refer to the Garden of Eden, temptation, sin, and the Fall of Man." Gauguin divides the canvas in half, painting himself as both saint and sinner, reflecting his own personal myth as an artist. In the top portion of the painting, Gauguin is almost angelic with the halo, looking away from the apples of temptation. In the bottom portion, he holds the snake, completing the duality.
Jirat-Wasiutyński notes that art historian Denys Sutton was the first critic to interpret Gauguin's self-portrait as "demonic". This interpretation is illustrated by the pendant, the companion piece Portrait of Jacob Meyer de Haan (1889), which visually complements the Self-Portrait. De Haan's devilish eyes and red hair shaped like horns in his portrait on the left side of the dining room where it was created in situ, corresponds to the snake held in Gauguin's hand in his self-portrait on the right door of the dining room. Two books appear on the table in de Haan's portrait: Paradise Lost (1667–74) by seventeenth-century English poet John Milton, and Sartor Resartus by Thomas Carlyle. These respective literary allusions, to Milton's Satan and to Carlyle's Diogenes Teufelsdröckh, a character described as both angelic and diabolical, play directly into de Haan's and Gauguin's corresponding self-portraits. Jirat-Wasiutyński argues that Gauguin portrays himself as a magus, as "both seer and demonic angel".The work shows the influence of Japanese wood-block prints and cloisonnism. In the painting, Gauguin wears what art historian Henri Dorra compares to the saffron colored robe of a Buddhist monk, perhaps influenced by Van Gogh's earlier Self-Portrait Dedicated to Paul Gauguin (1888). In a letter to Gauguin dated October 3, 1888, Van Gogh describes himself in the self-portrait as "a character of a bonze, a simple worshiper of the eternal Buddha". Compared to Gauguin's more traditional Self-Portrait Dedicated to Carrière (1888 or 1889), the self-portrait painted at Le Pouldu is more "sinister".
|
[
"Garden of Eden",
"magus",
"bonze",
"John Milton",
"Denys Sutton",
"cloisonnism",
"Le Pouldu",
"Japanese wood-block prints",
"Françoise Cachin",
"right",
"Paradise Lost",
"Henri Dorra",
"Philip Conisbee",
"pendant",
"wood",
"Paul Gauguin",
"Thomas Carlyle",
"Fall of Man",
"Sartor Resartus",
"personal myth",
"Van Gogh",
"left",
"caricature",
"religious symbolism"
] |
|
13514_T
|
Self-Portrait with Halo and Snake
|
In Self-Portrait with Halo and Snake, how is the Provenance discussed?
|
In 1919, Marie Henry sold Gauguin's Self-Portrait as part of a batch of 14 other works to François Norgelet for a total of 35,000 francs, where it was exhibited at the Galerie Barbazanges in Paris. Although ownership details are scant, the painting is thought to have passed through the hands of several owners, including London art collector Mrs. R. A. Workman and later Lord Ivor Spencer-Churchill. It was sold by Churchill to the galleries Alex Reid and Lefèvre in 1923, who then sold it to Kraushaar Galleries in 1925. American banker Chester Dale acquired the work in 1928. The painting was later bequeathed by Dale to the National Gallery of Art in 1962 after his death. The Chester Dale Collection opened at the National Gallery in 1965.
|
[
"National Gallery of Art",
"Chester Dale",
"Lord Ivor Spencer-Churchill",
"Galerie Barbazanges"
] |
|
13514_NT
|
Self-Portrait with Halo and Snake
|
In this artwork, how is the Provenance discussed?
|
In 1919, Marie Henry sold Gauguin's Self-Portrait as part of a batch of 14 other works to François Norgelet for a total of 35,000 francs, where it was exhibited at the Galerie Barbazanges in Paris. Although ownership details are scant, the painting is thought to have passed through the hands of several owners, including London art collector Mrs. R. A. Workman and later Lord Ivor Spencer-Churchill. It was sold by Churchill to the galleries Alex Reid and Lefèvre in 1923, who then sold it to Kraushaar Galleries in 1925. American banker Chester Dale acquired the work in 1928. The painting was later bequeathed by Dale to the National Gallery of Art in 1962 after his death. The Chester Dale Collection opened at the National Gallery in 1965.
|
[
"National Gallery of Art",
"Chester Dale",
"Lord Ivor Spencer-Churchill",
"Galerie Barbazanges"
] |
|
13515_T
|
Portrait of a Girl
|
Focus on Portrait of a Girl and explore the abstract.
|
Portrait of a Girl (Romanian: Portret de fată) is a picture by Romanian painter Marcel Janco from 1930.
|
[
"Marcel Janco"
] |
|
13515_NT
|
Portrait of a Girl
|
Focus on this artwork and explore the abstract.
|
Portrait of a Girl (Romanian: Portret de fată) is a picture by Romanian painter Marcel Janco from 1930.
|
[
"Marcel Janco"
] |
|
13516_T
|
Portrait of a Girl
|
Focus on Portrait of a Girl and explain the Description.
|
The picture was painted in oil on canvas and has dimensions of 110 x 85 cm.
The picture is part of the collection of the Museum of Popular Art of Constanța in Constanța, Romania.
|
[
"Museum of Popular Art of Constanța",
"Constanța"
] |
|
13516_NT
|
Portrait of a Girl
|
Focus on this artwork and explain the Description.
|
The picture was painted in oil on canvas and has dimensions of 110 x 85 cm.
The picture is part of the collection of the Museum of Popular Art of Constanța in Constanța, Romania.
|
[
"Museum of Popular Art of Constanța",
"Constanța"
] |
|
13517_T
|
Portrait of a Girl
|
Explore the Analysis of this artwork, Portrait of a Girl.
|
The painting presents a young girl sitting in a chair. In her left hand she holds a book titled "Vie", as her hands touch the armrests of her chair. The face, hair and clothes of the girl have a strong geometry, highlighting the contours and details. Behind the chair is a monkey who plays with the hair of the girl. Objects in the room blend into the background, yet are well defined. Gray, ocher, brown, and black dominate the color scheme, highlighted with yellow, white and red. The style of the work can be assigned to cubism and constructivism.
|
[
"constructivism",
"cubism"
] |
|
13517_NT
|
Portrait of a Girl
|
Explore the Analysis of this artwork.
|
The painting presents a young girl sitting in a chair. In her left hand she holds a book titled "Vie", as her hands touch the armrests of her chair. The face, hair and clothes of the girl have a strong geometry, highlighting the contours and details. Behind the chair is a monkey who plays with the hair of the girl. Objects in the room blend into the background, yet are well defined. Gray, ocher, brown, and black dominate the color scheme, highlighted with yellow, white and red. The style of the work can be assigned to cubism and constructivism.
|
[
"constructivism",
"cubism"
] |
|
13518_T
|
Poland - The Year 1863
|
Focus on Poland - The Year 1863 and discuss the abstract.
|
Poland – The Year 1863 (Polish – Polonia – Rok 1863) or The Forging of Poland (Zakuwana Polska) is an early and unfinished oil on canvas painting by Jan Matejko, painted in 1864 in response to his experiences during the January Uprising and now in the Czartoryski Museum in Krakow.
|
[
"January Uprising",
"Czartoryski Museum",
"Jan Matejko"
] |
|
13518_NT
|
Poland - The Year 1863
|
Focus on this artwork and discuss the abstract.
|
Poland – The Year 1863 (Polish – Polonia – Rok 1863) or The Forging of Poland (Zakuwana Polska) is an early and unfinished oil on canvas painting by Jan Matejko, painted in 1864 in response to his experiences during the January Uprising and now in the Czartoryski Museum in Krakow.
|
[
"January Uprising",
"Czartoryski Museum",
"Jan Matejko"
] |
|
13519_T
|
Poland - The Year 1863
|
How does Poland - The Year 1863 elucidate its History?
|
The artist did not find any opportunity to display the work in public and – afraid of repression and fearing for his and his family's safety – he hid it behind the stove in his house. It remained hidden there for several years and later fell into the hands of the Czartoryski family.
|
[] |
|
13519_NT
|
Poland - The Year 1863
|
How does this artwork elucidate its History?
|
The artist did not find any opportunity to display the work in public and – afraid of repression and fearing for his and his family's safety – he hid it behind the stove in his house. It remained hidden there for several years and later fell into the hands of the Czartoryski family.
|
[] |
|
13520_T
|
Poland - The Year 1863
|
Focus on Poland - The Year 1863 and analyze the Iconography.
|
Poland is represented as a handcuffed young woman in a black dress, torn at the shoulders, with Ruthenia shown to her left as a woman in white ripped violently from her and Lithuania as a partly-naked woman lying in a pool of blood at the bottom left. The work shows Mikhail Muravyov, who had suppressed an uprising in Lithuania, and General Friedrich von Berg, who had suppressed another in the Kingdom of Poland, with Muravyov's sabre touching Lithuania.
In the centre background is a manifesto proclaiming the outbreak of the January Uprising, below the Kingdom of Poland's coat of arms, superimposed on the Russian Imperial coat of arms. The overall scene occurs in a desecrated church full of Russian soldiers dressing up in its liturgical robes and drinking wine from its chalices. On the floor is a tombstone, symbolising the Poles' ancestors, whilst to the right, a group of soldiers supervise a crowd, including a wounded insurgent and a Capuchin friar, probably Poles awaiting exile to Siberia. In the right background, another soldier's bayonet pierces a crucifix on the wall. Right corner Jewish family viewers are waiting for the outcome.
|
[
"January Uprising",
"Lithuania",
"Ruthenia",
"Kingdom of Poland",
"Mikhail Muravyov",
"Friedrich von Berg",
"Capuchin"
] |
|
13520_NT
|
Poland - The Year 1863
|
Focus on this artwork and analyze the Iconography.
|
Poland is represented as a handcuffed young woman in a black dress, torn at the shoulders, with Ruthenia shown to her left as a woman in white ripped violently from her and Lithuania as a partly-naked woman lying in a pool of blood at the bottom left. The work shows Mikhail Muravyov, who had suppressed an uprising in Lithuania, and General Friedrich von Berg, who had suppressed another in the Kingdom of Poland, with Muravyov's sabre touching Lithuania.
In the centre background is a manifesto proclaiming the outbreak of the January Uprising, below the Kingdom of Poland's coat of arms, superimposed on the Russian Imperial coat of arms. The overall scene occurs in a desecrated church full of Russian soldiers dressing up in its liturgical robes and drinking wine from its chalices. On the floor is a tombstone, symbolising the Poles' ancestors, whilst to the right, a group of soldiers supervise a crowd, including a wounded insurgent and a Capuchin friar, probably Poles awaiting exile to Siberia. In the right background, another soldier's bayonet pierces a crucifix on the wall. Right corner Jewish family viewers are waiting for the outcome.
|
[
"January Uprising",
"Lithuania",
"Ruthenia",
"Kingdom of Poland",
"Mikhail Muravyov",
"Friedrich von Berg",
"Capuchin"
] |
|
13521_T
|
Sew Low
|
In Sew Low, how is the abstract discussed?
|
Sew Low is a 2011–2012 quilt by Gee's Bend quilter Loretta Pettway Bennett. It is located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and is part of the Eskenazi Health Art Collection.
|
[
"Eskenazi Health Art Collection",
"Indianapolis",
"campus",
"Indianapolis, Indiana",
"Gee's Bend quilter",
"Indiana",
"quilt",
"Eskenazi Health",
"Loretta Pettway Bennett"
] |
|
13521_NT
|
Sew Low
|
In this artwork, how is the abstract discussed?
|
Sew Low is a 2011–2012 quilt by Gee's Bend quilter Loretta Pettway Bennett. It is located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and is part of the Eskenazi Health Art Collection.
|
[
"Eskenazi Health Art Collection",
"Indianapolis",
"campus",
"Indianapolis, Indiana",
"Gee's Bend quilter",
"Indiana",
"quilt",
"Eskenazi Health",
"Loretta Pettway Bennett"
] |
|
13522_T
|
Sew Low
|
In the context of Sew Low, explain the Acquisition of the Historical information.
|
Sew Low was acquired by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Sew Low is credited "in memory of Jean E. Spears."
|
[
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
13522_NT
|
Sew Low
|
In the context of this artwork, explain the Acquisition of the Historical information.
|
Sew Low was acquired by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Sew Low is credited "in memory of Jean E. Spears."
|
[
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
13523_T
|
Sew Low
|
Explore the Location about the Historical information of this artwork, Sew Low.
|
Sew Low is currently displayed in the yellow elevator corridor on the 1st floor of Sidney & Lois Eskenazi Hospital.
|
[
"Sidney & Lois Eskenazi Hospital"
] |
|
13523_NT
|
Sew Low
|
Explore the Location about the Historical information of this artwork.
|
Sew Low is currently displayed in the yellow elevator corridor on the 1st floor of Sidney & Lois Eskenazi Hospital.
|
[
"Sidney & Lois Eskenazi Hospital"
] |
|
13524_T
|
Sew Low
|
Focus on Sew Low and discuss the Artist.
|
Loretta Pettway Bennett is a fifth-generation quilter from Gee’s Bend, Alabama. She 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"
] |
|
13524_NT
|
Sew Low
|
Focus on this artwork and discuss the Artist.
|
Loretta Pettway Bennett is a fifth-generation quilter from Gee’s Bend, Alabama. She 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"
] |
|
13525_T
|
Dipylon Krater
|
In the context of Dipylon Krater, analyze the Kraters in Ancient Greece of the History.
|
The Ancient Greeks had many forms of kraters, not just the Dipylon kraters. One form of kraters was the calyx krater; one of the largest kraters used to carry wine. This krater was meant to be used for wine because its calyx flower bottom was big enough to fit a psykter-shaped vase. The psykter vase would be used as cooler holding ice with the wine in the krater, or it would hold the wine with ice filling the calyx krater. The clear difference between the calyx krater and the Dipylon kraters, found in Kerameikos. Another form of krater is column kraters, which are large vases with columnar handles and decorated with mythological scenes. All these kraters hold their particular part in Ancient Greek civilization. For example, kraters were commonly used for symposiums and were mainly used for diluting wine, and masters of ceremonies did this process. In comparison, Dipylon kraters were used mainly from grave markers in the Dipylon cemetery.
|
[
"Dipylon",
"Kerameikos",
"krater",
"grave markers",
"Krater"
] |
|
13525_NT
|
Dipylon Krater
|
In the context of this artwork, analyze the Kraters in Ancient Greece of the History.
|
The Ancient Greeks had many forms of kraters, not just the Dipylon kraters. One form of kraters was the calyx krater; one of the largest kraters used to carry wine. This krater was meant to be used for wine because its calyx flower bottom was big enough to fit a psykter-shaped vase. The psykter vase would be used as cooler holding ice with the wine in the krater, or it would hold the wine with ice filling the calyx krater. The clear difference between the calyx krater and the Dipylon kraters, found in Kerameikos. Another form of krater is column kraters, which are large vases with columnar handles and decorated with mythological scenes. All these kraters hold their particular part in Ancient Greek civilization. For example, kraters were commonly used for symposiums and were mainly used for diluting wine, and masters of ceremonies did this process. In comparison, Dipylon kraters were used mainly from grave markers in the Dipylon cemetery.
|
[
"Dipylon",
"Kerameikos",
"krater",
"grave markers",
"Krater"
] |
|
13526_T
|
Dipylon Krater
|
Describe the characteristics of the The funerary process in Dipylon Krater's History.
|
The painted figural scenes on the Dipylon vases describe two of the three parts of a proper burial: a prothesis and an ekphora. A prothesis is the laying out a body for mourning at their home, where they washed and dressed the body. Prothesis worked to prepare the body for viewing. Ekphora is the body's transportation to the grave done before dawn. The third step is the interment, where the body and its belongings would be buried. Some items buried included wine, personal belongings, and occasionally other vases. The fourth step was commemoration which was the moment the psyche (soul) departed the body. This was considered to be the very first step of death by the ancient Greeks. It was required by the ancient Greeks to include all of the steps in a funeral because they believed that without it, Hades, god of the Underworld, would not allow the dead to pass over.
|
[
"Dipylon"
] |
|
13526_NT
|
Dipylon Krater
|
Describe the characteristics of the The funerary process in this artwork's History.
|
The painted figural scenes on the Dipylon vases describe two of the three parts of a proper burial: a prothesis and an ekphora. A prothesis is the laying out a body for mourning at their home, where they washed and dressed the body. Prothesis worked to prepare the body for viewing. Ekphora is the body's transportation to the grave done before dawn. The third step is the interment, where the body and its belongings would be buried. Some items buried included wine, personal belongings, and occasionally other vases. The fourth step was commemoration which was the moment the psyche (soul) departed the body. This was considered to be the very first step of death by the ancient Greeks. It was required by the ancient Greeks to include all of the steps in a funeral because they believed that without it, Hades, god of the Underworld, would not allow the dead to pass over.
|
[
"Dipylon"
] |
|
13527_T
|
Dipylon Krater
|
In the context of Dipylon Krater, explore the Creation of the vase of the History.
|
The process started with clay (keramos), which was always available in Greece to create the vase. Depending on the vase type being made, the clay being used would be settled in tanks to achieve different consistencies. After obtaining the clay, the potter would use a wheel and do the vase in sections, usually in horizontal sections. This process meant that each vase made was distinctive from the other vases. Then, before being placed in the kiln, the vase was to be decorated to be fired multiple times. These vases were very important to Kerameikos that the potter who worked on Dipylon kraters was called a Dipylon Master. Not only did the Dipylon Master specialize in the creation of the vase, but he also worked on the painting of the vases he created. The vases portrayed scenes and figures of the deceased life and the funerary process that went through to establish the funeral. This Dipylon Master was active around 760–750 BC and worked in Athens. Many Dipylon kraters are dated back to his workshop, including vases like the Dipylon Amphora and the Elgin Amphora.
|
[
"Dipylon",
"Dipylon Master",
"Athens",
"Kerameikos",
"krater",
"Dipylon Amphora"
] |
|
13527_NT
|
Dipylon Krater
|
In the context of this artwork, explore the Creation of the vase of the History.
|
The process started with clay (keramos), which was always available in Greece to create the vase. Depending on the vase type being made, the clay being used would be settled in tanks to achieve different consistencies. After obtaining the clay, the potter would use a wheel and do the vase in sections, usually in horizontal sections. This process meant that each vase made was distinctive from the other vases. Then, before being placed in the kiln, the vase was to be decorated to be fired multiple times. These vases were very important to Kerameikos that the potter who worked on Dipylon kraters was called a Dipylon Master. Not only did the Dipylon Master specialize in the creation of the vase, but he also worked on the painting of the vases he created. The vases portrayed scenes and figures of the deceased life and the funerary process that went through to establish the funeral. This Dipylon Master was active around 760–750 BC and worked in Athens. Many Dipylon kraters are dated back to his workshop, including vases like the Dipylon Amphora and the Elgin Amphora.
|
[
"Dipylon",
"Dipylon Master",
"Athens",
"Kerameikos",
"krater",
"Dipylon Amphora"
] |
|
13528_T
|
Dipylon Krater
|
Explore the Hirschfeld Krater about the Description of the Dipylon Kraters of the History in this artwork, Dipylon Krater.
|
Hirschfeld Krater The Dipylon Krater found in Athens, also known as the Hirschfeld Krater, is 43 inches (110 cm) tall and has a circumference of 25.5 inches (65 cm). The monumental vase is hollow, with a hole at the bottom, indicating that it was not used as a mixing bowl like regular kraters. At the Dipylon Cemetery, where it was found, kraters marked the graves of men. The grave markers were also subject to be bought by wealthier families. Decorations occupy the entire vase, separated into registers containing abstract motifs or figural designs in a dark-on-light style.The prothesis scene on the Dipylon Krater, features standing women with triangular torsos surrounding a prostrate body underneath a checkered burial shroud. The women raise their arms to their head, tearing out their hair as a sign of mourning for the deceased. Abstract geometric motifs and animals fill space in between the figures in a dense style characteristic of the Late Geometric period. Underneath, the ekphora scene displays warriors with chariots, hinting out the dead man's military history while the hourglass-shaped shields transporting the body in a funeral procession.
|
[
"Geometric period",
"Dipylon",
"Athens",
"krater",
"grave markers",
"Krater"
] |
|
13528_NT
|
Dipylon Krater
|
Explore the Hirschfeld Krater about the Description of the Dipylon Kraters of the History in this artwork.
|
Hirschfeld Krater The Dipylon Krater found in Athens, also known as the Hirschfeld Krater, is 43 inches (110 cm) tall and has a circumference of 25.5 inches (65 cm). The monumental vase is hollow, with a hole at the bottom, indicating that it was not used as a mixing bowl like regular kraters. At the Dipylon Cemetery, where it was found, kraters marked the graves of men. The grave markers were also subject to be bought by wealthier families. Decorations occupy the entire vase, separated into registers containing abstract motifs or figural designs in a dark-on-light style.The prothesis scene on the Dipylon Krater, features standing women with triangular torsos surrounding a prostrate body underneath a checkered burial shroud. The women raise their arms to their head, tearing out their hair as a sign of mourning for the deceased. Abstract geometric motifs and animals fill space in between the figures in a dense style characteristic of the Late Geometric period. Underneath, the ekphora scene displays warriors with chariots, hinting out the dead man's military history while the hourglass-shaped shields transporting the body in a funeral procession.
|
[
"Geometric period",
"Dipylon",
"Athens",
"krater",
"grave markers",
"Krater"
] |
|
13529_T
|
Dipylon Krater
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Focusing on the History of Dipylon Krater, discuss the Dipylon Amphora about the Description of the Dipylon Kraters.
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Dipylon Amphora The Dipylon Amphora is the female version of the Dipylon krater. They both hold the same significance; their name and slight shape make each one different. The Dipylon amphora has a long and narrow neck roughly one-third of its size and is decorated with goats and geometric shapes. The body of the vase is vast and decorated with human figures and geometric shapes. On the body, there are also short handles. These handles are specific to Dipylon amphoras. The handles tell others that a woman lays in the grave that it marks. At the foot of the vase, there is a hole designated for loved ones to pour libations.
On the body of the amphora, we can see the images of mourning figures surrounding the dead woman. Their bodies are made out of triangles which connect back to the style of the Geometric period. Their arms are positioned above their heads, showing a strong emotion of despair and pain. We can tell that there is pain towards this woman's death because we can see the tears pouring down their faces in 'm' shapes.
|
[
"Geometric period",
"libations.",
"Dipylon",
"krater",
"Dipylon Amphora"
] |
|
13529_NT
|
Dipylon Krater
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Focusing on the History of this artwork, discuss the Dipylon Amphora about the Description of the Dipylon Kraters.
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Dipylon Amphora The Dipylon Amphora is the female version of the Dipylon krater. They both hold the same significance; their name and slight shape make each one different. The Dipylon amphora has a long and narrow neck roughly one-third of its size and is decorated with goats and geometric shapes. The body of the vase is vast and decorated with human figures and geometric shapes. On the body, there are also short handles. These handles are specific to Dipylon amphoras. The handles tell others that a woman lays in the grave that it marks. At the foot of the vase, there is a hole designated for loved ones to pour libations.
On the body of the amphora, we can see the images of mourning figures surrounding the dead woman. Their bodies are made out of triangles which connect back to the style of the Geometric period. Their arms are positioned above their heads, showing a strong emotion of despair and pain. We can tell that there is pain towards this woman's death because we can see the tears pouring down their faces in 'm' shapes.
|
[
"Geometric period",
"libations.",
"Dipylon",
"krater",
"Dipylon Amphora"
] |
|
13530_T
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Dipylon Krater
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Regarding Dipylon Krater, how does the History's Description of the Dipylon Kraters incorporate the Elgin amphora?
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Elgin amphora The Elgin amphora is slightly different from the Dipylon amphora. The Elgin amphora does not have a hole at the bottom compared to other kraters because it was buried instead of used as a grave marker. It is thought that it was filled with wine during the funeral feast and then later buried with the female deceased. When unearthed, it was missing a couple of pieces but was later reconstructed and is currently at the British Museum in London.
Since this amphora was reconstructed, we only get to see the decorative patterns that range from triangles to meanders on the vase's neck. Meanders are Greek key patterns that are a continuous line that folds back and forth that mimics the ancient Maeander River of Asia Minor. It is 26 inches (66 cm) tall and 9 inches (23 cm) wide. This amphora is seen as a clear example of the Geometric period and style.
|
[
"Geometric period",
"Dipylon",
"British Museum",
"krater"
] |
|
13530_NT
|
Dipylon Krater
|
Regarding this artwork, how does the History's Description of the Dipylon Kraters incorporate the Elgin amphora?
|
Elgin amphora The Elgin amphora is slightly different from the Dipylon amphora. The Elgin amphora does not have a hole at the bottom compared to other kraters because it was buried instead of used as a grave marker. It is thought that it was filled with wine during the funeral feast and then later buried with the female deceased. When unearthed, it was missing a couple of pieces but was later reconstructed and is currently at the British Museum in London.
Since this amphora was reconstructed, we only get to see the decorative patterns that range from triangles to meanders on the vase's neck. Meanders are Greek key patterns that are a continuous line that folds back and forth that mimics the ancient Maeander River of Asia Minor. It is 26 inches (66 cm) tall and 9 inches (23 cm) wide. This amphora is seen as a clear example of the Geometric period and style.
|
[
"Geometric period",
"Dipylon",
"British Museum",
"krater"
] |
|
13531_T
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Crossing of the Red Sea (Bronzino)
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Focus on Crossing of the Red Sea (Bronzino) and analyze the abstract.
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The Crossing of the Red Sea, also known as The Crossing of the Red Sea and Moses Appointing Joshua, is a fresco painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished in 1542. It depicts the Nation of Israel crossing the Red Sea from the book of Exodus and Moses commissioning Joshua to lead the Israelites into the promised land from the book of Numbers. It is housed in the Palazzo Vecchio, Florence.
In 1540, Cosimo I de' Medici and/or his wife, Eleanor of Toledo, commissioned this and other frescoes for Eleanor's private chapel. Three of the four walls of the small chapel found on the second floor of the palace are covered with works telling the story of Moses.
|
[
"book of Exodus",
"book of Numbers",
"Florence",
"crossing the Red Sea",
"Cosimo I de' Medici",
"promised land",
"Moses",
"Eleanor of Toledo",
"Agnolo di Cosimo",
"fresco",
"Joshua",
"Bronzino",
"Palazzo Vecchio"
] |
|
13531_NT
|
Crossing of the Red Sea (Bronzino)
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Focus on this artwork and analyze the abstract.
|
The Crossing of the Red Sea, also known as The Crossing of the Red Sea and Moses Appointing Joshua, is a fresco painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished in 1542. It depicts the Nation of Israel crossing the Red Sea from the book of Exodus and Moses commissioning Joshua to lead the Israelites into the promised land from the book of Numbers. It is housed in the Palazzo Vecchio, Florence.
In 1540, Cosimo I de' Medici and/or his wife, Eleanor of Toledo, commissioned this and other frescoes for Eleanor's private chapel. Three of the four walls of the small chapel found on the second floor of the palace are covered with works telling the story of Moses.
|
[
"book of Exodus",
"book of Numbers",
"Florence",
"crossing the Red Sea",
"Cosimo I de' Medici",
"promised land",
"Moses",
"Eleanor of Toledo",
"Agnolo di Cosimo",
"fresco",
"Joshua",
"Bronzino",
"Palazzo Vecchio"
] |
|
13532_T
|
Crossing of the Red Sea (Bronzino)
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In Crossing of the Red Sea (Bronzino), how is the Composition discussed?
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The large fresco is an example of Maniera art and is found on the south wall of the chapel. It is framed by fictive architectural elements including columns and an arch that provide the illusion the scene is contained in a lunette. The spandrels in the upper corners boast medallions and draperies to complete the illusion. The damage to the lower left corner is due to moisture.The fresco depicts three different scenes from the Old Testament. The three figures in the center foreground and three figures in the left foreground represent the Hebrew nation preparing to leave Egypt (Exodus 12:33–39). In the background, the Hebrews are shown safely completing their crossing of the Red Sea as Moses (shown in blue) gestures for the waters to return and drown the pursuing Egyptians (Exodus 14:21–29). In the right foreground, Moses, near the end of his life, is depicted laying his hand on Joshua and commissioning him to lead the Israelites (Numbers 27:18–23).Bronzino's arrangement of the Hebrews in the foreground demonstrates his mannerist penchant for appropriating classical sculptural subjects in his works. The seated nude on the right is shown in the classic reclining pose of a river god. The semi-nude youth on the left with his back to the viewer contorts his body to grip the arm of a seated female while holding a bundle of unleavened bread on his head. The same youth can be seen reaching the far shore in the background of the fresco. Bronzino's study of a standing nude in the Uffizi was thought to be the work of Bronzino's teacher, Pontormo, until the 20th century. It is clearly a preparatory chalk drawing for the standing figure with the bundle on his head. His exaggerated thrust of the hip and raised arm are common mannerist motifs and one leg crossed behind the other is a signature pose of Bronzino's. The figure in the center leaning on a rock is shown with his legs similarly crossed. The standing figure's stance appears to be inspired by a Roman copy of a Greek bronze statue known as the Idolino. It was unearthed in a 1530 excavation at the Villa Imperiale of Pesaro where Bronzino was working at the time. Bronzino has replaced the gentle contrapposto of the ancient sculpture with a more artificial pose that is decorative and stylish.Pontormo passed on his inclination to imitate Michelangelo to his student Bronzino. This can clearly be seen by examining the outstretched arm of Moses as he prepares to lay his hand on the youthful Joshua. The gesture is taken directly from The Creation of Adam in the Sistine Chapel. Reflecting on these idealized yet emotionally detached figures taking their inspiration from previous work, art historian Arthur McComb wrote:
It is hard to believe that we are here in a company of harassed Jews fleeing from slavery. This is rather a society of the elect, of youthful antique gods and fair Renaissance ladies. The sea to which these creatures of a marble formality have come is icy and still, and the arctic impression is borne out by color of a boreal coolness.
The damage to the fresco has obliterated much of the scene portraying the Hebrews preparing to leave Egypt. An anonymous engraving based on Bronzino's work that was published by Hieronymus Cock shortly after the fresco was completed includes the missing details. If these details accurately represent Bronzino's work, the scene depicts the standing youth encouraging two nursing mothers to rise up and begin the exodus. At his feet sit another child and bundles of supplies for the journey.
Based on this evidence, art historian Janet Cox-Rearick has suggested that the ornate silver urn and gold basin in the foreground represent the Egyptian treasure the Hebrews took with them as they hastily prepared to leave.
|
[
"Sistine Chapel",
"fictive",
"Villa Imperiale of Pesaro",
"The Creation of Adam",
"Uffizi",
"Michelangelo",
"Moses",
"contrapposto",
"spandrel",
"Pontormo",
"left",
"fresco",
"Hebrews",
"Idolino",
"Hebrew nation",
"Joshua",
"Hieronymus Cock",
"Bronzino",
"Old Testament",
"lunette",
"Janet Cox-Rearick",
"Maniera"
] |
|
13532_NT
|
Crossing of the Red Sea (Bronzino)
|
In this artwork, how is the Composition discussed?
|
The large fresco is an example of Maniera art and is found on the south wall of the chapel. It is framed by fictive architectural elements including columns and an arch that provide the illusion the scene is contained in a lunette. The spandrels in the upper corners boast medallions and draperies to complete the illusion. The damage to the lower left corner is due to moisture.The fresco depicts three different scenes from the Old Testament. The three figures in the center foreground and three figures in the left foreground represent the Hebrew nation preparing to leave Egypt (Exodus 12:33–39). In the background, the Hebrews are shown safely completing their crossing of the Red Sea as Moses (shown in blue) gestures for the waters to return and drown the pursuing Egyptians (Exodus 14:21–29). In the right foreground, Moses, near the end of his life, is depicted laying his hand on Joshua and commissioning him to lead the Israelites (Numbers 27:18–23).Bronzino's arrangement of the Hebrews in the foreground demonstrates his mannerist penchant for appropriating classical sculptural subjects in his works. The seated nude on the right is shown in the classic reclining pose of a river god. The semi-nude youth on the left with his back to the viewer contorts his body to grip the arm of a seated female while holding a bundle of unleavened bread on his head. The same youth can be seen reaching the far shore in the background of the fresco. Bronzino's study of a standing nude in the Uffizi was thought to be the work of Bronzino's teacher, Pontormo, until the 20th century. It is clearly a preparatory chalk drawing for the standing figure with the bundle on his head. His exaggerated thrust of the hip and raised arm are common mannerist motifs and one leg crossed behind the other is a signature pose of Bronzino's. The figure in the center leaning on a rock is shown with his legs similarly crossed. The standing figure's stance appears to be inspired by a Roman copy of a Greek bronze statue known as the Idolino. It was unearthed in a 1530 excavation at the Villa Imperiale of Pesaro where Bronzino was working at the time. Bronzino has replaced the gentle contrapposto of the ancient sculpture with a more artificial pose that is decorative and stylish.Pontormo passed on his inclination to imitate Michelangelo to his student Bronzino. This can clearly be seen by examining the outstretched arm of Moses as he prepares to lay his hand on the youthful Joshua. The gesture is taken directly from The Creation of Adam in the Sistine Chapel. Reflecting on these idealized yet emotionally detached figures taking their inspiration from previous work, art historian Arthur McComb wrote:
It is hard to believe that we are here in a company of harassed Jews fleeing from slavery. This is rather a society of the elect, of youthful antique gods and fair Renaissance ladies. The sea to which these creatures of a marble formality have come is icy and still, and the arctic impression is borne out by color of a boreal coolness.
The damage to the fresco has obliterated much of the scene portraying the Hebrews preparing to leave Egypt. An anonymous engraving based on Bronzino's work that was published by Hieronymus Cock shortly after the fresco was completed includes the missing details. If these details accurately represent Bronzino's work, the scene depicts the standing youth encouraging two nursing mothers to rise up and begin the exodus. At his feet sit another child and bundles of supplies for the journey.
Based on this evidence, art historian Janet Cox-Rearick has suggested that the ornate silver urn and gold basin in the foreground represent the Egyptian treasure the Hebrews took with them as they hastily prepared to leave.
|
[
"Sistine Chapel",
"fictive",
"Villa Imperiale of Pesaro",
"The Creation of Adam",
"Uffizi",
"Michelangelo",
"Moses",
"contrapposto",
"spandrel",
"Pontormo",
"left",
"fresco",
"Hebrews",
"Idolino",
"Hebrew nation",
"Joshua",
"Hieronymus Cock",
"Bronzino",
"Old Testament",
"lunette",
"Janet Cox-Rearick",
"Maniera"
] |
|
13533_T
|
Crossing of the Red Sea (Bronzino)
|
Focus on Crossing of the Red Sea (Bronzino) and explore the Symbolism and portraiture.
|
This painting contains various allusions to the Medici's dynastic and political intentions. Moses can be equated to Cosimo I, who wants to lead his people to the promised land. The crossing of the Red Sea and the destruction of the Egyptian army alludes to the 1537 battle of Montemurlo where Cosimo I defeated the army trying to restore the Republic of Florence. The symbolism pointing to the battle isn't particularly subtle. A red Egyptian banner in the left background shows a portion of the coat of arms of the Strozzi family, one of the principal factions opposed to Medici rule. The appointment of Joshua by Moses refers to the birth in 1541 of Francesco, the son of Cosimo I and Eleanor and heir to the ducal state. This last allusion is strengthened by the pregnant woman portrayed behind Moses in the right foreground.
Portraits of donors, political figures, and artists embedded in religious works were common in sixteenth-century Florence. It appears that three of the men surrounding Moses in the right foreground are portraits. Only one has been positively identified. The man with the long dark beard portraying the priest Eleazar is Pierfrancesco Riccio who served as both Cosimo's secretary and a priest at the Florence Cathedral. The man in the red turban is a scholar based on the black coif under the turban, and his Florentine identity is thought to be the writer Pier Francesco Giambullari. The man in blue who is looking out of the fresco at the viewer might be a self-portrait of Bronzino. It has also been posited that the man kneeling in front of Moses in the right foreground is Eleanor's father, Don Pedro de Toledo.
|
[
"battle of Montemurlo",
"Florence",
"Strozzi family",
"Francesco",
"promised land",
"Moses",
"Republic of Florence",
"left",
"coif",
"fresco",
"Joshua",
"Don Pedro de Toledo",
"donors",
"Bronzino",
"Florence Cathedral",
"Eleazar"
] |
|
13533_NT
|
Crossing of the Red Sea (Bronzino)
|
Focus on this artwork and explore the Symbolism and portraiture.
|
This painting contains various allusions to the Medici's dynastic and political intentions. Moses can be equated to Cosimo I, who wants to lead his people to the promised land. The crossing of the Red Sea and the destruction of the Egyptian army alludes to the 1537 battle of Montemurlo where Cosimo I defeated the army trying to restore the Republic of Florence. The symbolism pointing to the battle isn't particularly subtle. A red Egyptian banner in the left background shows a portion of the coat of arms of the Strozzi family, one of the principal factions opposed to Medici rule. The appointment of Joshua by Moses refers to the birth in 1541 of Francesco, the son of Cosimo I and Eleanor and heir to the ducal state. This last allusion is strengthened by the pregnant woman portrayed behind Moses in the right foreground.
Portraits of donors, political figures, and artists embedded in religious works were common in sixteenth-century Florence. It appears that three of the men surrounding Moses in the right foreground are portraits. Only one has been positively identified. The man with the long dark beard portraying the priest Eleazar is Pierfrancesco Riccio who served as both Cosimo's secretary and a priest at the Florence Cathedral. The man in the red turban is a scholar based on the black coif under the turban, and his Florentine identity is thought to be the writer Pier Francesco Giambullari. The man in blue who is looking out of the fresco at the viewer might be a self-portrait of Bronzino. It has also been posited that the man kneeling in front of Moses in the right foreground is Eleanor's father, Don Pedro de Toledo.
|
[
"battle of Montemurlo",
"Florence",
"Strozzi family",
"Francesco",
"promised land",
"Moses",
"Republic of Florence",
"left",
"coif",
"fresco",
"Joshua",
"Don Pedro de Toledo",
"donors",
"Bronzino",
"Florence Cathedral",
"Eleazar"
] |
|
13534_T
|
The Cardsharps
|
Focus on The Cardsharps and explain the abstract.
|
The Cardsharps (painted around 1594) is a painting by the Italian Baroque artist Michelangelo Merisi da Caravaggio.
The original is generally agreed to be the work acquired by the Kimbell Art Museum in 1987, although Caravaggio may have painted more than one version.
|
[
"Michelangelo Merisi da Caravaggio",
"Caravaggio",
"Kimbell Art Museum"
] |
|
13534_NT
|
The Cardsharps
|
Focus on this artwork and explain the abstract.
|
The Cardsharps (painted around 1594) is a painting by the Italian Baroque artist Michelangelo Merisi da Caravaggio.
The original is generally agreed to be the work acquired by the Kimbell Art Museum in 1987, although Caravaggio may have painted more than one version.
|
[
"Michelangelo Merisi da Caravaggio",
"Caravaggio",
"Kimbell Art Museum"
] |
|
13535_T
|
The Cardsharps
|
Explore the History of this artwork, The Cardsharps.
|
The work represents an important milestone for Caravaggio. He painted it when he was attempting an independent career after leaving the workshop of the Cavaliere Giuseppe Cesari d'Arpino, for whom he had been painting "flowers and fruit", finishing the details for the Cavaliere's mass-produced (and massive) output. Caravaggio left Arpino's workshop in January 1594 and began selling works through the dealer Costantino, with the assistance of Prospero Orsi, an established painter of Mannerist grotesques (masks, monsters, etc.). Orsi introduced Caravaggio to his extensive network of contacts in the world of collectors and patrons.
|
[
"Cavaliere Giuseppe Cesari d'Arpino",
"Prospero Orsi",
"Caravaggio",
"Mannerist",
"Giuseppe Cesari",
"left"
] |
|
13535_NT
|
The Cardsharps
|
Explore the History of this artwork.
|
The work represents an important milestone for Caravaggio. He painted it when he was attempting an independent career after leaving the workshop of the Cavaliere Giuseppe Cesari d'Arpino, for whom he had been painting "flowers and fruit", finishing the details for the Cavaliere's mass-produced (and massive) output. Caravaggio left Arpino's workshop in January 1594 and began selling works through the dealer Costantino, with the assistance of Prospero Orsi, an established painter of Mannerist grotesques (masks, monsters, etc.). Orsi introduced Caravaggio to his extensive network of contacts in the world of collectors and patrons.
|
[
"Cavaliere Giuseppe Cesari d'Arpino",
"Prospero Orsi",
"Caravaggio",
"Mannerist",
"Giuseppe Cesari",
"left"
] |
|
13536_T
|
The Cardsharps
|
Focus on The Cardsharps and discuss the Composition.
|
The painting shows an expensively-dressed but unworldly boy playing cards with another boy. The second boy, a cardsharp, has extra cards tucked in his belt behind his back, out of sight of the mark but not the viewer, and a sinister older man is peering over the dupe's shoulder and signaling to his young accomplice. The second boy has a dagger handy at his side.
It was the second such painting Caravaggio created. The first, The Fortune Teller, had drawn attention, and this painting extended his reputation, small though it was at this stage. The subjects of The Fortune Teller and Cardsharps offered something new: realistic scenes of street life, especially with this beautifully rendered attention to little details such as the split fingers on the older man's gloves, or the teenage cheat's anxious glance at his master. The psychological insight is equally striking, the three figures bound together by the common drama, yet each with his own unique part within the larger play – for if the innocent is being duped, the other boy is no older, another innocent being corrupted even as he cheats his gull.
The Cardsharps, with its mixture of brutal low-life realism and luminous Venetian delicacy, was much admired, and Orsi "went around acclaiming (Caravaggio's) new style and heightening the reputation of his work." Caravaggio appears to have produced more than one version of the work (as discussed in the provenance section below). Over fifty copies and variants made by other painters have survived, with artists such as Georges de La Tour painting their own appreciations of the theme.
|
[
"Caravaggio",
"The Fortune Teller",
"cardsharp",
"Georges de La Tour"
] |
|
13536_NT
|
The Cardsharps
|
Focus on this artwork and discuss the Composition.
|
The painting shows an expensively-dressed but unworldly boy playing cards with another boy. The second boy, a cardsharp, has extra cards tucked in his belt behind his back, out of sight of the mark but not the viewer, and a sinister older man is peering over the dupe's shoulder and signaling to his young accomplice. The second boy has a dagger handy at his side.
It was the second such painting Caravaggio created. The first, The Fortune Teller, had drawn attention, and this painting extended his reputation, small though it was at this stage. The subjects of The Fortune Teller and Cardsharps offered something new: realistic scenes of street life, especially with this beautifully rendered attention to little details such as the split fingers on the older man's gloves, or the teenage cheat's anxious glance at his master. The psychological insight is equally striking, the three figures bound together by the common drama, yet each with his own unique part within the larger play – for if the innocent is being duped, the other boy is no older, another innocent being corrupted even as he cheats his gull.
The Cardsharps, with its mixture of brutal low-life realism and luminous Venetian delicacy, was much admired, and Orsi "went around acclaiming (Caravaggio's) new style and heightening the reputation of his work." Caravaggio appears to have produced more than one version of the work (as discussed in the provenance section below). Over fifty copies and variants made by other painters have survived, with artists such as Georges de La Tour painting their own appreciations of the theme.
|
[
"Caravaggio",
"The Fortune Teller",
"cardsharp",
"Georges de La Tour"
] |
|
13537_T
|
The Cardsharps
|
How does The Cardsharps elucidate its Provenance?
|
Whether through Costantino or Orsi, Caravaggio came to the notice of the prominent collector Cardinal Francesco Del Monte, who purchased Cardsharps and became the artist's first important patron, giving him lodgings in his Palazzo Madama behind the Piazza Navona, then as now one of the principal squares in Rome.
From Del Monte's collection the work entered the collection of Cardinal Antonio Barberini, nephew of the Pope Urban VIII (whose pre-elevation portrait, Portrait of Maffeo Barberini, Caravaggio would paint in 1598), in Rome. It passed by descent to his nephew Maffeo Barberini, Prince of Palestrina, and then through the Colonna-Sciarra family. It eventually disappeared in the 1890s, and was rediscovered in 1987 in a private collection in Zürich; it was subsequently sold to and is currently in the collection of the Kimbell Art Museum in Fort Worth, Texas.
The British art historian Sir Denis Mahon acquired a copy of Cardsharps at auction in 2006. Although it had been sold by Sotheby's as being a copy of the work in the Kimbell Art Museum and by an artist other than Caravaggio, Mahon argued that it was a replica by Caravaggio himself. There is a pentimento, in which full detail of the face of one of the cheats had been sketched in spite of being painted over by the page's hat. This suggests that it is unlikely that it was done by a copy artist. The attribution of this version to Caravaggio has been widely accepted, although in 2014 it became the subject of a legal dispute.
This suggested that Caravaggio might have painted at least two versions of the work, as he is believed to have done with Boy Bitten by a Lizard, The Fortune Teller, and The Lute Player. Mahon died in 2011 and the painting had been loaned to London's Museum of the Order of St. John and insured for £10,000,000. On 16 January 2015 the High Court of England and Wales ruled in favor of Sotheby's, saying that, relying on qualified experts, Sotheby's had reasonably come to the view that the painting was not likely a Caravaggio; the judge consequently ordered the plaintiff to pay Sotheby's £1.8 million for its legal fees.
|
[
"Piazza Navona",
"Portrait of Maffeo Barberini",
"Maffeo Barberini",
"Fort Worth",
"Boy Bitten by a Lizard",
"Cardinal Francesco Del Monte",
"Urban VIII",
"Fort Worth, Texas",
"Antonio Barberini",
"Sir Denis Mahon",
"Caravaggio",
"Palazzo Madama",
"pentimento",
"Denis Mahon",
"High Court of England and Wales",
"Sotheby's",
"The Fortune Teller",
"Kimbell Art Museum",
"Pope Urban VIII"
] |
|
13537_NT
|
The Cardsharps
|
How does this artwork elucidate its Provenance?
|
Whether through Costantino or Orsi, Caravaggio came to the notice of the prominent collector Cardinal Francesco Del Monte, who purchased Cardsharps and became the artist's first important patron, giving him lodgings in his Palazzo Madama behind the Piazza Navona, then as now one of the principal squares in Rome.
From Del Monte's collection the work entered the collection of Cardinal Antonio Barberini, nephew of the Pope Urban VIII (whose pre-elevation portrait, Portrait of Maffeo Barberini, Caravaggio would paint in 1598), in Rome. It passed by descent to his nephew Maffeo Barberini, Prince of Palestrina, and then through the Colonna-Sciarra family. It eventually disappeared in the 1890s, and was rediscovered in 1987 in a private collection in Zürich; it was subsequently sold to and is currently in the collection of the Kimbell Art Museum in Fort Worth, Texas.
The British art historian Sir Denis Mahon acquired a copy of Cardsharps at auction in 2006. Although it had been sold by Sotheby's as being a copy of the work in the Kimbell Art Museum and by an artist other than Caravaggio, Mahon argued that it was a replica by Caravaggio himself. There is a pentimento, in which full detail of the face of one of the cheats had been sketched in spite of being painted over by the page's hat. This suggests that it is unlikely that it was done by a copy artist. The attribution of this version to Caravaggio has been widely accepted, although in 2014 it became the subject of a legal dispute.
This suggested that Caravaggio might have painted at least two versions of the work, as he is believed to have done with Boy Bitten by a Lizard, The Fortune Teller, and The Lute Player. Mahon died in 2011 and the painting had been loaned to London's Museum of the Order of St. John and insured for £10,000,000. On 16 January 2015 the High Court of England and Wales ruled in favor of Sotheby's, saying that, relying on qualified experts, Sotheby's had reasonably come to the view that the painting was not likely a Caravaggio; the judge consequently ordered the plaintiff to pay Sotheby's £1.8 million for its legal fees.
|
[
"Piazza Navona",
"Portrait of Maffeo Barberini",
"Maffeo Barberini",
"Fort Worth",
"Boy Bitten by a Lizard",
"Cardinal Francesco Del Monte",
"Urban VIII",
"Fort Worth, Texas",
"Antonio Barberini",
"Sir Denis Mahon",
"Caravaggio",
"Palazzo Madama",
"pentimento",
"Denis Mahon",
"High Court of England and Wales",
"Sotheby's",
"The Fortune Teller",
"Kimbell Art Museum",
"Pope Urban VIII"
] |
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13538_T
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Susanna and the Elders (Lotto)
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Focus on Susanna and the Elders (Lotto) and analyze the abstract.
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Susanna and the Elders is an oil-on-panel painting by the Italian Renaissance painter Lorenzo Lotto, dating from 1517. It is housed in the Uffizi Gallery of Florence.
|
[
"Italian",
"Lorenzo Lotto",
"Uffizi Gallery",
"Lotto",
"Renaissance",
"Florence",
"Susanna",
"Uffizi",
"Susanna and the Elders"
] |
|
13538_NT
|
Susanna and the Elders (Lotto)
|
Focus on this artwork and analyze the abstract.
|
Susanna and the Elders is an oil-on-panel painting by the Italian Renaissance painter Lorenzo Lotto, dating from 1517. It is housed in the Uffizi Gallery of Florence.
|
[
"Italian",
"Lorenzo Lotto",
"Uffizi Gallery",
"Lotto",
"Renaissance",
"Florence",
"Susanna",
"Uffizi",
"Susanna and the Elders"
] |
|
13539_T
|
Susanna and the Elders (Lotto)
|
In Susanna and the Elders (Lotto), how is the Description discussed?
|
The painting depicts the story of Susanna from the Old Testament. She was the wife of one Joachim, and received the advances of her husband's friends while taking a bath. After her refusal, the "Elders" accused her of adultery, but the accusation was later proved to be false thanks to the intervention of Daniel.
Lotto portrayed her after removing her clothing for the bath, while the Elders burst into from the door of the bath's enclosure, followed by two serfs called to support their accusation of adultery. The cartouches, showing the characters' dialogue, are an archaic element, perhaps required by the commissioner himself as a complement of the moral message.
The upper part of the picture is occupied by a view of the garden and a castle within an idyllic landscape. A preliminary scene of the episode is shown there, with the woman entering the garden while her two maidens return.
|
[
"Lotto",
"Susanna"
] |
|
13539_NT
|
Susanna and the Elders (Lotto)
|
In this artwork, how is the Description discussed?
|
The painting depicts the story of Susanna from the Old Testament. She was the wife of one Joachim, and received the advances of her husband's friends while taking a bath. After her refusal, the "Elders" accused her of adultery, but the accusation was later proved to be false thanks to the intervention of Daniel.
Lotto portrayed her after removing her clothing for the bath, while the Elders burst into from the door of the bath's enclosure, followed by two serfs called to support their accusation of adultery. The cartouches, showing the characters' dialogue, are an archaic element, perhaps required by the commissioner himself as a complement of the moral message.
The upper part of the picture is occupied by a view of the garden and a castle within an idyllic landscape. A preliminary scene of the episode is shown there, with the woman entering the garden while her two maidens return.
|
[
"Lotto",
"Susanna"
] |
|
13540_T
|
ICAR Canned Beef Monument
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Focus on ICAR Canned Beef Monument and explore the abstract.
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The ICAR Canned Beef Monument is a public outdoor sculpture in Sarajevo.
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[
"Sarajevo"
] |
|
13540_NT
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ICAR Canned Beef Monument
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Focus on this artwork and explore the abstract.
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The ICAR Canned Beef Monument is a public outdoor sculpture in Sarajevo.
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[
"Sarajevo"
] |
|
13541_T
|
ICAR Canned Beef Monument
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Focus on ICAR Canned Beef Monument and explain the History.
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The sculpture was dedicated on April 6, 2007.It is located on a walking path that runs behind the Historical Museum of Bosnia and Herzegovina toward the Miljacka River. Designed by Nebojša Šerić Šoba, it is a large representation of a can of beef (a common food supplied during the siege by international organizations), sculpted from painted steel on a marble plinth.A memorial to the food aid delivered during the Siege of Sarajevo, the inscription on the plinth is "Monument to the International Community by the grateful citizens of Sarajevo". However, in the opinion of the monument's creators, the aid was of the wrong kind: barely-edible canned food, instead of weapons. Some food was left over from the Vietnam War and over 20 years expired, some consisted of pork for the half-Muslim country, and in popular legend refused by dogs and cats.Since its dedication it had become graffitied and some paint has peeled. In July 2022 the label on the can was updated and attached. The new label gives credit to the Netherlands for their contributions to the situation, and eliminates the graffiti and wear that had previously been evident.
|
[
"Bosnia and Herzegovina",
"Miljacka",
"Sarajevo",
"Siege of Sarajevo",
"Vietnam War",
"pork for the half-Muslim country",
"graffiti",
"Nebojša Šerić Šoba",
"plinth"
] |
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13541_NT
|
ICAR Canned Beef Monument
|
Focus on this artwork and explain the History.
|
The sculpture was dedicated on April 6, 2007.It is located on a walking path that runs behind the Historical Museum of Bosnia and Herzegovina toward the Miljacka River. Designed by Nebojša Šerić Šoba, it is a large representation of a can of beef (a common food supplied during the siege by international organizations), sculpted from painted steel on a marble plinth.A memorial to the food aid delivered during the Siege of Sarajevo, the inscription on the plinth is "Monument to the International Community by the grateful citizens of Sarajevo". However, in the opinion of the monument's creators, the aid was of the wrong kind: barely-edible canned food, instead of weapons. Some food was left over from the Vietnam War and over 20 years expired, some consisted of pork for the half-Muslim country, and in popular legend refused by dogs and cats.Since its dedication it had become graffitied and some paint has peeled. In July 2022 the label on the can was updated and attached. The new label gives credit to the Netherlands for their contributions to the situation, and eliminates the graffiti and wear that had previously been evident.
|
[
"Bosnia and Herzegovina",
"Miljacka",
"Sarajevo",
"Siege of Sarajevo",
"Vietnam War",
"pork for the half-Muslim country",
"graffiti",
"Nebojša Šerić Šoba",
"plinth"
] |
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13542_T
|
Female Landscape
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Explore the abstract of this artwork, Female Landscape.
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Female Landscape, or Feminine Landscape, is an outdoor 1972 sculpture by Gerald Gladstone, installed in a fountain in the outdoor plaza of Montreal's Place Ville Marie complex, in Quebec, Canada.
|
[
"Gerald Gladstone",
"Place Ville Marie",
"Quebec",
"Montreal"
] |
|
13542_NT
|
Female Landscape
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Explore the abstract of this artwork.
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Female Landscape, or Feminine Landscape, is an outdoor 1972 sculpture by Gerald Gladstone, installed in a fountain in the outdoor plaza of Montreal's Place Ville Marie complex, in Quebec, Canada.
|
[
"Gerald Gladstone",
"Place Ville Marie",
"Quebec",
"Montreal"
] |
|
13543_T
|
Saint Peter and Saint Paul (Ribera)
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Focus on Saint Peter and Saint Paul (Ribera) and discuss the abstract.
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Saint Peter and Saint Paul is a circa 1616 Catholic Baroque painting by the Spanish-born Neapolitan artist Jusepe de Ribera. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 180.The painting bears a long and explicit signature on the edge of the table: JOSEPHUS RIBERA HISPANUS VALENTINUS CIVITATIS SETABIS ACADEMICUS ROMANUS; i.e. "José Ribera, a Spaniard from the Kingdom of Valencia, the city of Xàtiva, the Academy of Rome". It was bought by the museum in 1890 from the collection of Gustave Rothan; its previous history could be traced back with certitude until 1809, but only speculatively beyond that date. Saint Peter and Saint Paul is influenced by Caravaggism in its naturalistic depiction of the two men, while displaying early Classicism in its solid composition. Ribera reused another canvas to paint over; an upside-down head of a child can still be seen below the parchment in Saint Peter's hand.
|
[
"Jusepe de Ribera",
"Caravaggism",
"Neapolitan",
"canvas",
"Baroque",
"Saint Paul",
"Musée des Beaux-Arts",
"Rome",
"Spanish",
"Xàtiva",
"Catholic",
"Baroque painting",
"Classicism",
"Kingdom of Valencia",
"Strasbourg",
"Gustave Rothan",
"Saint Peter"
] |
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13543_NT
|
Saint Peter and Saint Paul (Ribera)
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Focus on this artwork and discuss the abstract.
|
Saint Peter and Saint Paul is a circa 1616 Catholic Baroque painting by the Spanish-born Neapolitan artist Jusepe de Ribera. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 180.The painting bears a long and explicit signature on the edge of the table: JOSEPHUS RIBERA HISPANUS VALENTINUS CIVITATIS SETABIS ACADEMICUS ROMANUS; i.e. "José Ribera, a Spaniard from the Kingdom of Valencia, the city of Xàtiva, the Academy of Rome". It was bought by the museum in 1890 from the collection of Gustave Rothan; its previous history could be traced back with certitude until 1809, but only speculatively beyond that date. Saint Peter and Saint Paul is influenced by Caravaggism in its naturalistic depiction of the two men, while displaying early Classicism in its solid composition. Ribera reused another canvas to paint over; an upside-down head of a child can still be seen below the parchment in Saint Peter's hand.
|
[
"Jusepe de Ribera",
"Caravaggism",
"Neapolitan",
"canvas",
"Baroque",
"Saint Paul",
"Musée des Beaux-Arts",
"Rome",
"Spanish",
"Xàtiva",
"Catholic",
"Baroque painting",
"Classicism",
"Kingdom of Valencia",
"Strasbourg",
"Gustave Rothan",
"Saint Peter"
] |
|
13544_T
|
They Did Not Expect Him
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In the context of They Did Not Expect Him, analyze the Background of the History.
|
Ilya Repin completed his seven years of study at the Imperial Academy of Arts in 1871, and was awarded the Grand Gold Medal of the academy for the painting "The Resurrection of the Daughter of Jairus", as well as the title of class artist of the first degree and the right to a fellowship trip abroad. From 1873 to 1876, the artist lived and worked in France.Repin returned from Paris to St. Petersburg in July 1876 and later went back to his hometown of Chuguev where he stayed until September 1877. He then returned to Moscow, where he would live and work for the next five years. Repin began working on the theme of procession in 1877. His main work on this theme, "Religious Procession in Kursk Governorate", was begun in 1880 in Moscow, and completed in 1883 in St. Petersburg, where the artist moved in September 1882. Repin wrote to art critic Vladimir Stasov in a letter dated 2 January 1881:
... I will move to St. Petersburg and begin the paintings I have long conceived from the most burning reality that surrounds us, understandable to us and exciting us more than all past events.
In the early 1880s, Repin was greatly influenced by the assassination of Emperor Alexander II by Pervomartovtsy, literally meaning those of March 1, as well as by the public execution of the assassins, which he attended. In the mid-late 1870s, Repin conceived the idea of creating a series of paintings on the theme of Narodism, a political movement of the Russian intelligentsia in the 1870s. The first of the "Narodniki" series is the painting Under Escort. On the Muddy Road (Под конвоем. По грязной дороге; 1876), followed by Arrest of a Propagandist (Арест пропагандиста; 1880–1889), Before Confession (Перед исповедью; 1879–1885) and Meeting (Сходка; 1883).The 11th travelling exhibition, which featured Repin's Religious Procession in the Kursk Province and several other works, opened in St. Petersburg in March 1883. Ilya Repin and Vladimir Stasov travelled to Europe in the second half of May of that year, visiting Berlin, Dresden, Munich, Paris, Madrid, Venice, and several cities in the Netherlands. In early June, Repin returned to St. Petersburg, and later settled in the dacha village of Martyshkino near Oranienbaum.
|
[
"France",
"Chuguev",
"Russian",
"Moscow",
"Procession",
"Vladimir Stasov",
"dacha",
"Oranienbaum",
"Religious Procession in Kursk Governorate",
"Emperor Alexander II",
"Pervomartovtsy",
"assassination",
"procession",
"Martyshkino",
"Imperial Academy of Arts",
"Paris",
"Ilya Repin",
"travelling exhibition",
"Narodism",
"St. Petersburg",
"Russia"
] |
|
13544_NT
|
They Did Not Expect Him
|
In the context of this artwork, analyze the Background of the History.
|
Ilya Repin completed his seven years of study at the Imperial Academy of Arts in 1871, and was awarded the Grand Gold Medal of the academy for the painting "The Resurrection of the Daughter of Jairus", as well as the title of class artist of the first degree and the right to a fellowship trip abroad. From 1873 to 1876, the artist lived and worked in France.Repin returned from Paris to St. Petersburg in July 1876 and later went back to his hometown of Chuguev where he stayed until September 1877. He then returned to Moscow, where he would live and work for the next five years. Repin began working on the theme of procession in 1877. His main work on this theme, "Religious Procession in Kursk Governorate", was begun in 1880 in Moscow, and completed in 1883 in St. Petersburg, where the artist moved in September 1882. Repin wrote to art critic Vladimir Stasov in a letter dated 2 January 1881:
... I will move to St. Petersburg and begin the paintings I have long conceived from the most burning reality that surrounds us, understandable to us and exciting us more than all past events.
In the early 1880s, Repin was greatly influenced by the assassination of Emperor Alexander II by Pervomartovtsy, literally meaning those of March 1, as well as by the public execution of the assassins, which he attended. In the mid-late 1870s, Repin conceived the idea of creating a series of paintings on the theme of Narodism, a political movement of the Russian intelligentsia in the 1870s. The first of the "Narodniki" series is the painting Under Escort. On the Muddy Road (Под конвоем. По грязной дороге; 1876), followed by Arrest of a Propagandist (Арест пропагандиста; 1880–1889), Before Confession (Перед исповедью; 1879–1885) and Meeting (Сходка; 1883).The 11th travelling exhibition, which featured Repin's Religious Procession in the Kursk Province and several other works, opened in St. Petersburg in March 1883. Ilya Repin and Vladimir Stasov travelled to Europe in the second half of May of that year, visiting Berlin, Dresden, Munich, Paris, Madrid, Venice, and several cities in the Netherlands. In early June, Repin returned to St. Petersburg, and later settled in the dacha village of Martyshkino near Oranienbaum.
|
[
"France",
"Chuguev",
"Russian",
"Moscow",
"Procession",
"Vladimir Stasov",
"dacha",
"Oranienbaum",
"Religious Procession in Kursk Governorate",
"Emperor Alexander II",
"Pervomartovtsy",
"assassination",
"procession",
"Martyshkino",
"Imperial Academy of Arts",
"Paris",
"Ilya Repin",
"travelling exhibition",
"Narodism",
"St. Petersburg",
"Russia"
] |
|
13545_T
|
They Did Not Expect Him
|
Describe the characteristics of the Creation in They Did Not Expect Him's History.
|
There are two different versions of They Did Not Expect Him. Repin began work on the first one in 1883, depicting a student's return to her family. This oil on wood painting has a relatively small format, 45.8 × 37 cm. Fifteen years later, in 1898, Repin reworked this version, making several changes to the figure of the young woman, whose face was reminiscent of his daughter Nadia. It is currently in the Tretyakov Gallery's collection.
In his 1948 article titled "New Pages of Repin's Creative Biography," art historian Ilya Zilberstein discussed the first version of They Did Not Expect Him. According to him, the painting was intended to feature a young girl as the main character. Her revolutionary attire was strikingly similar to that of The Student in Nikolai Yaroshenko's painting, as both heroines wore plaid with a small cap on their heads. According to Ilya Zilberstein, when Repin saw The Student and read the press reviews, he decided to replace the character of the young girl in the second version of his painting with that of a young man.Repin began painting a second version, which would become the main one, in 1884. It was much larger, and the woman who had entered the room had been replaced by a man. The painter worked on it in his country house in Martyshkino, near Saint Petersburg, and posed for it with members of his family and acquaintances. The model for the exile's mother is thus partly Vera Alexeievna, Repin's wife, and partly Varvara Komarova, Stasov's daughter; that of the child, Sergei Kostytchev, the son of a neighbour, who would later be a renowned biochemist, professor, and academician; that of the young girl, Vera Repina, the painter's eldest daughter; and that of the maid, an employee of the Repins. The man entering the room is thought to be Vsevolod Garshin, whose portrait Repin worked on in 1884. The resemblance to the writer is complete in an intermediate version of the painting.The father of the exile is also depicted in the early sketches, notifying everyone else of his impending arrival. The critic Vladimir Stasov also mentions the silhouette of "an old man". Repin left only the characters who, in his opinion, were necessary for the psychological development of the theme he had chosen and for the "coherence of the scenic action" in the final version.
|
[
"Vladimir Stasov",
"Sergei Kostytchev",
"Vsevolod Garshin",
"Saint Petersburg",
"Ilya Zilberstein",
"Tretyakov Gallery",
"Nikolai Yaroshenko",
"Martyshkino"
] |
|
13545_NT
|
They Did Not Expect Him
|
Describe the characteristics of the Creation in this artwork's History.
|
There are two different versions of They Did Not Expect Him. Repin began work on the first one in 1883, depicting a student's return to her family. This oil on wood painting has a relatively small format, 45.8 × 37 cm. Fifteen years later, in 1898, Repin reworked this version, making several changes to the figure of the young woman, whose face was reminiscent of his daughter Nadia. It is currently in the Tretyakov Gallery's collection.
In his 1948 article titled "New Pages of Repin's Creative Biography," art historian Ilya Zilberstein discussed the first version of They Did Not Expect Him. According to him, the painting was intended to feature a young girl as the main character. Her revolutionary attire was strikingly similar to that of The Student in Nikolai Yaroshenko's painting, as both heroines wore plaid with a small cap on their heads. According to Ilya Zilberstein, when Repin saw The Student and read the press reviews, he decided to replace the character of the young girl in the second version of his painting with that of a young man.Repin began painting a second version, which would become the main one, in 1884. It was much larger, and the woman who had entered the room had been replaced by a man. The painter worked on it in his country house in Martyshkino, near Saint Petersburg, and posed for it with members of his family and acquaintances. The model for the exile's mother is thus partly Vera Alexeievna, Repin's wife, and partly Varvara Komarova, Stasov's daughter; that of the child, Sergei Kostytchev, the son of a neighbour, who would later be a renowned biochemist, professor, and academician; that of the young girl, Vera Repina, the painter's eldest daughter; and that of the maid, an employee of the Repins. The man entering the room is thought to be Vsevolod Garshin, whose portrait Repin worked on in 1884. The resemblance to the writer is complete in an intermediate version of the painting.The father of the exile is also depicted in the early sketches, notifying everyone else of his impending arrival. The critic Vladimir Stasov also mentions the silhouette of "an old man". Repin left only the characters who, in his opinion, were necessary for the psychological development of the theme he had chosen and for the "coherence of the scenic action" in the final version.
|
[
"Vladimir Stasov",
"Sergei Kostytchev",
"Vsevolod Garshin",
"Saint Petersburg",
"Ilya Zilberstein",
"Tretyakov Gallery",
"Nikolai Yaroshenko",
"Martyshkino"
] |
|
13546_T
|
They Did Not Expect Him
|
In the context of They Did Not Expect Him, explore the 12th traveling exhibition and sale of the painting of the History.
|
The painting was included in the 12th itinerant exhibition of the Peredvizhniki, which was then in Saint-Petersburg, beginning in 1884. Pavel Tretyakov had decided not to buy the painting after telling Repin that it had many qualities but also flaws; its subject did not interest him, but it seemed to him that it would touch the public. Repin himself was also not entirely satisfied with the painting's visual treatment of the theme of exile's return. They Did Not Expect Him then travelled to various cities throughout Russia with the travelling exhibition. Pavel Tretyakov informed Repin at the end of the trip that he had decided to purchase the canvas. Repin had also received another offer from Fyodor Tereshchenko, but turned it down because he wanted to retouch the male character. When the painting was finished, Pavel Tretyakov was able to acquire it for his collection, raising the purchase price from 5,000 to 7,000 rubles.Repin returned to the painting in 1885, 1887, and 1888. The changes he made were mostly to the expression on the exiled man's face. Andrey Denyer photographed the canvas before the 1885 modifications, and offered the photograph to art critic Vladimir Stasov in 1884.
|
[
"Vladimir Stasov",
"Peredvizhniki",
"Saint-Petersburg",
"travelling exhibition",
"Andrey Denyer",
"Pavel Tretyakov",
"Fyodor Tereshchenko",
"Russia"
] |
|
13546_NT
|
They Did Not Expect Him
|
In the context of this artwork, explore the 12th traveling exhibition and sale of the painting of the History.
|
The painting was included in the 12th itinerant exhibition of the Peredvizhniki, which was then in Saint-Petersburg, beginning in 1884. Pavel Tretyakov had decided not to buy the painting after telling Repin that it had many qualities but also flaws; its subject did not interest him, but it seemed to him that it would touch the public. Repin himself was also not entirely satisfied with the painting's visual treatment of the theme of exile's return. They Did Not Expect Him then travelled to various cities throughout Russia with the travelling exhibition. Pavel Tretyakov informed Repin at the end of the trip that he had decided to purchase the canvas. Repin had also received another offer from Fyodor Tereshchenko, but turned it down because he wanted to retouch the male character. When the painting was finished, Pavel Tretyakov was able to acquire it for his collection, raising the purchase price from 5,000 to 7,000 rubles.Repin returned to the painting in 1885, 1887, and 1888. The changes he made were mostly to the expression on the exiled man's face. Andrey Denyer photographed the canvas before the 1885 modifications, and offered the photograph to art critic Vladimir Stasov in 1884.
|
[
"Vladimir Stasov",
"Peredvizhniki",
"Saint-Petersburg",
"travelling exhibition",
"Andrey Denyer",
"Pavel Tretyakov",
"Fyodor Tereshchenko",
"Russia"
] |
|
13547_T
|
They Did Not Expect Him
|
Explore the Subject about the Analysis of this artwork, They Did Not Expect Him.
|
The canvas depicts the moment when a man enters a room. He is an exile, most likely a member of the Narodnaya Volya, a Russian revolutionary political organisation founded in the nineteenth century, who has returned from a remote region of Russia. Those in the room, who appear to be his family, were surprised to see him.
Repin expresses the full range of their emotions, in all of their diversity, and in the moment they are created. There is the hesitant joy of the woman seated at the piano, the exiled man's wife, and that of the boy seated at the table, the young girl who looks to the side, probably unaware of who the man is, the wary astonishment of the maid standing in the entrance, the middle-aged woman in the foreground — his mother, whose bent figure expresses profound upheaval.
|
[
"Russian",
"Narodnaya Volya",
"Russia"
] |
|
13547_NT
|
They Did Not Expect Him
|
Explore the Subject about the Analysis of this artwork.
|
The canvas depicts the moment when a man enters a room. He is an exile, most likely a member of the Narodnaya Volya, a Russian revolutionary political organisation founded in the nineteenth century, who has returned from a remote region of Russia. Those in the room, who appear to be his family, were surprised to see him.
Repin expresses the full range of their emotions, in all of their diversity, and in the moment they are created. There is the hesitant joy of the woman seated at the piano, the exiled man's wife, and that of the boy seated at the table, the young girl who looks to the side, probably unaware of who the man is, the wary astonishment of the maid standing in the entrance, the middle-aged woman in the foreground — his mother, whose bent figure expresses profound upheaval.
|
[
"Russian",
"Narodnaya Volya",
"Russia"
] |
|
13548_T
|
They Did Not Expect Him
|
In the context of They Did Not Expect Him, discuss the Composition of the Analysis.
|
The man's emotion is also palpable. Repin painted and changed his facial expression and head inclination at least three times. Repin had to choose a head inclination position between the elevation of the hero and the lassitude of the martyr, and he eventually retained a questioning and uncertain expression, where there is also heroism and suffering.The pictorial composition revolves around the exile and his mother, as well as their exchange of gazes. The mother is the link that connects her son, who is still a stranger in this luminous interior, to the rest of the family. The movement she makes towards him is highlighted in the painting by the chair she pushes aside. The painting's centre is occupied by her hand and that of her daughter-in-law, who is seated at the piano.The secondary characters, such as the child seated at the table in the right part of the painting, give the painting life, consistency, and a lyrical warmth. Other details contribute to this, such as the little girl's posture with her unusually curved legs, and the sensitively painted furnishings of an apartment typical of a family of the intelligentsia at the time.
Details of characters
|
[] |
|
13548_NT
|
They Did Not Expect Him
|
In the context of this artwork, discuss the Composition of the Analysis.
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The man's emotion is also palpable. Repin painted and changed his facial expression and head inclination at least three times. Repin had to choose a head inclination position between the elevation of the hero and the lassitude of the martyr, and he eventually retained a questioning and uncertain expression, where there is also heroism and suffering.The pictorial composition revolves around the exile and his mother, as well as their exchange of gazes. The mother is the link that connects her son, who is still a stranger in this luminous interior, to the rest of the family. The movement she makes towards him is highlighted in the painting by the chair she pushes aside. The painting's centre is occupied by her hand and that of her daughter-in-law, who is seated at the piano.The secondary characters, such as the child seated at the table in the right part of the painting, give the painting life, consistency, and a lyrical warmth. Other details contribute to this, such as the little girl's posture with her unusually curved legs, and the sensitively painted furnishings of an apartment typical of a family of the intelligentsia at the time.
Details of characters
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13549_T
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They Did Not Expect Him
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In They Did Not Expect Him, how is the Symbolism of the Analysis elucidated?
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Repin emphasises the political and spiritual dimensions of a return following a conviction for revolutionary activity. This return would have been considered "an unexpected and miraculous event" and even a "resurrection" during this period of history, when long sentences were common. The mother rising from her armchair to meet her son is reminiscent of how scenes from the Gospels, such as the resurrection of Lazarus or the Last Supper at Emmaus, are depicted. It is also similar to Alexander Ivanov's painting The Appearance of Christ Before the People, and it establishes a link with the theme of guilt, the prodigal son's return.The apartment's wall is covered with reproductions that support the painting's political and moral symbolism. These are portraits of democratic writers Nikolay Nekrasov and Taras Shevchenko, a Christ on Golgotha, a symbol of suffering and atonement, and a revolutionary intellectual. There is also a depiction of Emperor Alexander II on his deathbed, having been murdered by the Narodniki.The painting is full of surprises stylistically: the side lighting, the perspective, the door frame and the window in a row, the set of frames recall Dutch painters. The colours are very well mixed, "the blues are mixed with green, the browns with greys and purples, the reds are purplish".
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[
"Alexander Ivanov",
"Taras Shevchenko",
"Golgotha",
"Emperor Alexander II",
"prodigal son",
"Last Supper at Emmaus",
"Nikolay Nekrasov",
"resurrection of Lazarus",
"The Appearance of Christ Before the People"
] |
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13549_NT
|
They Did Not Expect Him
|
In this artwork, how is the Symbolism of the Analysis elucidated?
|
Repin emphasises the political and spiritual dimensions of a return following a conviction for revolutionary activity. This return would have been considered "an unexpected and miraculous event" and even a "resurrection" during this period of history, when long sentences were common. The mother rising from her armchair to meet her son is reminiscent of how scenes from the Gospels, such as the resurrection of Lazarus or the Last Supper at Emmaus, are depicted. It is also similar to Alexander Ivanov's painting The Appearance of Christ Before the People, and it establishes a link with the theme of guilt, the prodigal son's return.The apartment's wall is covered with reproductions that support the painting's political and moral symbolism. These are portraits of democratic writers Nikolay Nekrasov and Taras Shevchenko, a Christ on Golgotha, a symbol of suffering and atonement, and a revolutionary intellectual. There is also a depiction of Emperor Alexander II on his deathbed, having been murdered by the Narodniki.The painting is full of surprises stylistically: the side lighting, the perspective, the door frame and the window in a row, the set of frames recall Dutch painters. The colours are very well mixed, "the blues are mixed with green, the browns with greys and purples, the reds are purplish".
|
[
"Alexander Ivanov",
"Taras Shevchenko",
"Golgotha",
"Emperor Alexander II",
"prodigal son",
"Last Supper at Emmaus",
"Nikolay Nekrasov",
"resurrection of Lazarus",
"The Appearance of Christ Before the People"
] |
|
13550_T
|
They Did Not Expect Him
|
Focus on They Did Not Expect Him and analyze the Legacy.
|
The painting was featured on a Soviet postage stamp released in 1969.
They Did Not Expect Him was displayed at the Repin exhibition at Paris's Petit Palais from 5 October 2021 to 23 January 2022.
|
[
"Petit Palais",
"Paris"
] |
|
13550_NT
|
They Did Not Expect Him
|
Focus on this artwork and analyze the Legacy.
|
The painting was featured on a Soviet postage stamp released in 1969.
They Did Not Expect Him was displayed at the Repin exhibition at Paris's Petit Palais from 5 October 2021 to 23 January 2022.
|
[
"Petit Palais",
"Paris"
] |
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