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|---|---|---|---|---|---|
13651_T
|
Gromit Unleashed 2
|
Focus on Gromit Unleashed 2 and discuss the abstract.
|
Gromit Unleashed 2 was a public arts trail in Bristol, England. The trail featured 67 giant sculptures designed by high-profile artists, designers, innovators and local talent. Sculptures are positioned in high footfall and iconic locations around Bristol and the surrounding area from 2 July to 2 September 2018. A sequel to Gromit Unleashed in 2013, the trail featured statues of Wallace on a life-size bench, Gromit, and Feathers McGraw. On the 23rd of August 2023 a fourth trail was announced, the trail in Bristol will run in 2025.The trail raised funds for the Bristol Royal Hospital for Children and St. Michael's Hospital's Special Care Baby unit.
|
[
"Bristol Royal Hospital for Children",
"St. Michael's Hospital's",
"St. Michael's Hospital",
"Gromit",
"Bristol",
"Feathers McGraw",
"Gromit Unleashed",
"Wallace"
] |
|
13651_NT
|
Gromit Unleashed 2
|
Focus on this artwork and discuss the abstract.
|
Gromit Unleashed 2 was a public arts trail in Bristol, England. The trail featured 67 giant sculptures designed by high-profile artists, designers, innovators and local talent. Sculptures are positioned in high footfall and iconic locations around Bristol and the surrounding area from 2 July to 2 September 2018. A sequel to Gromit Unleashed in 2013, the trail featured statues of Wallace on a life-size bench, Gromit, and Feathers McGraw. On the 23rd of August 2023 a fourth trail was announced, the trail in Bristol will run in 2025.The trail raised funds for the Bristol Royal Hospital for Children and St. Michael's Hospital's Special Care Baby unit.
|
[
"Bristol Royal Hospital for Children",
"St. Michael's Hospital's",
"St. Michael's Hospital",
"Gromit",
"Bristol",
"Feathers McGraw",
"Gromit Unleashed",
"Wallace"
] |
|
13652_T
|
Gromit Unleashed 2
|
In the context of Gromit Unleashed 2, analyze the Gromit of the Background.
|
Gromit is a dog belonging to an eccentric inventor, Wallace, in a series of claymation films produced by Aardman Animations, based in Spike Island, Bristol. Three of the films in the Wallace and Gromit film series have won Academy Awards: The Wrong Trousers, A Close Shave and Wallace & Gromit: The Curse of the Were-Rabbit.
|
[
"Wallace & Gromit: The Curse of the Were-Rabbit",
"Gromit",
"A Close Shave",
"Spike Island",
"Spike Island, Bristol",
"The Wrong Trousers",
"Wallace and Gromit",
"Bristol",
"claymation",
"Wallace",
"Aardman Animations"
] |
|
13652_NT
|
Gromit Unleashed 2
|
In the context of this artwork, analyze the Gromit of the Background.
|
Gromit is a dog belonging to an eccentric inventor, Wallace, in a series of claymation films produced by Aardman Animations, based in Spike Island, Bristol. Three of the films in the Wallace and Gromit film series have won Academy Awards: The Wrong Trousers, A Close Shave and Wallace & Gromit: The Curse of the Were-Rabbit.
|
[
"Wallace & Gromit: The Curse of the Were-Rabbit",
"Gromit",
"A Close Shave",
"Spike Island",
"Spike Island, Bristol",
"The Wrong Trousers",
"Wallace and Gromit",
"Bristol",
"claymation",
"Wallace",
"Aardman Animations"
] |
|
13653_T
|
Gromit Unleashed 2
|
Describe the characteristics of the Wallace and Gromit's Grand Appeal in Gromit Unleashed 2's Background.
|
The aim of Gromit Unleashed was to fundraise for Wallace and Gromit's Grand Appeal. Founded in 1995, the charity raises funds for paediatric medical equipment at the Bristol Royal Hospital for Children and St. Michael's Hospital. In collaboration with Aardman, it uses the characters Wallace and Gromit as mascots for the charity.
|
[
"Bristol Royal Hospital for Children",
"St. Michael's Hospital",
"Gromit",
"Wallace and Gromit",
"Bristol",
"Gromit Unleashed",
"Wallace"
] |
|
13653_NT
|
Gromit Unleashed 2
|
Describe the characteristics of the Wallace and Gromit's Grand Appeal in this artwork's Background.
|
The aim of Gromit Unleashed was to fundraise for Wallace and Gromit's Grand Appeal. Founded in 1995, the charity raises funds for paediatric medical equipment at the Bristol Royal Hospital for Children and St. Michael's Hospital. In collaboration with Aardman, it uses the characters Wallace and Gromit as mascots for the charity.
|
[
"Bristol Royal Hospital for Children",
"St. Michael's Hospital",
"Gromit",
"Wallace and Gromit",
"Bristol",
"Gromit Unleashed",
"Wallace"
] |
|
13654_T
|
Gromit Unleashed 2
|
In the context of Gromit Unleashed 2, explore the Previous trails of the Background.
|
Gromit Unleashed 2 is a sequel to Gromit Unleashed that ran between 1 July and 8 September 2013 in Bristol, featuring 80 Gromit sculptures and raising £2.3 million for the Grand Appeal. The Shaun in the City trail featuring 120 sculptures of Shaun the Sheep were distributed between Bristol and London in 2015 and raised £1,087,900 for the charity. Following their respective successes in raising funds for the Grand Appeal, Gromit Unleashed 2 was announced in 2017.
|
[
"Shaun the Sheep",
"Gromit",
"Shaun in the City",
"Bristol",
"Gromit Unleashed"
] |
|
13654_NT
|
Gromit Unleashed 2
|
In the context of this artwork, explore the Previous trails of the Background.
|
Gromit Unleashed 2 is a sequel to Gromit Unleashed that ran between 1 July and 8 September 2013 in Bristol, featuring 80 Gromit sculptures and raising £2.3 million for the Grand Appeal. The Shaun in the City trail featuring 120 sculptures of Shaun the Sheep were distributed between Bristol and London in 2015 and raised £1,087,900 for the charity. Following their respective successes in raising funds for the Grand Appeal, Gromit Unleashed 2 was announced in 2017.
|
[
"Shaun the Sheep",
"Gromit",
"Shaun in the City",
"Bristol",
"Gromit Unleashed"
] |
|
13655_T
|
Hogarth Painting the Comic Muse
|
Focus on Hogarth Painting the Comic Muse and analyze the abstract.
|
Hogarth Painting the Comic Muse (originally known as The Artist Painting the Comic Muse) is a painting in the National Portrait Gallery, London by the British artist William Hogarth. It was painted in approximately 1757 and published as a print in etching and engraving in 1758, with its final and sixth state in 1764. Hogarth used this particular self-portrait as the frontispiece of his collected engravings, published in 1764.The painting depicts Hogarth himself painting the Muse of Comedy, which represented artistic inspiration. Hogarth's decision to paint this particular figure may relate to his artistic motto: "my picture was my stage and men and women my actors", as the Comic Muse was said to provide inspiration for playwrights. Seated in front of his easel, palette in hand, Hogarth eagerly works at his painting; Hogarth expressly wanted a self-portrait in which he was depicted in the middle of painting a piece, rather than in a static pose. Leaning against the right leg of the easel is Hogarth's The Analysis of Beauty, a text which was written to complement this particular piece. X-ray analysis shows that the painting originally had a small dog relieving himself on a pile of old master paintings.The print of Hogarth Painting the Comic Muse went through several alterations mostly relating to the inscription at the bottom of the page. In the second state, the inscription read: "Wm Hogarth Sergeant Painter to His Majesty. The Face Engrav'd by Wm Hogarth and Publish'd as the Act directs". The third state omits "and", while adding "March 29, 1758" to the end. The fourth state omits "The Face Engrav'd by Wm Hogarth". In the fifth state, "Sergeant Painter" is scratched out, while changes have now also been made to the engraving itself; the Muse's face is now marked with black and on the pillar she stands beside is inscribed "Comedy 1764". The sixth state, which is depicted on the right, has nothing inscribed on it but "William Hogarth, 1764" on the bottom.Through this engraving, the early Georgian elbow chair in which Hogarth is shown sitting gave rise in the late nineteenth century to the collectors' and dealers' designation of Hogarth chair for similar bended-back elbow chairs with vase-shaped splats, slip seats (upholstered over a drop-in frame) and cabriole legs on pad feet. Such chairs from the American colonies are designated "Queen Anne chairs", perpetuating an early error in dating them.
|
[
"Sergeant Painter",
"right",
"print",
"The Analysis of Beauty",
"frontispiece",
"cabriole leg",
"National Portrait Gallery, London",
"engraving",
"state",
"British",
"Hogarth Painting the Comic Muse",
"playwrights",
"The painting",
"etching",
"William Hogarth",
"old master",
"sixth state",
"X-ray"
] |
|
13655_NT
|
Hogarth Painting the Comic Muse
|
Focus on this artwork and analyze the abstract.
|
Hogarth Painting the Comic Muse (originally known as The Artist Painting the Comic Muse) is a painting in the National Portrait Gallery, London by the British artist William Hogarth. It was painted in approximately 1757 and published as a print in etching and engraving in 1758, with its final and sixth state in 1764. Hogarth used this particular self-portrait as the frontispiece of his collected engravings, published in 1764.The painting depicts Hogarth himself painting the Muse of Comedy, which represented artistic inspiration. Hogarth's decision to paint this particular figure may relate to his artistic motto: "my picture was my stage and men and women my actors", as the Comic Muse was said to provide inspiration for playwrights. Seated in front of his easel, palette in hand, Hogarth eagerly works at his painting; Hogarth expressly wanted a self-portrait in which he was depicted in the middle of painting a piece, rather than in a static pose. Leaning against the right leg of the easel is Hogarth's The Analysis of Beauty, a text which was written to complement this particular piece. X-ray analysis shows that the painting originally had a small dog relieving himself on a pile of old master paintings.The print of Hogarth Painting the Comic Muse went through several alterations mostly relating to the inscription at the bottom of the page. In the second state, the inscription read: "Wm Hogarth Sergeant Painter to His Majesty. The Face Engrav'd by Wm Hogarth and Publish'd as the Act directs". The third state omits "and", while adding "March 29, 1758" to the end. The fourth state omits "The Face Engrav'd by Wm Hogarth". In the fifth state, "Sergeant Painter" is scratched out, while changes have now also been made to the engraving itself; the Muse's face is now marked with black and on the pillar she stands beside is inscribed "Comedy 1764". The sixth state, which is depicted on the right, has nothing inscribed on it but "William Hogarth, 1764" on the bottom.Through this engraving, the early Georgian elbow chair in which Hogarth is shown sitting gave rise in the late nineteenth century to the collectors' and dealers' designation of Hogarth chair for similar bended-back elbow chairs with vase-shaped splats, slip seats (upholstered over a drop-in frame) and cabriole legs on pad feet. Such chairs from the American colonies are designated "Queen Anne chairs", perpetuating an early error in dating them.
|
[
"Sergeant Painter",
"right",
"print",
"The Analysis of Beauty",
"frontispiece",
"cabriole leg",
"National Portrait Gallery, London",
"engraving",
"state",
"British",
"Hogarth Painting the Comic Muse",
"playwrights",
"The painting",
"etching",
"William Hogarth",
"old master",
"sixth state",
"X-ray"
] |
|
13656_T
|
The Lady with the Veil
|
In The Lady with the Veil, how is the abstract discussed?
|
The Lady with the Veil, The Lady with the Fan, or The Veiled Lady is a 1768 oil-on-canvas portrait by Alexander Roslin of his wife Marie-Suzanne Giroust in Bolognese dress. The work was mentioned in an inventory from Österbybruk as Portrait of the One-Eyed Woman; it is now in the Nationalmuseum in Stockholm under its current title. It was featured in the 1972 Swedish series of stamps Gustaviansk konst.
|
[
"Österbybruk",
"Marie-Suzanne Giroust",
"Bolognese dress",
"Nationalmuseum",
"Alexander Roslin"
] |
|
13656_NT
|
The Lady with the Veil
|
In this artwork, how is the abstract discussed?
|
The Lady with the Veil, The Lady with the Fan, or The Veiled Lady is a 1768 oil-on-canvas portrait by Alexander Roslin of his wife Marie-Suzanne Giroust in Bolognese dress. The work was mentioned in an inventory from Österbybruk as Portrait of the One-Eyed Woman; it is now in the Nationalmuseum in Stockholm under its current title. It was featured in the 1972 Swedish series of stamps Gustaviansk konst.
|
[
"Österbybruk",
"Marie-Suzanne Giroust",
"Bolognese dress",
"Nationalmuseum",
"Alexander Roslin"
] |
|
13657_T
|
John Luttrell (painting)
|
Focus on John Luttrell (painting) and explore the abstract.
|
Sir John Luttrell is an allegorical portrait in oils by the London-based Flemish artist Hans Eworth painted in 1550, of Sir John Luttrell, an English soldier, diplomat, and courtier under Henry VIII and Edward VI.
|
[
"Sir John Luttrell",
"courtier",
"soldier",
"Edward VI",
"Henry VIII",
"allegorical",
"in oils",
"diplomat",
"John Luttrell",
"London",
"Hans Eworth"
] |
|
13657_NT
|
John Luttrell (painting)
|
Focus on this artwork and explore the abstract.
|
Sir John Luttrell is an allegorical portrait in oils by the London-based Flemish artist Hans Eworth painted in 1550, of Sir John Luttrell, an English soldier, diplomat, and courtier under Henry VIII and Edward VI.
|
[
"Sir John Luttrell",
"courtier",
"soldier",
"Edward VI",
"Henry VIII",
"allegorical",
"in oils",
"diplomat",
"John Luttrell",
"London",
"Hans Eworth"
] |
|
13658_T
|
John Luttrell (painting)
|
Focus on John Luttrell (painting) and explain the Details.
|
The painting shows Sir John shaking his fist at a woman carrying an olive branch, while a ship founders on a stormy sea in the background. The painting is thought to represent Sir John's anger at the peace treaty of 1550 between England and France; the ship is probably the Mary of Hamburg, which he commanded during one of his Scottish campaigns. The art historian Oliver Garnett considers the painting to be "one of the most unusual and puzzling of all Tudor images".The painting is now in the Courtauld Institute of Art in London; a copy, made in 1591, hangs at Dunster Castle in Somerset.
|
[
"Somerset",
"Dunster Castle",
"Olive",
"olive",
"Courtauld Institute of Art",
"London"
] |
|
13658_NT
|
John Luttrell (painting)
|
Focus on this artwork and explain the Details.
|
The painting shows Sir John shaking his fist at a woman carrying an olive branch, while a ship founders on a stormy sea in the background. The painting is thought to represent Sir John's anger at the peace treaty of 1550 between England and France; the ship is probably the Mary of Hamburg, which he commanded during one of his Scottish campaigns. The art historian Oliver Garnett considers the painting to be "one of the most unusual and puzzling of all Tudor images".The painting is now in the Courtauld Institute of Art in London; a copy, made in 1591, hangs at Dunster Castle in Somerset.
|
[
"Somerset",
"Dunster Castle",
"Olive",
"olive",
"Courtauld Institute of Art",
"London"
] |
|
13659_T
|
Babies (Černý)
|
Explore the abstract of this artwork, Babies (Černý).
|
Babies (Czech: Miminka) is a series of sculptures by Czech artist David Černý.
|
[
"David Černý"
] |
|
13659_NT
|
Babies (Černý)
|
Explore the abstract of this artwork.
|
Babies (Czech: Miminka) is a series of sculptures by Czech artist David Černý.
|
[
"David Černý"
] |
|
13660_T
|
Babies (Černý)
|
Focus on Babies (Černý) and discuss the History and description.
|
The piece consists of several sculptures depicting babies, which are 350 cm long and 260 cm high. Their faces are replaced with bar code stamps.
The first baby was presented in 1994 at the Museum of Contemporary Art in Chicago. Later it was exhibited in many places around the world.
|
[
"Museum of Contemporary Art in Chicago",
"bar code"
] |
|
13660_NT
|
Babies (Černý)
|
Focus on this artwork and discuss the History and description.
|
The piece consists of several sculptures depicting babies, which are 350 cm long and 260 cm high. Their faces are replaced with bar code stamps.
The first baby was presented in 1994 at the Museum of Contemporary Art in Chicago. Later it was exhibited in many places around the world.
|
[
"Museum of Contemporary Art in Chicago",
"bar code"
] |
|
13661_T
|
Babies (Černý)
|
In the context of Babies (Černý), analyze the Žižkov Television Tower of the Installations.
|
In 2000, a ten-piece series made of fiberglass was installed on the exterior of Prague's Žižkov Television Tower as a temporary installation for the European Capital of Culture year. Each piece weighs about 190 kg. Due to the public's appreciation of the sculptures, in 2001, they were installed on the tower permanently.The sculptures were removed in 2017 with the intention of repair. Due to safety reasons, new 250 kg copies, that are more durable and better attachable to the tower, were made to replace the original series, which was returned to Černý. The new copies were installed on the tower in April 2019.
|
[
"Žižkov Television Tower",
"fiberglass",
"European Capital of Culture",
"Prague"
] |
|
13661_NT
|
Babies (Černý)
|
In the context of this artwork, analyze the Žižkov Television Tower of the Installations.
|
In 2000, a ten-piece series made of fiberglass was installed on the exterior of Prague's Žižkov Television Tower as a temporary installation for the European Capital of Culture year. Each piece weighs about 190 kg. Due to the public's appreciation of the sculptures, in 2001, they were installed on the tower permanently.The sculptures were removed in 2017 with the intention of repair. Due to safety reasons, new 250 kg copies, that are more durable and better attachable to the tower, were made to replace the original series, which was returned to Černý. The new copies were installed on the tower in April 2019.
|
[
"Žižkov Television Tower",
"fiberglass",
"European Capital of Culture",
"Prague"
] |
|
13662_T
|
Babies (Černý)
|
Describe the characteristics of the Kampa Island in Babies (Černý)'s Installations.
|
In 2008 an eight-piece bronze series was installed on Kampa Island.
|
[
"bronze",
"Kampa Island"
] |
|
13662_NT
|
Babies (Černý)
|
Describe the characteristics of the Kampa Island in this artwork's Installations.
|
In 2008 an eight-piece bronze series was installed on Kampa Island.
|
[
"bronze",
"Kampa Island"
] |
|
13663_T
|
Babies (Černý)
|
In the context of Babies (Černý), explore the Palm Springs, California of the Installations.
|
In 2018 the ten-piece original series that was removed from the tower was loaned to Palm Springs for 2 years.
|
[
"Palm Springs",
"Palm Springs, California"
] |
|
13663_NT
|
Babies (Černý)
|
In the context of this artwork, explore the Palm Springs, California of the Installations.
|
In 2018 the ten-piece original series that was removed from the tower was loaned to Palm Springs for 2 years.
|
[
"Palm Springs",
"Palm Springs, California"
] |
|
13664_T
|
Babies (Černý)
|
In the context of Babies (Černý), explain the Casino Blankenberge of the Installations.
|
Černý's babies were also installed on the wall of the Gevel Casino in Blankenberge, Belgium, in 2006.
|
[
"Belgium",
"Blankenberge"
] |
|
13664_NT
|
Babies (Černý)
|
In the context of this artwork, explain the Casino Blankenberge of the Installations.
|
Černý's babies were also installed on the wall of the Gevel Casino in Blankenberge, Belgium, in 2006.
|
[
"Belgium",
"Blankenberge"
] |
|
13665_T
|
Two Venetian Ladies
|
Explore the abstract of this artwork, Two Venetian Ladies.
|
Two Venetian Ladies is an oil on panel painting by the Italian Renaissance artist Vittore Carpaccio.
The painting, believed to be a quarter of the original work, was executed around 1490 and shows two unknown Venetian ladies. The top portion of the panel, called Hunting on the Lagoon is in the Getty Museum, and another matching panel is missing. The painting was formerly considered to show two courtesans. Modern art historians think them more likely members to be of the patrician Torella family, as suggested by their fine clothes and the pearl necklaces, but academic debate continues, as with other similar Venetian paintings of the period. Several objects - the white kerchief, the pearls and the animals (the doves, Venus's bird) are symbols of chastity. Note the chopines, or platform clogs, on the left.
Another painted panel, now in the Getty Museum [1], was published in 1944, and it was later realized that this is part of the same work, fitting above this part: it portrays several boats in a lagoon, and would explain the meaning of the scene, as two women awaiting their husbands' return after an expedition hunting, or fishing with cormorants, in the Venetian lagoon.[2] This discovery was verified by an in depth technical analysis, comparing the two fragmentary panels. Another panel the same size as these two combined would have been on the left; probably the two were hinged together to make a diptych, or a folding door or shutter. The Getty panel has an illusionistic letter rack painted on the back of the panel, which was presumably matched on this panel. This appears to be the earliest small-scale trompe-l'œil painting since antiquity.
|
[
"dove",
"trompe-l'œil",
"pearl",
"diptych",
"Carpaccio",
"cormorant",
"chopine",
"Venus",
"Vittore Carpaccio",
"kerchief",
"courtesan",
"chastity",
"Getty Museum"
] |
|
13665_NT
|
Two Venetian Ladies
|
Explore the abstract of this artwork.
|
Two Venetian Ladies is an oil on panel painting by the Italian Renaissance artist Vittore Carpaccio.
The painting, believed to be a quarter of the original work, was executed around 1490 and shows two unknown Venetian ladies. The top portion of the panel, called Hunting on the Lagoon is in the Getty Museum, and another matching panel is missing. The painting was formerly considered to show two courtesans. Modern art historians think them more likely members to be of the patrician Torella family, as suggested by their fine clothes and the pearl necklaces, but academic debate continues, as with other similar Venetian paintings of the period. Several objects - the white kerchief, the pearls and the animals (the doves, Venus's bird) are symbols of chastity. Note the chopines, or platform clogs, on the left.
Another painted panel, now in the Getty Museum [1], was published in 1944, and it was later realized that this is part of the same work, fitting above this part: it portrays several boats in a lagoon, and would explain the meaning of the scene, as two women awaiting their husbands' return after an expedition hunting, or fishing with cormorants, in the Venetian lagoon.[2] This discovery was verified by an in depth technical analysis, comparing the two fragmentary panels. Another panel the same size as these two combined would have been on the left; probably the two were hinged together to make a diptych, or a folding door or shutter. The Getty panel has an illusionistic letter rack painted on the back of the panel, which was presumably matched on this panel. This appears to be the earliest small-scale trompe-l'œil painting since antiquity.
|
[
"dove",
"trompe-l'œil",
"pearl",
"diptych",
"Carpaccio",
"cormorant",
"chopine",
"Venus",
"Vittore Carpaccio",
"kerchief",
"courtesan",
"chastity",
"Getty Museum"
] |
|
13666_T
|
The Broken Column
|
Focus on The Broken Column and discuss the abstract.
|
The Broken Column (La Columna Rota in Spanish) is an oil on masonite painting by Mexican artist Frida Kahlo, painted in 1944 shortly after she had spinal surgery to correct on-going problems which had resulted from a serious traffic accident when she was 18 years old. The original is housed at the Museo Dolores Olmedo in Xochimilco, Mexico City, Mexico.As with many of her self-portraits, pain and suffering is the focus of the work, though unlike many of her other works, which include parrots, dogs, monkeys and other people, in this painting, Kahlo is alone. Her solitary presence on a cracked and barren landscape symbolizes both her isolation and the external forces which have impacted her life. As an earthquake might fissure the landscape, Kahlo's accident broke her body.In the painting Kahlo's nude torso is split, replicating the ravine-laced earth behind her and revealing a crumbling, Ionic column in place of her spine. Her face looks forward, unflinchingly, though tears course down her cheeks. In spite of the brokenness of her internal body, her external sensuality is unmarred. The cloth which wraps the lower part of her body and is grasped in her hands, is not a sign of modesty but instead mirrors the Christian iconography of Christ's sheet, as do the nails which are piercing her face and body. The nails continue down only her right leg which was left shorter and weaker from contracting polio as a young child.
The metal corset, which depicts a polio support, rather than a surgical support, may refer to her history of polio or symbolize the physical and social restrictions of Kahlo's life. By 1944, Kahlo's doctors had recommended that she wear a steel corset instead of the plaster casts she had worn previously. The brace depicted is one of many that Frida actually used throughout her life time and is now housed in her home and museum, Casa Azul. In The Broken Column this corset holds together Kahlo's damaged body.
|
[
"polio",
"Mexican",
"Ionic column",
"Xochimilco",
"Mexican art",
"Frida Kahlo",
"Spanish",
"oil",
"metal corset",
"Museo Dolores Olmedo",
"masonite"
] |
|
13666_NT
|
The Broken Column
|
Focus on this artwork and discuss the abstract.
|
The Broken Column (La Columna Rota in Spanish) is an oil on masonite painting by Mexican artist Frida Kahlo, painted in 1944 shortly after she had spinal surgery to correct on-going problems which had resulted from a serious traffic accident when she was 18 years old. The original is housed at the Museo Dolores Olmedo in Xochimilco, Mexico City, Mexico.As with many of her self-portraits, pain and suffering is the focus of the work, though unlike many of her other works, which include parrots, dogs, monkeys and other people, in this painting, Kahlo is alone. Her solitary presence on a cracked and barren landscape symbolizes both her isolation and the external forces which have impacted her life. As an earthquake might fissure the landscape, Kahlo's accident broke her body.In the painting Kahlo's nude torso is split, replicating the ravine-laced earth behind her and revealing a crumbling, Ionic column in place of her spine. Her face looks forward, unflinchingly, though tears course down her cheeks. In spite of the brokenness of her internal body, her external sensuality is unmarred. The cloth which wraps the lower part of her body and is grasped in her hands, is not a sign of modesty but instead mirrors the Christian iconography of Christ's sheet, as do the nails which are piercing her face and body. The nails continue down only her right leg which was left shorter and weaker from contracting polio as a young child.
The metal corset, which depicts a polio support, rather than a surgical support, may refer to her history of polio or symbolize the physical and social restrictions of Kahlo's life. By 1944, Kahlo's doctors had recommended that she wear a steel corset instead of the plaster casts she had worn previously. The brace depicted is one of many that Frida actually used throughout her life time and is now housed in her home and museum, Casa Azul. In The Broken Column this corset holds together Kahlo's damaged body.
|
[
"polio",
"Mexican",
"Ionic column",
"Xochimilco",
"Mexican art",
"Frida Kahlo",
"Spanish",
"oil",
"metal corset",
"Museo Dolores Olmedo",
"masonite"
] |
|
13667_T
|
The Broken Column
|
How does The Broken Column elucidate its Kahlo as a martyr?
|
One can draw a parallel from Kahlo’s portrayal of herself to that of the “Martyrdom of Saint Sebastian.” In Sebastian's legend, he was discovered to be a Christian and tied to a tree and used as an archery target. Despite being left for dead he survives, only to later perish for his religion by the hands of the Imperial Roman. He is often portrayed tied to a tree, body littered with arrows. The American poet Bruce Bond writes, “pain is an arrow that pins a body to the bone” in a 2013 poem named after the Saint. Frida aligns herself with the martyr visually, and being raised in a Catholic home she would have been familiar with the patron saint of soldiers.
Desmond O’Neill, a physician writing for the British Medical Journal, describes Frida’s work as a vital tool in the understanding of pain in patients. The doctor commends Frida’s ability to portray the intangible feeling of chronic pain. In this way she becomes a martyr for those plagued by chronic pain. In her willingness to bare her soul to the viewer allows for a greater understanding of what it means to live with constant and intense pain. Though pain is all around us we lack the ability to “grasp or express it,” Frida Kahlo is the exception to the problem of portraying pain.
|
[
"Frida Kahlo",
"Saint Sebastian",
"British Medical Journal"
] |
|
13667_NT
|
The Broken Column
|
How does this artwork elucidate its Kahlo as a martyr?
|
One can draw a parallel from Kahlo’s portrayal of herself to that of the “Martyrdom of Saint Sebastian.” In Sebastian's legend, he was discovered to be a Christian and tied to a tree and used as an archery target. Despite being left for dead he survives, only to later perish for his religion by the hands of the Imperial Roman. He is often portrayed tied to a tree, body littered with arrows. The American poet Bruce Bond writes, “pain is an arrow that pins a body to the bone” in a 2013 poem named after the Saint. Frida aligns herself with the martyr visually, and being raised in a Catholic home she would have been familiar with the patron saint of soldiers.
Desmond O’Neill, a physician writing for the British Medical Journal, describes Frida’s work as a vital tool in the understanding of pain in patients. The doctor commends Frida’s ability to portray the intangible feeling of chronic pain. In this way she becomes a martyr for those plagued by chronic pain. In her willingness to bare her soul to the viewer allows for a greater understanding of what it means to live with constant and intense pain. Though pain is all around us we lack the ability to “grasp or express it,” Frida Kahlo is the exception to the problem of portraying pain.
|
[
"Frida Kahlo",
"Saint Sebastian",
"British Medical Journal"
] |
|
13668_T
|
Porto San Giorgio Altarpiece
|
Focus on Porto San Giorgio Altarpiece and analyze the History.
|
A transcribed document in the Fermo archives (the original is now lost) states that the altarpiece was commissioned in 1470 by a man named Giorgio Salvadori, an Albanian immigrant to Italy fleeing the Ottoman advance after Skanderbeg's death in 1468. He headed the Salvadori family, who owned the altarpiece for centuries and who eventually split it up.
The work's dating is not only based on its style but also 18th century documents which state that a signature by Crivelli was once visible at the bottom of the frame, reading "CAROLUS CRIVELLUS VENETUS PINXIT ANNO 1470" - this is now illegible. It also appears in two inventories, one of 1727 by Anselmo Ercoli and another made in 1771 during a pastoral visit, the latter of which describes the altarpiece in minute detail and mentions that the same chapel also contained two paintings each with three saints and each with the Salvadori coat of arms (perhaps originally the altarpiece's predella and now lost). An 1805 document in the Salvadori family archives refers to a Last Supper, compatible with the measurements of the paintings of "some saints" (a palm) and which may have formed the centre of the predella.In 1803 the old parish church was demolished and the altarpiece moved into the Suffragio church, which was hosting the church's services until a new San Giorgio was built. In 1832 the painting was in the Salvadori family home, still waiting for the new church's completion - there Maggiori saw it. By 1832, when it was seen by Amico Ricci, the new church was complete and the altarpiece was in it, though the half-length figures of saints had already been removed to stay in the Salvadori house. In 1835 the whole work was taken to Rome and sold in pieces to the Portuguese ambassador Hudson for 90 scudi via Luigi Salvadori Paleotti. The prior of the monastic community of Porto San Giorgio claimed ownership of the altarpiece, however, and tried to contest the work's sale by the Salvadori family. A new payment of 300 scudi settled the dispute. It passed into the Ward and then Dudley collections, where Waagen saw it. It was exhibited at the Egyptian Hall in London, where it was seen by Joseph Archer Crowe and Giovanni Battista Cavalcaselle. In 1876, it was acquired by Martin Colnaghi at the sale of the Dudley collection and dispersed.
|
[
"Amico Ricci",
"San Giorgio",
"Martin Colnaghi",
"1876",
"Joseph Archer Crowe",
"Egyptian Hall",
"Skanderbeg",
"scudi",
"Ottoman",
"Porto San Giorgio",
"Giovanni Battista Cavalcaselle",
"predella"
] |
|
13668_NT
|
Porto San Giorgio Altarpiece
|
Focus on this artwork and analyze the History.
|
A transcribed document in the Fermo archives (the original is now lost) states that the altarpiece was commissioned in 1470 by a man named Giorgio Salvadori, an Albanian immigrant to Italy fleeing the Ottoman advance after Skanderbeg's death in 1468. He headed the Salvadori family, who owned the altarpiece for centuries and who eventually split it up.
The work's dating is not only based on its style but also 18th century documents which state that a signature by Crivelli was once visible at the bottom of the frame, reading "CAROLUS CRIVELLUS VENETUS PINXIT ANNO 1470" - this is now illegible. It also appears in two inventories, one of 1727 by Anselmo Ercoli and another made in 1771 during a pastoral visit, the latter of which describes the altarpiece in minute detail and mentions that the same chapel also contained two paintings each with three saints and each with the Salvadori coat of arms (perhaps originally the altarpiece's predella and now lost). An 1805 document in the Salvadori family archives refers to a Last Supper, compatible with the measurements of the paintings of "some saints" (a palm) and which may have formed the centre of the predella.In 1803 the old parish church was demolished and the altarpiece moved into the Suffragio church, which was hosting the church's services until a new San Giorgio was built. In 1832 the painting was in the Salvadori family home, still waiting for the new church's completion - there Maggiori saw it. By 1832, when it was seen by Amico Ricci, the new church was complete and the altarpiece was in it, though the half-length figures of saints had already been removed to stay in the Salvadori house. In 1835 the whole work was taken to Rome and sold in pieces to the Portuguese ambassador Hudson for 90 scudi via Luigi Salvadori Paleotti. The prior of the monastic community of Porto San Giorgio claimed ownership of the altarpiece, however, and tried to contest the work's sale by the Salvadori family. A new payment of 300 scudi settled the dispute. It passed into the Ward and then Dudley collections, where Waagen saw it. It was exhibited at the Egyptian Hall in London, where it was seen by Joseph Archer Crowe and Giovanni Battista Cavalcaselle. In 1876, it was acquired by Martin Colnaghi at the sale of the Dudley collection and dispersed.
|
[
"Amico Ricci",
"San Giorgio",
"Martin Colnaghi",
"1876",
"Joseph Archer Crowe",
"Egyptian Hall",
"Skanderbeg",
"scudi",
"Ottoman",
"Porto San Giorgio",
"Giovanni Battista Cavalcaselle",
"predella"
] |
|
13669_T
|
Porto San Giorgio Altarpiece
|
In Porto San Giorgio Altarpiece, how is the Reconstruction discussed?
|
Identifying the panels of the work and reconstructing the overall composition has been a long process, starting with Philip Hendy in 1931, who associated Saint Peter and Saint Paul (National Gallery, London) with Saint George and the Dragon (Isabella Stewart Gardner Museum). Roberto Longhi then identified the Cook Madonna (Washington) and the Porto San Giorgio Pietà (Detroit) as parts of the altarpiece in 1946, followed by Federico Zeri identifying Saint Catherine of Alexandria and Saint Jerome as another part in 1950. The final piece to be found was Saint Anthony Abbot and Saint Lucy, identified by J. Bialostocki in 1956. The whole altarpiece was reunited in 1961 in Venice at a monographic exhibition on Crivelli and now at Porto San Giorgio there is only a copy of that reconstruction.
At the top was a lunette depicting a pieta (now Detroit Institute of Arts). Each side panel consisted of a smaller lunette and a main panel - that on the left had Saint Peter and Saint Paul (now National Gallery, London) below a lunette of Saint Catherine of Alexandria and Saint Jerome (now Philbrook Museum of Art), whilst that on the right had Saint George and the Dragon (now Isabella Stewart Gardner Museum) below a lunette of Saint Anthony Abbot and St Lucy (now National Museum, Kraków). The central panel, now known as the Cook Madonna, is a Madonna and Child now in the National Gallery of Art in Washington.
|
[
"Detroit Institute of Arts",
"National Gallery, London",
"National Gallery of Art",
"Federico Zeri",
"San Giorgio",
"Philip Hendy",
"Isabella Stewart Gardner Museum",
"Roberto Longhi",
"left",
"Philbrook Museum of Art",
"Cook Madonna",
"National Gallery",
"Madonna and Child",
"Porto San Giorgio",
"National Museum, Kraków",
"lunette",
"pieta"
] |
|
13669_NT
|
Porto San Giorgio Altarpiece
|
In this artwork, how is the Reconstruction discussed?
|
Identifying the panels of the work and reconstructing the overall composition has been a long process, starting with Philip Hendy in 1931, who associated Saint Peter and Saint Paul (National Gallery, London) with Saint George and the Dragon (Isabella Stewart Gardner Museum). Roberto Longhi then identified the Cook Madonna (Washington) and the Porto San Giorgio Pietà (Detroit) as parts of the altarpiece in 1946, followed by Federico Zeri identifying Saint Catherine of Alexandria and Saint Jerome as another part in 1950. The final piece to be found was Saint Anthony Abbot and Saint Lucy, identified by J. Bialostocki in 1956. The whole altarpiece was reunited in 1961 in Venice at a monographic exhibition on Crivelli and now at Porto San Giorgio there is only a copy of that reconstruction.
At the top was a lunette depicting a pieta (now Detroit Institute of Arts). Each side panel consisted of a smaller lunette and a main panel - that on the left had Saint Peter and Saint Paul (now National Gallery, London) below a lunette of Saint Catherine of Alexandria and Saint Jerome (now Philbrook Museum of Art), whilst that on the right had Saint George and the Dragon (now Isabella Stewart Gardner Museum) below a lunette of Saint Anthony Abbot and St Lucy (now National Museum, Kraków). The central panel, now known as the Cook Madonna, is a Madonna and Child now in the National Gallery of Art in Washington.
|
[
"Detroit Institute of Arts",
"National Gallery, London",
"National Gallery of Art",
"Federico Zeri",
"San Giorgio",
"Philip Hendy",
"Isabella Stewart Gardner Museum",
"Roberto Longhi",
"left",
"Philbrook Museum of Art",
"Cook Madonna",
"National Gallery",
"Madonna and Child",
"Porto San Giorgio",
"National Museum, Kraków",
"lunette",
"pieta"
] |
|
13670_T
|
The Bullfight
|
Focus on The Bullfight and explore the abstract.
|
The Bullfight (La Corrida) is an 1864-1865 oil on canvas painting by Édouard Manet, now in the Frick Collection in New York. Its dimensions are 48x60.4 cm. Like The Dead Man, it was originally part of a larger composition entitled Episode in a Bullfight. The scene was inspired by a trip that Manet took to Spain in the fall of 1865 for ten days. He described the bullfight he witnessed in a letter to Charles Baudelaire as "one of the finest, most curious and most terrifying sights to be seen."
|
[
"The Dead Man",
"Baudelaire",
"New York",
"Charles Baudelaire",
"Édouard Manet",
"Frick Collection"
] |
|
13670_NT
|
The Bullfight
|
Focus on this artwork and explore the abstract.
|
The Bullfight (La Corrida) is an 1864-1865 oil on canvas painting by Édouard Manet, now in the Frick Collection in New York. Its dimensions are 48x60.4 cm. Like The Dead Man, it was originally part of a larger composition entitled Episode in a Bullfight. The scene was inspired by a trip that Manet took to Spain in the fall of 1865 for ten days. He described the bullfight he witnessed in a letter to Charles Baudelaire as "one of the finest, most curious and most terrifying sights to be seen."
|
[
"The Dead Man",
"Baudelaire",
"New York",
"Charles Baudelaire",
"Édouard Manet",
"Frick Collection"
] |
|
13671_T
|
The Bullfight
|
Focus on The Bullfight and explain the The cutting.
|
After having recut Épisode, Manet then reworked L'Homme mort, and cut La Corrida in such a way as to keep three bullfighters at the barrier: the first title chosen for this work was Toreros en action. But if he wanted to keep the men on foot, he had to cut almost the entire bull. The artist decided instead to cut off the feet of the bullfighter on the left and trim the crowd in the stands.
|
[
"L'Homme mort"
] |
|
13671_NT
|
The Bullfight
|
Focus on this artwork and explain the The cutting.
|
After having recut Épisode, Manet then reworked L'Homme mort, and cut La Corrida in such a way as to keep three bullfighters at the barrier: the first title chosen for this work was Toreros en action. But if he wanted to keep the men on foot, he had to cut almost the entire bull. The artist decided instead to cut off the feet of the bullfighter on the left and trim the crowd in the stands.
|
[
"L'Homme mort"
] |
|
13672_T
|
Equestrian statue of Mark Cubbon
|
Explore the abstract of this artwork, Equestrian statue of Mark Cubbon.
|
An equestrian statue of Mark Cubbon, a British army officer with the East India Company who was the Chief Commissioner of Mysore from 1834 to 1861, was unveiled at Bangalore, India on 16 March 1866. Sculpted by Carlo Marochetti, the statue was eventually, placed within the premises of the Karnataka High Court but was moved in 2020 to Cubbon Park, officially Sri Chamarajendra Park, to improve security around the High Court.
|
[
"Karnataka High Court",
"equestrian statue",
"Bangalore",
"Mark Cubbon",
"India",
"Carlo Marochetti",
"Cubbon Park"
] |
|
13672_NT
|
Equestrian statue of Mark Cubbon
|
Explore the abstract of this artwork.
|
An equestrian statue of Mark Cubbon, a British army officer with the East India Company who was the Chief Commissioner of Mysore from 1834 to 1861, was unveiled at Bangalore, India on 16 March 1866. Sculpted by Carlo Marochetti, the statue was eventually, placed within the premises of the Karnataka High Court but was moved in 2020 to Cubbon Park, officially Sri Chamarajendra Park, to improve security around the High Court.
|
[
"Karnataka High Court",
"equestrian statue",
"Bangalore",
"Mark Cubbon",
"India",
"Carlo Marochetti",
"Cubbon Park"
] |
|
13673_T
|
Sacajawea and Jean-Baptiste
|
Focus on Sacajawea and Jean-Baptiste and discuss the abstract.
|
Sacajawea and Jean-Baptiste is a bronze sculpture of Sacagawea and Jean Baptiste Charbonneau by American artist Alice Cooper, located in Washington Park in Portland, Oregon, in the United States.
|
[
"Portland, Oregon",
"Jean Baptiste Charbonneau",
"bronze sculpture",
"Alice Cooper",
"Washington Park",
"Jean-Baptiste",
"Sacagawea"
] |
|
13673_NT
|
Sacajawea and Jean-Baptiste
|
Focus on this artwork and discuss the abstract.
|
Sacajawea and Jean-Baptiste is a bronze sculpture of Sacagawea and Jean Baptiste Charbonneau by American artist Alice Cooper, located in Washington Park in Portland, Oregon, in the United States.
|
[
"Portland, Oregon",
"Jean Baptiste Charbonneau",
"bronze sculpture",
"Alice Cooper",
"Washington Park",
"Jean-Baptiste",
"Sacagawea"
] |
|
13674_T
|
Sacajawea and Jean-Baptiste
|
How does Sacajawea and Jean-Baptiste elucidate its Description?
|
Sacajawea and Jean-Baptiste, designed by Alice Cooper (1875–1937), is an outdoor bronze sculpture, located in Washington Park in Portland, Oregon. It depicts Sacagawea, the Lemhi Shoshone woman who accompanied the Lewis and Clark Expedition during their exploration of the Western United States, with her son Jean Baptiste Charbonneau. The statue measures 7 feet (2.1 m) x 3.5 feet (1.1 m) x 3 feet (0.91 m).
|
[
"Lewis and Clark Expedition",
"Portland, Oregon",
"Jean Baptiste Charbonneau",
"bronze sculpture",
"Alice Cooper",
"Lemhi Shoshone",
"Western United States",
"Washington Park",
"Jean-Baptiste",
"Sacagawea"
] |
|
13674_NT
|
Sacajawea and Jean-Baptiste
|
How does this artwork elucidate its Description?
|
Sacajawea and Jean-Baptiste, designed by Alice Cooper (1875–1937), is an outdoor bronze sculpture, located in Washington Park in Portland, Oregon. It depicts Sacagawea, the Lemhi Shoshone woman who accompanied the Lewis and Clark Expedition during their exploration of the Western United States, with her son Jean Baptiste Charbonneau. The statue measures 7 feet (2.1 m) x 3.5 feet (1.1 m) x 3 feet (0.91 m).
|
[
"Lewis and Clark Expedition",
"Portland, Oregon",
"Jean Baptiste Charbonneau",
"bronze sculpture",
"Alice Cooper",
"Lemhi Shoshone",
"Western United States",
"Washington Park",
"Jean-Baptiste",
"Sacagawea"
] |
|
13675_T
|
Sacajawea and Jean-Baptiste
|
Focus on Sacajawea and Jean-Baptiste and analyze the History.
|
The sculpture was commissioned for the Lewis and Clark Centennial Exposition (1905) by the Committee of Portland Women, who requested a sculpture of "the only woman in the Lewis and Clark Expedition and in honor of the pioneer mother of old Oregon." Funding sources included the Port of Portland and Women for Lewis and Clark Exposition, which was supported by women across the Western United States. The sculpture was unveiled on July 6, 1905 and originally stood in the center of the exposition's plaza. Suffragists present at the dedication included Susan B. Anthony, Abigail Scott Duniway and Anna Howard Shaw. The statue was relocated to Washington Park on April 6, 1906, upon the fair's completion. According to the Regional Arts & Culture Council, which administers the sculpture, Cooper was the first female artist to be represented in Portland's public sculpture collection.
|
[
"Regional Arts & Culture Council",
"Lewis and Clark Expedition",
"Anna Howard Shaw",
"Abigail Scott Duniway",
"Lewis and Clark Centennial Exposition",
"Western United States",
"Port of Portland",
"Washington Park",
"Susan B. Anthony"
] |
|
13675_NT
|
Sacajawea and Jean-Baptiste
|
Focus on this artwork and analyze the History.
|
The sculpture was commissioned for the Lewis and Clark Centennial Exposition (1905) by the Committee of Portland Women, who requested a sculpture of "the only woman in the Lewis and Clark Expedition and in honor of the pioneer mother of old Oregon." Funding sources included the Port of Portland and Women for Lewis and Clark Exposition, which was supported by women across the Western United States. The sculpture was unveiled on July 6, 1905 and originally stood in the center of the exposition's plaza. Suffragists present at the dedication included Susan B. Anthony, Abigail Scott Duniway and Anna Howard Shaw. The statue was relocated to Washington Park on April 6, 1906, upon the fair's completion. According to the Regional Arts & Culture Council, which administers the sculpture, Cooper was the first female artist to be represented in Portland's public sculpture collection.
|
[
"Regional Arts & Culture Council",
"Lewis and Clark Expedition",
"Anna Howard Shaw",
"Abigail Scott Duniway",
"Lewis and Clark Centennial Exposition",
"Western United States",
"Port of Portland",
"Washington Park",
"Susan B. Anthony"
] |
|
13676_T
|
Yevgeniy Fiks
|
In Yevgeniy Fiks, how is the abstract discussed?
|
Yevgeniy Fiks is a multidisciplinary, Post-Soviet conceptual artist. His medium includes painting, drawing, performance, and book arts. He was born in Moscow, Union of Soviet Socialist Republics (USSR) in 1972 and has been living and working in New York City since 1994.
Fiks defines "the Post-Soviet artist" as one who has the responsibility to raise the proper understanding and critical reflection of Soviet history in order for Post-Soviet societies to move forward. His works explore the dialectic between Communism and "the West" and are based on historical research, usually of forgotten and unresolved Cold War narratives. Some of these topics include the shared histories of the Red and Lavender Scares during the McCarthy era; Communism in Modern Art; and African, African-American, and Jewish Diasporas in the Soviet Union.
Fiks has exhibited internationally, including at the Museum of Modern Art, MassMoCA, the Philadelphia Museum of Art, the Moscow Museum of Modern Art, and Museu Colecção Berardo in Lisbon. His work has been included in the Moscow Biennale of Contemporary Art, Biennale of Sydney and Thessaloniki Biennale of Contemporary Art.
|
[
"Moscow Museum of Modern Art",
"Lavender Scare",
"the Philadelphia Museum of Art",
"Biennale of Sydney",
"Moscow Biennale",
"Red",
"Museum of Modern Art",
"New York City",
"Union of Soviet Socialist Republics (USSR)",
"MassMoCA",
"conceptual artist",
"Lavender",
"Soviet Union",
"Museu Colecção Berardo",
"Communism",
"Philadelphia Museum of Art"
] |
|
13676_NT
|
Yevgeniy Fiks
|
In this artwork, how is the abstract discussed?
|
Yevgeniy Fiks is a multidisciplinary, Post-Soviet conceptual artist. His medium includes painting, drawing, performance, and book arts. He was born in Moscow, Union of Soviet Socialist Republics (USSR) in 1972 and has been living and working in New York City since 1994.
Fiks defines "the Post-Soviet artist" as one who has the responsibility to raise the proper understanding and critical reflection of Soviet history in order for Post-Soviet societies to move forward. His works explore the dialectic between Communism and "the West" and are based on historical research, usually of forgotten and unresolved Cold War narratives. Some of these topics include the shared histories of the Red and Lavender Scares during the McCarthy era; Communism in Modern Art; and African, African-American, and Jewish Diasporas in the Soviet Union.
Fiks has exhibited internationally, including at the Museum of Modern Art, MassMoCA, the Philadelphia Museum of Art, the Moscow Museum of Modern Art, and Museu Colecção Berardo in Lisbon. His work has been included in the Moscow Biennale of Contemporary Art, Biennale of Sydney and Thessaloniki Biennale of Contemporary Art.
|
[
"Moscow Museum of Modern Art",
"Lavender Scare",
"the Philadelphia Museum of Art",
"Biennale of Sydney",
"Moscow Biennale",
"Red",
"Museum of Modern Art",
"New York City",
"Union of Soviet Socialist Republics (USSR)",
"MassMoCA",
"conceptual artist",
"Lavender",
"Soviet Union",
"Museu Colecção Berardo",
"Communism",
"Philadelphia Museum of Art"
] |
|
13677_T
|
Yevgeniy Fiks
|
Focus on Yevgeniy Fiks and explore the Education.
|
Fiks was trained as a Socialist Realist painter at the Art College in Memory of 1905 Revolution and V. I. Surikov Art Institute, both in Moscow. Fiks has a Bachelors in Fine Arts from Brooklyn College and a Masters in Fine Arts from The School of Visual Arts.
|
[
"Socialist Realist",
"Surikov Art Institute",
"School of Visual Arts",
"Brooklyn College",
"The School of Visual Arts"
] |
|
13677_NT
|
Yevgeniy Fiks
|
Focus on this artwork and explore the Education.
|
Fiks was trained as a Socialist Realist painter at the Art College in Memory of 1905 Revolution and V. I. Surikov Art Institute, both in Moscow. Fiks has a Bachelors in Fine Arts from Brooklyn College and a Masters in Fine Arts from The School of Visual Arts.
|
[
"Socialist Realist",
"Surikov Art Institute",
"School of Visual Arts",
"Brooklyn College",
"The School of Visual Arts"
] |
|
13678_T
|
Yevgeniy Fiks
|
Focus on Yevgeniy Fiks and explain the Artwork.
|
Fiks' work in the mid 2000s focused on the critical connections between Soviet and American communist histories. In his series, Song of Russia (2005-2007), he painted scenes from Hollywood movies produced between 1943 and 1944 depicting Russian life. His paintings showcased the most socialist realist imagery from Metro-Goldwyn-Mayer films Song of Russia and North Star and Warner Brothers film Mission to Moscow, under the notion that these movies were made at the behest of President Franklin D. Roosevelt to promote Soviet-American relations during World War II.In Lenin for Your Library (2005-2006), Fiks donated a copy of V.I. Lenin's book, Imperialism: The Highest Stage of Capitalism, to 100 major transnational corporations around the world including, Gap, Inc., Coca-Cola, General Electric, and IBM. Fiks received 35 response letters with 14 companies accepting the donation. The resulting response letters of rejection and acceptance compiled the art installation, which has been shown worldwide. The project questions the contemporary mentality of corporations as "entities" and the fate of Lenin's critique of imperialism today. This project has also been compiled into a book with the same title.In Communist Guide to New York City (2008), Fiks photographed buildings and public places in New York City connected to the history of the American Communist movement. This includes the contemporary offices of CPUSA on West 23rd Street, John Reed's house in Greenwich Village, and W.E.B. Du Bois' apartment in Harlem. This project came in many forms, including installations, a walking tour of New York City, and a guidebook.
In a gallery show in 2008, Fiks presented Lenin memorabilia he's collected from eBay, including Lenin busts, small statues, posters, and photographs. Titled Adopt Lenin (2008), he gave these items for free to exhibition attendees after they signed a legal agreement not to put these items back into the market via sales or similar economic exchanges. The signed contracts were also on display as part of the art exhibition.Fiks' more recent works explore the intersection of identities, the Soviet experience, and the Cold War.
In the conceptual, participatory project A Gift to Birobidzhan (2009), Fiks invited international artists to donate artworks to Birobidzhan, the capital of the Jewish autonomous region in Russia. He repeated a gesture first made in 1936 by American artists to support the establishment of the failed Utopian project Birdobidzhan. The original collection included works by Stuart Davis, Adolf Dehn, Hugo Gellert, Harry Gottlieb, William Gropper, Yasuo Kuniyoshi, Raphael Soyer among others.
Fiks referenced the Lavender Scare in his project Homosexuality is Stalin's Atom Bomb to Destroy America (2012), a collection of artworks including digital prints, photographs, and installation that explore the anti-gay paranoia of the MccArthy era. In his digital print series Stalin's Atom Bomb a.k.a. Homosexuality, Fiks juxtaposed quotes by American pundits and government officials that connected homosexuality to Communism on top of an image of RDS-1, the first Soviet atomic test bomb nicknamed by the American military as "Joe 1". In Joe 1 Cruising in Washington D.C., Fiks photographed a 6-foot cardboard print of "Joe 1" in front of gay cruising sites historically active in D.C. during the Cold War. In the installation piece History of the CPUSA (Harry Hay), he inserted pieces of Harry Hay's biography inside a 1952 edition of History of the Communist Party of the United States by William Z. Foster. Harry Hay was a prominent gay rights activist, communist, and labor rights advocate.
Fiks took on another participatory conceptual project to explore the issue of racial equality in the Soviet Union. In The Wayland Rudd Collection (2014), he collected Soviet visual imagery of Africans and African-Americans, including images depicting and promoting racial equality, and invited international artists to respond to those images in the form of artworks. Submitted works by participating artists to this project reflect on the short-term successes and eventual failures of equality and internationalism in the Soviet Union. Artists included in this project are Dread Scott, Joy Garnett, Kara Lynch, Haim Sokol, and many more. This collection has been exhibited in New York and Harare, Zimbabwe.
|
[
"Warner Brothers",
"Harry Gottlieb",
"Gap, Inc.",
"MccArthy era",
"Mission to Moscow",
"Zimbabwe",
"Joy Garnett",
"Harare",
"IBM",
"Raphael Soyer",
"eBay",
"\"Joe 1\"",
"Lavender Scare",
"Hugo Gellert",
"John Reed",
"Coca-Cola",
"North Star",
"Greenwich Village",
"Song of Russia",
"CPUSA",
"V.I. Lenin",
"New York City",
"Metro-Goldwyn-Mayer",
"Lavender",
"Adolf Dehn",
"Soviet Union",
"RDS-1",
"Imperialism: The Highest Stage of Capitalism",
"William Z. Foster",
"Harry Hay",
"Birobidzhan",
"Yasuo Kuniyoshi",
"General Electric",
"William Gropper",
"Franklin D. Roosevelt",
"socialist realist",
"Harlem",
"Stuart Davis",
"Communism",
"W.E.B. Du Bois"
] |
|
13678_NT
|
Yevgeniy Fiks
|
Focus on this artwork and explain the Artwork.
|
Fiks' work in the mid 2000s focused on the critical connections between Soviet and American communist histories. In his series, Song of Russia (2005-2007), he painted scenes from Hollywood movies produced between 1943 and 1944 depicting Russian life. His paintings showcased the most socialist realist imagery from Metro-Goldwyn-Mayer films Song of Russia and North Star and Warner Brothers film Mission to Moscow, under the notion that these movies were made at the behest of President Franklin D. Roosevelt to promote Soviet-American relations during World War II.In Lenin for Your Library (2005-2006), Fiks donated a copy of V.I. Lenin's book, Imperialism: The Highest Stage of Capitalism, to 100 major transnational corporations around the world including, Gap, Inc., Coca-Cola, General Electric, and IBM. Fiks received 35 response letters with 14 companies accepting the donation. The resulting response letters of rejection and acceptance compiled the art installation, which has been shown worldwide. The project questions the contemporary mentality of corporations as "entities" and the fate of Lenin's critique of imperialism today. This project has also been compiled into a book with the same title.In Communist Guide to New York City (2008), Fiks photographed buildings and public places in New York City connected to the history of the American Communist movement. This includes the contemporary offices of CPUSA on West 23rd Street, John Reed's house in Greenwich Village, and W.E.B. Du Bois' apartment in Harlem. This project came in many forms, including installations, a walking tour of New York City, and a guidebook.
In a gallery show in 2008, Fiks presented Lenin memorabilia he's collected from eBay, including Lenin busts, small statues, posters, and photographs. Titled Adopt Lenin (2008), he gave these items for free to exhibition attendees after they signed a legal agreement not to put these items back into the market via sales or similar economic exchanges. The signed contracts were also on display as part of the art exhibition.Fiks' more recent works explore the intersection of identities, the Soviet experience, and the Cold War.
In the conceptual, participatory project A Gift to Birobidzhan (2009), Fiks invited international artists to donate artworks to Birobidzhan, the capital of the Jewish autonomous region in Russia. He repeated a gesture first made in 1936 by American artists to support the establishment of the failed Utopian project Birdobidzhan. The original collection included works by Stuart Davis, Adolf Dehn, Hugo Gellert, Harry Gottlieb, William Gropper, Yasuo Kuniyoshi, Raphael Soyer among others.
Fiks referenced the Lavender Scare in his project Homosexuality is Stalin's Atom Bomb to Destroy America (2012), a collection of artworks including digital prints, photographs, and installation that explore the anti-gay paranoia of the MccArthy era. In his digital print series Stalin's Atom Bomb a.k.a. Homosexuality, Fiks juxtaposed quotes by American pundits and government officials that connected homosexuality to Communism on top of an image of RDS-1, the first Soviet atomic test bomb nicknamed by the American military as "Joe 1". In Joe 1 Cruising in Washington D.C., Fiks photographed a 6-foot cardboard print of "Joe 1" in front of gay cruising sites historically active in D.C. during the Cold War. In the installation piece History of the CPUSA (Harry Hay), he inserted pieces of Harry Hay's biography inside a 1952 edition of History of the Communist Party of the United States by William Z. Foster. Harry Hay was a prominent gay rights activist, communist, and labor rights advocate.
Fiks took on another participatory conceptual project to explore the issue of racial equality in the Soviet Union. In The Wayland Rudd Collection (2014), he collected Soviet visual imagery of Africans and African-Americans, including images depicting and promoting racial equality, and invited international artists to respond to those images in the form of artworks. Submitted works by participating artists to this project reflect on the short-term successes and eventual failures of equality and internationalism in the Soviet Union. Artists included in this project are Dread Scott, Joy Garnett, Kara Lynch, Haim Sokol, and many more. This collection has been exhibited in New York and Harare, Zimbabwe.
|
[
"Warner Brothers",
"Harry Gottlieb",
"Gap, Inc.",
"MccArthy era",
"Mission to Moscow",
"Zimbabwe",
"Joy Garnett",
"Harare",
"IBM",
"Raphael Soyer",
"eBay",
"\"Joe 1\"",
"Lavender Scare",
"Hugo Gellert",
"John Reed",
"Coca-Cola",
"North Star",
"Greenwich Village",
"Song of Russia",
"CPUSA",
"V.I. Lenin",
"New York City",
"Metro-Goldwyn-Mayer",
"Lavender",
"Adolf Dehn",
"Soviet Union",
"RDS-1",
"Imperialism: The Highest Stage of Capitalism",
"William Z. Foster",
"Harry Hay",
"Birobidzhan",
"Yasuo Kuniyoshi",
"General Electric",
"William Gropper",
"Franklin D. Roosevelt",
"socialist realist",
"Harlem",
"Stuart Davis",
"Communism",
"W.E.B. Du Bois"
] |
|
13679_T
|
Yevgeniy Fiks
|
Explore the Books of this artwork, Yevgeniy Fiks.
|
Moscow, from Ugly Duckling Presse, 2012Communist Guide to New York City from Common Books, edited by Common Room with essays by Olga Kopenkina and Kim Foster, 2008Lenin for Your Library? from Ante Projects, edited by Nick Herman with an essay by Olga Kopenkina, 2007
|
[
"New York City",
"Olga Kopenkina"
] |
|
13679_NT
|
Yevgeniy Fiks
|
Explore the Books of this artwork.
|
Moscow, from Ugly Duckling Presse, 2012Communist Guide to New York City from Common Books, edited by Common Room with essays by Olga Kopenkina and Kim Foster, 2008Lenin for Your Library? from Ante Projects, edited by Nick Herman with an essay by Olga Kopenkina, 2007
|
[
"New York City",
"Olga Kopenkina"
] |
|
13680_T
|
Portrait of Andrea Navagero and Agostino Beazzano
|
Focus on Portrait of Andrea Navagero and Agostino Beazzano and discuss the abstract.
|
The Portrait of Andrea Navagero e Agostino Beazzano is a painting by the Italian High Renaissance painter Raphael, created in 1516. It is housed in the Galleria Doria Pamphilj, Rome.
|
[
"Raphael",
"High Renaissance",
"Andrea Navagero",
"Rome",
"Andrea",
"Italian",
"Agostino Beazzano",
"Galleria Doria Pamphilj"
] |
|
13680_NT
|
Portrait of Andrea Navagero and Agostino Beazzano
|
Focus on this artwork and discuss the abstract.
|
The Portrait of Andrea Navagero e Agostino Beazzano is a painting by the Italian High Renaissance painter Raphael, created in 1516. It is housed in the Galleria Doria Pamphilj, Rome.
|
[
"Raphael",
"High Renaissance",
"Andrea Navagero",
"Rome",
"Andrea",
"Italian",
"Agostino Beazzano",
"Galleria Doria Pamphilj"
] |
|
13681_T
|
Portrait of Andrea Navagero and Agostino Beazzano
|
How does Portrait of Andrea Navagero and Agostino Beazzano elucidate its History?
|
The work seems to have been produced in April 1516 when its two subjects Andrea Navagero and Agostino Beazzano were still in Rome for a short period before Navagero returned to Venice on being made administrator general of the Venetian Republic. A 1516 letter from Pietro Bembo to Cardinal Bibbiena shows that Raphael, Baldassare Castiglione, Beazzano and Navagero wished to make a journey together. Traditional literature relates that Raphael produced this work before setting off as a present for their mutual friend. In 1530 the work was recorded as being in Bembo's home in Padua. It was loaned to the Prado Museum in 2008 for an exhibition on Renaissance portraits, though it did not prove possible to loan it to the exhibition at the National Gallery in 2022, delayed from 2020 and marking five hundred years since the artist's death.
|
[
"Baldassare Castiglione",
"Prado Museum",
"Raphael",
"Andrea Navagero",
"Rome",
"Andrea",
"Agostino Beazzano",
"Padua",
"Pietro Bembo",
"National Gallery"
] |
|
13681_NT
|
Portrait of Andrea Navagero and Agostino Beazzano
|
How does this artwork elucidate its History?
|
The work seems to have been produced in April 1516 when its two subjects Andrea Navagero and Agostino Beazzano were still in Rome for a short period before Navagero returned to Venice on being made administrator general of the Venetian Republic. A 1516 letter from Pietro Bembo to Cardinal Bibbiena shows that Raphael, Baldassare Castiglione, Beazzano and Navagero wished to make a journey together. Traditional literature relates that Raphael produced this work before setting off as a present for their mutual friend. In 1530 the work was recorded as being in Bembo's home in Padua. It was loaned to the Prado Museum in 2008 for an exhibition on Renaissance portraits, though it did not prove possible to loan it to the exhibition at the National Gallery in 2022, delayed from 2020 and marking five hundred years since the artist's death.
|
[
"Baldassare Castiglione",
"Prado Museum",
"Raphael",
"Andrea Navagero",
"Rome",
"Andrea",
"Agostino Beazzano",
"Padua",
"Pietro Bembo",
"National Gallery"
] |
|
13682_T
|
Zapata (lithograph)
|
Focus on Zapata (lithograph) and analyze the abstract.
|
Zapata (1932) is a lithograph by the Mexican artist Diego Rivera (1886–1957) that depicts the Mexican revolutionary Emiliano Zapata (1879–1919) as he holds the reins of a horse among a group of campesinos (peasants). The lithographic edition was created and printed twelve years after Zapata's assassination. Zapata is based on Agrarian Leader Zapata (1931), one of eight "portable" frescoes produced explicitly for Rivera's solo exhibition at the Museum of Modern Art (MoMA) in 1931, which was adapted from his previous Revolt panel from a fresco titled The History of Cuernavaca and Morelos (1929–30) painted in the Palace of Cortés, Cuernavaca. There were 100 original prints of the lithograph, many of which are in the collections of various art museums.
|
[
"Cuernavaca",
"Diego Rivera",
"art museum",
"Morelos",
"Palace of Cortés, Cuernavaca",
"lithograph",
"frescoes",
"Museum of Modern Art",
"campesino",
"Emiliano Zapata"
] |
|
13682_NT
|
Zapata (lithograph)
|
Focus on this artwork and analyze the abstract.
|
Zapata (1932) is a lithograph by the Mexican artist Diego Rivera (1886–1957) that depicts the Mexican revolutionary Emiliano Zapata (1879–1919) as he holds the reins of a horse among a group of campesinos (peasants). The lithographic edition was created and printed twelve years after Zapata's assassination. Zapata is based on Agrarian Leader Zapata (1931), one of eight "portable" frescoes produced explicitly for Rivera's solo exhibition at the Museum of Modern Art (MoMA) in 1931, which was adapted from his previous Revolt panel from a fresco titled The History of Cuernavaca and Morelos (1929–30) painted in the Palace of Cortés, Cuernavaca. There were 100 original prints of the lithograph, many of which are in the collections of various art museums.
|
[
"Cuernavaca",
"Diego Rivera",
"art museum",
"Morelos",
"Palace of Cortés, Cuernavaca",
"lithograph",
"frescoes",
"Museum of Modern Art",
"campesino",
"Emiliano Zapata"
] |
|
13683_T
|
Zapata (lithograph)
|
In Zapata (lithograph), how is the Context discussed?
|
In 1930, with his popularity on the rise with American audiences, Diego Rivera began to make lithographic prints for the American art market at the request of his gallerist, Carl Zigrosser, director of the Weyhe Gallery in New York, and Rivera's friend William Spratling. Rivera quickly adapted to the medium, admitting to Zigrosser that he had been seduced by the direct contact of the lithographic crayon to the stone's surface.In 1931 Diego Rivera became the second artist ever to hold a solo exhibition at the Museum of Modern Art, following Henri Matisse’s solo exhibition earlier that year. Rivera's exhibition was described as a "media event" and broke all museum attendance records at the time, drawing 56,575 attendees—more than double the attendance of the Mattisse show. For this exhibition, Rivera created several "portable murals," based on details of his murals in Mexico, for the purpose of connecting public American interest in his work with the original frescoes. The murals proved portable in name only: each panel, constructed of concrete poured over an armature of iron and steel, weighed nearly 1,000 pounds. To disseminate the mural images more widely, Rivera and Zigrosser elected to reproduce them as lithographs, which were affordable and accessible. This lithograph, along with four others, was created at the George C. Miller Print Shop in New York and published in 1932 by the Weyhe Gallery in New York. Rivera redrew the images for the prints himself and remained in New York after the MoMA exhibition to oversee their production.That Rivera was urged to create these lithographs speaks to his popularity as a celebrated Mexican artist in the United States. Zapata, the fifth of this series of five, is Rivera's best known and most-admired print. As Lyle Williams points out, "Diego Rivera's lithograph Zapata, 1932, is one of the seminal images of twentieth century printmaking, a landmark in the history not only of Mexican Art but of modern art."
|
[
"Weyhe Gallery",
"Diego Rivera",
"Carl Zigrosser",
"William Spratling",
"lithograph",
"frescoes",
"Museum of Modern Art",
"Henri Matisse"
] |
|
13683_NT
|
Zapata (lithograph)
|
In this artwork, how is the Context discussed?
|
In 1930, with his popularity on the rise with American audiences, Diego Rivera began to make lithographic prints for the American art market at the request of his gallerist, Carl Zigrosser, director of the Weyhe Gallery in New York, and Rivera's friend William Spratling. Rivera quickly adapted to the medium, admitting to Zigrosser that he had been seduced by the direct contact of the lithographic crayon to the stone's surface.In 1931 Diego Rivera became the second artist ever to hold a solo exhibition at the Museum of Modern Art, following Henri Matisse’s solo exhibition earlier that year. Rivera's exhibition was described as a "media event" and broke all museum attendance records at the time, drawing 56,575 attendees—more than double the attendance of the Mattisse show. For this exhibition, Rivera created several "portable murals," based on details of his murals in Mexico, for the purpose of connecting public American interest in his work with the original frescoes. The murals proved portable in name only: each panel, constructed of concrete poured over an armature of iron and steel, weighed nearly 1,000 pounds. To disseminate the mural images more widely, Rivera and Zigrosser elected to reproduce them as lithographs, which were affordable and accessible. This lithograph, along with four others, was created at the George C. Miller Print Shop in New York and published in 1932 by the Weyhe Gallery in New York. Rivera redrew the images for the prints himself and remained in New York after the MoMA exhibition to oversee their production.That Rivera was urged to create these lithographs speaks to his popularity as a celebrated Mexican artist in the United States. Zapata, the fifth of this series of five, is Rivera's best known and most-admired print. As Lyle Williams points out, "Diego Rivera's lithograph Zapata, 1932, is one of the seminal images of twentieth century printmaking, a landmark in the history not only of Mexican Art but of modern art."
|
[
"Weyhe Gallery",
"Diego Rivera",
"Carl Zigrosser",
"William Spratling",
"lithograph",
"frescoes",
"Museum of Modern Art",
"Henri Matisse"
] |
|
13684_T
|
Zapata (lithograph)
|
Focus on Zapata (lithograph) and explore the Description.
|
Emiliano Zapata stands in the foreground. In his left hand, he holds the bridle of a white horse and in his right he wields a sickle used for cutting sugarcane, the staple hacienda product of Zapata's home state of Morelos. Zapata and the horse stand above the prone figure of a hacendado (hacienda owner) whose gloved hand rests upon Zapata's left foot. The fallen man wears dark clothing and riding boots; a cutlass lies on the ground beside him. Behind Zapata stands a group of seven peasants armed with farming implements: one carries a sickle, another a bow and arrows, and two carry coas de jima, hoe-like tools with round blades used for harvesting agave. Both Zapata and his followers wear white peasant clothing typical of the Cuernavaca region of Mexico. Zapata and two others are seen to wear huaraches (sandals), while the others go barefoot. Several wear sombreros (wide-brimmed hats). Broad-leaved plants—likely Calla lilies, which Rivera used extensively in his work—frame the scene on the right side of the print. The background is a vague and natural environment, as observed by Oles, to emphasize the popular culture and idealization of folkways of Mexico rather than its monuments.
|
[
"Cuernavaca",
"hacienda",
"coas de jima",
"Morelos",
"sombrero",
"agave",
"Emiliano Zapata"
] |
|
13684_NT
|
Zapata (lithograph)
|
Focus on this artwork and explore the Description.
|
Emiliano Zapata stands in the foreground. In his left hand, he holds the bridle of a white horse and in his right he wields a sickle used for cutting sugarcane, the staple hacienda product of Zapata's home state of Morelos. Zapata and the horse stand above the prone figure of a hacendado (hacienda owner) whose gloved hand rests upon Zapata's left foot. The fallen man wears dark clothing and riding boots; a cutlass lies on the ground beside him. Behind Zapata stands a group of seven peasants armed with farming implements: one carries a sickle, another a bow and arrows, and two carry coas de jima, hoe-like tools with round blades used for harvesting agave. Both Zapata and his followers wear white peasant clothing typical of the Cuernavaca region of Mexico. Zapata and two others are seen to wear huaraches (sandals), while the others go barefoot. Several wear sombreros (wide-brimmed hats). Broad-leaved plants—likely Calla lilies, which Rivera used extensively in his work—frame the scene on the right side of the print. The background is a vague and natural environment, as observed by Oles, to emphasize the popular culture and idealization of folkways of Mexico rather than its monuments.
|
[
"Cuernavaca",
"hacienda",
"coas de jima",
"Morelos",
"sombrero",
"agave",
"Emiliano Zapata"
] |
|
13685_T
|
Zapata (lithograph)
|
Focus on Zapata (lithograph) and explain the Style.
|
This lithograph is characterized by smooth, curvilinear forms whose volumes are rendered with the even gradients of tone typical of Rivera's style. Rivera achieved the varied tones within the print by shading and crosshatching with lithographic crayon. Rivera used tonal variations in the black and white Zapata to similar effect as he did color in the painted murals he used as its source material. In the lithograph, the lightest areas in Zapata's white clothing and the white body of the horse he leads are sharply delineated against the dark background and the mid tones of the clothing of Zapata's followers. This contrast draws the viewer's attention to the figures of the rebel leader and the horse and establishes their preeminence within the composition. In his mural, Agrarian Leader Zapata, one of the sources for the lithograph, Rivera accentuated the two figures by leaving the fresco's brilliant white plaster undercoat exposed. Though the lithograph is aesthetically inspired by the mural, the close cropping of the scene decontextualizes the figures in the lithograph. The original mural provides a gruesome focal point for Zapata and his followers, however the lithograph, created for an American audience, indicates Zapata's gaze to fall on the floral, tropical setting. This alteration removes the political associations inherent to the mural.Rivera’s print shows parallels with Paolo Uccello’s early fifteenth-century painting The Battle of San Romano (c. 1438). Both works depict a white horse similar in size to the human figures pictured, figures bristling with armaments receding into the background, and weapons underfoot in the foreground. Rivera did in fact make numerous sketches of Uccello's horses during a trip to Italy in 1920–1921.In both its representational quality and its overtly political message, Zapata is typical of Social Realism, an international art movement that aimed to create art that would empower the working class.
|
[
"Paolo Uccello",
"Social Realism",
"lithograph",
"The Battle of San Romano"
] |
|
13685_NT
|
Zapata (lithograph)
|
Focus on this artwork and explain the Style.
|
This lithograph is characterized by smooth, curvilinear forms whose volumes are rendered with the even gradients of tone typical of Rivera's style. Rivera achieved the varied tones within the print by shading and crosshatching with lithographic crayon. Rivera used tonal variations in the black and white Zapata to similar effect as he did color in the painted murals he used as its source material. In the lithograph, the lightest areas in Zapata's white clothing and the white body of the horse he leads are sharply delineated against the dark background and the mid tones of the clothing of Zapata's followers. This contrast draws the viewer's attention to the figures of the rebel leader and the horse and establishes their preeminence within the composition. In his mural, Agrarian Leader Zapata, one of the sources for the lithograph, Rivera accentuated the two figures by leaving the fresco's brilliant white plaster undercoat exposed. Though the lithograph is aesthetically inspired by the mural, the close cropping of the scene decontextualizes the figures in the lithograph. The original mural provides a gruesome focal point for Zapata and his followers, however the lithograph, created for an American audience, indicates Zapata's gaze to fall on the floral, tropical setting. This alteration removes the political associations inherent to the mural.Rivera’s print shows parallels with Paolo Uccello’s early fifteenth-century painting The Battle of San Romano (c. 1438). Both works depict a white horse similar in size to the human figures pictured, figures bristling with armaments receding into the background, and weapons underfoot in the foreground. Rivera did in fact make numerous sketches of Uccello's horses during a trip to Italy in 1920–1921.In both its representational quality and its overtly political message, Zapata is typical of Social Realism, an international art movement that aimed to create art that would empower the working class.
|
[
"Paolo Uccello",
"Social Realism",
"lithograph",
"The Battle of San Romano"
] |
|
13686_T
|
Zapata (lithograph)
|
Explore the Other Representations of Zapata by Rivera of this artwork, Zapata (lithograph).
|
Previous to the mural at the Palace of Cortés, Cuernavaca and its subsequent depiction in the Zapata MoMA mural and lithograph, Rivera's 1930–1931 painting Zapata depicted the figure based on a photograph showing him in Cuernavaca in 1911, in which he brandishes a modern rifle and wears the ornate costume of the charro, or horsemen.
However, for the Zapata Palace of Cortés mural, the MoMA mural, and the lithograph, Rivera chose to eliminate the symbolic references to power and status and instead opted to depict Zapata as a campesino. The simple dress separated him from the ruling elite and characterized him as a folk hero. This further idealized Zapata following his assassination in 1919.It was clear to Rivera that there were three ways of seeing Zapata; one as the idealized charro revolutionary, one as the leader of the campesino movement, and finally, as martyr. Both Rivera's lithograph and paintings of Zapata denote that Rivera was careful to choose the way in which he represented Zapata.
Another Mexican artist, José Clemente Orozco "scorned this type of imagery as romanticizing poverty and backwardness; nevertheless, in their very idealization, these images reassured viewers in Mexico and abroad that the peasants behind the Revolution were actually contained and content."
|
[
"Cuernavaca",
"charro",
"Palace of Cortés, Cuernavaca",
"lithograph",
"campesino",
"José Clemente Orozco"
] |
|
13686_NT
|
Zapata (lithograph)
|
Explore the Other Representations of Zapata by Rivera of this artwork.
|
Previous to the mural at the Palace of Cortés, Cuernavaca and its subsequent depiction in the Zapata MoMA mural and lithograph, Rivera's 1930–1931 painting Zapata depicted the figure based on a photograph showing him in Cuernavaca in 1911, in which he brandishes a modern rifle and wears the ornate costume of the charro, or horsemen.
However, for the Zapata Palace of Cortés mural, the MoMA mural, and the lithograph, Rivera chose to eliminate the symbolic references to power and status and instead opted to depict Zapata as a campesino. The simple dress separated him from the ruling elite and characterized him as a folk hero. This further idealized Zapata following his assassination in 1919.It was clear to Rivera that there were three ways of seeing Zapata; one as the idealized charro revolutionary, one as the leader of the campesino movement, and finally, as martyr. Both Rivera's lithograph and paintings of Zapata denote that Rivera was careful to choose the way in which he represented Zapata.
Another Mexican artist, José Clemente Orozco "scorned this type of imagery as romanticizing poverty and backwardness; nevertheless, in their very idealization, these images reassured viewers in Mexico and abroad that the peasants behind the Revolution were actually contained and content."
|
[
"Cuernavaca",
"charro",
"Palace of Cortés, Cuernavaca",
"lithograph",
"campesino",
"José Clemente Orozco"
] |
|
13687_T
|
Zapata (lithograph)
|
How does Zapata (lithograph) elucidate its Editions?
|
Single edition: 100 prints plus artist proofs and cancellation proof. Printed by George C. Miller, New York. Published by Weyhe Gallery, New York in 1932.
|
[
"Weyhe Gallery"
] |
|
13687_NT
|
Zapata (lithograph)
|
How does this artwork elucidate its Editions?
|
Single edition: 100 prints plus artist proofs and cancellation proof. Printed by George C. Miller, New York. Published by Weyhe Gallery, New York in 1932.
|
[
"Weyhe Gallery"
] |
|
13688_T
|
Zapata (lithograph)
|
Focus on Zapata (lithograph) and analyze the Collections.
|
A list of museums and institutions that have the lithograph in their permanent collection. In addition to prints listed below, the Dolores Olmedo Museum is home to print 92/100
|
[
"lithograph"
] |
|
13688_NT
|
Zapata (lithograph)
|
Focus on this artwork and analyze the Collections.
|
A list of museums and institutions that have the lithograph in their permanent collection. In addition to prints listed below, the Dolores Olmedo Museum is home to print 92/100
|
[
"lithograph"
] |
|
13689_T
|
Piping Shepherds
|
In Piping Shepherds, how is the Description discussed?
|
The painting depicts two shepherds who are playing a tune on their instruments, enjoying a moment of leisure, with a third lying besides them. One of them, seated, plays the bagpipe, while the other, standing, plays the flute. Two cows look at the scene, from the right, while their abandoned flock wanders nearby. In the foreground, a dog seems to remind them of their duty. A landscape, with the sea and a city visible, is seen at the left.
|
[
"flute",
"bagpipe"
] |
|
13689_NT
|
Piping Shepherds
|
In this artwork, how is the Description discussed?
|
The painting depicts two shepherds who are playing a tune on their instruments, enjoying a moment of leisure, with a third lying besides them. One of them, seated, plays the bagpipe, while the other, standing, plays the flute. Two cows look at the scene, from the right, while their abandoned flock wanders nearby. In the foreground, a dog seems to remind them of their duty. A landscape, with the sea and a city visible, is seen at the left.
|
[
"flute",
"bagpipe"
] |
|
13690_T
|
Elijah (Lorenzetto)
|
Focus on Elijah (Lorenzetto) and explore the abstract.
|
The statue of Elijah is a marble statue by the Italian Renaissance sculptor Lorenzetto in the niche to the right of the entrance in the Chigi Chapel, the Basilica of Santa Maria del Popolo, Rome. The sculptor followed the original designs of his mentor, Raphael, who was the architect of the chapel. The statue was finished by his pupil, Raffaello da Montelupo.
|
[
"Santa Maria del Popolo",
"Raphael",
"Basilica of Santa Maria del Popolo",
"Rome",
"Lorenzetto",
"Italian Renaissance sculptor",
"Raffaello da Montelupo",
"Chigi Chapel",
"Elijah"
] |
|
13690_NT
|
Elijah (Lorenzetto)
|
Focus on this artwork and explore the abstract.
|
The statue of Elijah is a marble statue by the Italian Renaissance sculptor Lorenzetto in the niche to the right of the entrance in the Chigi Chapel, the Basilica of Santa Maria del Popolo, Rome. The sculptor followed the original designs of his mentor, Raphael, who was the architect of the chapel. The statue was finished by his pupil, Raffaello da Montelupo.
|
[
"Santa Maria del Popolo",
"Raphael",
"Basilica of Santa Maria del Popolo",
"Rome",
"Lorenzetto",
"Italian Renaissance sculptor",
"Raffaello da Montelupo",
"Chigi Chapel",
"Elijah"
] |
|
13691_T
|
Elijah (Lorenzetto)
|
Focus on Elijah (Lorenzetto) and explain the History.
|
The statue of Prophet Elijah was part of the original decorative scheme of the chapel by Raphael. The main iconographic themes in the funerary chapel of Agostino Chigi was resurrection and ascension of the soul to heaven. The two statues of Jonah and Elijah could be interpreted in this context: Prophet Jonah is the prototype of the Christ of the Resurrection, while Elijah of the Christ of the Ascension. In the Old Testament "Elijah went up by a whirlwind into heaven" on a chariot of fire (2 Kings 2:11). But Giorgio Vasari emphasized another aspect of Elijah's story in his description:"...an Elijah, living by Grace, with his cruse of water and his bread baked in the ashes, under the juniper-tree."
Fabio Chigi repeated this in a letter. The statue was carved by Lorenzetto, Raphael's pupil, but unlike its counterpart, the statue of Jonah and the whale it was far from being finished at the time when Raphael died in 1520, and consequently the final version could be more removed from his original (lost) designs. A young assistant sculptor, Raffaello da Montelupo recorded in his autobiography that he completed the statue around 1523/24. Both the Jonah and the Elijah remained in Lorenzetto's workshop for a long time as Vasari records in his Lives.
Lorenzetto died in 1541 but ten years later, in 1552 Lorenzo Leone Chigi paid his debt towards the heirs of Lorenzetto, and the two statues were finally placed in the chapel. They were supposedly located on the two sides of the entrance, at least this was their recorded position when Fabio Chigi first visited the chapel in 1626. The statue of Elijah was on the left of the entrance then. Between 1652 and 1656 Gian Lorenzo Bernini restored the chapel, and created two new statues (Habakkuk and the Angel, Daniel and the Lion) to fill the remaining empty niches. At the time the statue of Elijah was moved to its present place on the right of the entrance.
|
[
"Giorgio Vasari",
"Fabio Chigi",
"Raphael",
"Lorenzetto",
"Raffaello da Montelupo",
"Jonah",
"Gian Lorenzo Bernini",
"Vasari",
"Elijah",
"Agostino Chigi",
"Old Testament",
"Jonah and the whale"
] |
|
13691_NT
|
Elijah (Lorenzetto)
|
Focus on this artwork and explain the History.
|
The statue of Prophet Elijah was part of the original decorative scheme of the chapel by Raphael. The main iconographic themes in the funerary chapel of Agostino Chigi was resurrection and ascension of the soul to heaven. The two statues of Jonah and Elijah could be interpreted in this context: Prophet Jonah is the prototype of the Christ of the Resurrection, while Elijah of the Christ of the Ascension. In the Old Testament "Elijah went up by a whirlwind into heaven" on a chariot of fire (2 Kings 2:11). But Giorgio Vasari emphasized another aspect of Elijah's story in his description:"...an Elijah, living by Grace, with his cruse of water and his bread baked in the ashes, under the juniper-tree."
Fabio Chigi repeated this in a letter. The statue was carved by Lorenzetto, Raphael's pupil, but unlike its counterpart, the statue of Jonah and the whale it was far from being finished at the time when Raphael died in 1520, and consequently the final version could be more removed from his original (lost) designs. A young assistant sculptor, Raffaello da Montelupo recorded in his autobiography that he completed the statue around 1523/24. Both the Jonah and the Elijah remained in Lorenzetto's workshop for a long time as Vasari records in his Lives.
Lorenzetto died in 1541 but ten years later, in 1552 Lorenzo Leone Chigi paid his debt towards the heirs of Lorenzetto, and the two statues were finally placed in the chapel. They were supposedly located on the two sides of the entrance, at least this was their recorded position when Fabio Chigi first visited the chapel in 1626. The statue of Elijah was on the left of the entrance then. Between 1652 and 1656 Gian Lorenzo Bernini restored the chapel, and created two new statues (Habakkuk and the Angel, Daniel and the Lion) to fill the remaining empty niches. At the time the statue of Elijah was moved to its present place on the right of the entrance.
|
[
"Giorgio Vasari",
"Fabio Chigi",
"Raphael",
"Lorenzetto",
"Raffaello da Montelupo",
"Jonah",
"Gian Lorenzo Bernini",
"Vasari",
"Elijah",
"Agostino Chigi",
"Old Testament",
"Jonah and the whale"
] |
|
13692_T
|
Elijah (Lorenzetto)
|
Explore the Description of this artwork, Elijah (Lorenzetto).
|
The statue shows the prophet in the desert with an angel. The surroundings are carefully detailed especially the tangled roots and plants below the prophet's feet and the part of the tree which grows up behind. Elijah is depicted as a bearded older man with the usual attributes of the water-jug and a book. He is looking up towards the sky which means that he is gazing at the oculus of the dome where the figure of God appears.There is a disagreement about the originally intended place of the statue. John Shearman thought that it was most likely planned for one of the two niches by the entrance which means that its present position is probably correct.
|
[
"John Shearman",
"Elijah"
] |
|
13692_NT
|
Elijah (Lorenzetto)
|
Explore the Description of this artwork.
|
The statue shows the prophet in the desert with an angel. The surroundings are carefully detailed especially the tangled roots and plants below the prophet's feet and the part of the tree which grows up behind. Elijah is depicted as a bearded older man with the usual attributes of the water-jug and a book. He is looking up towards the sky which means that he is gazing at the oculus of the dome where the figure of God appears.There is a disagreement about the originally intended place of the statue. John Shearman thought that it was most likely planned for one of the two niches by the entrance which means that its present position is probably correct.
|
[
"John Shearman",
"Elijah"
] |
|
13693_T
|
Midday (painting)
|
Focus on Midday (painting) and discuss the abstract.
|
Midday is a 1982 painting by Evgenia Antipova, a Russian painter and graphic artist renowned for her landscape and still life paintings. Antipova was a member of the Saint Petersburg Union of Artists (until 1992 the Leningrad Union of Artists). She lived and worked in Saint Petersburg (formerly Leningrad) and is regarded as a member of the Leningrad School of Painting.
|
[
"Leningrad School of Painting",
"Evgenia Antipova",
"Saint Petersburg",
"Leningrad",
"Saint Petersburg Union of Artists"
] |
|
13693_NT
|
Midday (painting)
|
Focus on this artwork and discuss the abstract.
|
Midday is a 1982 painting by Evgenia Antipova, a Russian painter and graphic artist renowned for her landscape and still life paintings. Antipova was a member of the Saint Petersburg Union of Artists (until 1992 the Leningrad Union of Artists). She lived and worked in Saint Petersburg (formerly Leningrad) and is regarded as a member of the Leningrad School of Painting.
|
[
"Leningrad School of Painting",
"Evgenia Antipova",
"Saint Petersburg",
"Leningrad",
"Saint Petersburg Union of Artists"
] |
|
13694_T
|
Midday (painting)
|
How does Midday (painting) elucidate its History?
|
Created in 1982, the painting depicts the summer garden at a Dacha in Berngardovka, near Leningrad, the location of Antipova's main workshop during the years 1980–2000.
According to art historian Leo Mochalov, the image created in the painting can be considered as a "model of the world, which is perceived by the artist as a precious gift, like our own existence, inseparable from this world".The first time the painting was shown was in 1988, during an exhibition at the Leningrad Union of Artists. It was shown again in 1989 at an exhibition of 26 Moscow and Leningrad artists. In 1999, the painting was shown a third time in the Central Exhibition Hall of Manezh, located in Saint Petersburg at the common exhibition of Evgenia Antipova and Victor Teterin. The painting was described and reproduced in the exhibition catalogue.
|
[
"Victor Teterin",
"Dacha",
"Evgenia Antipova",
"Saint Petersburg",
"Leningrad"
] |
|
13694_NT
|
Midday (painting)
|
How does this artwork elucidate its History?
|
Created in 1982, the painting depicts the summer garden at a Dacha in Berngardovka, near Leningrad, the location of Antipova's main workshop during the years 1980–2000.
According to art historian Leo Mochalov, the image created in the painting can be considered as a "model of the world, which is perceived by the artist as a precious gift, like our own existence, inseparable from this world".The first time the painting was shown was in 1988, during an exhibition at the Leningrad Union of Artists. It was shown again in 1989 at an exhibition of 26 Moscow and Leningrad artists. In 1999, the painting was shown a third time in the Central Exhibition Hall of Manezh, located in Saint Petersburg at the common exhibition of Evgenia Antipova and Victor Teterin. The painting was described and reproduced in the exhibition catalogue.
|
[
"Victor Teterin",
"Dacha",
"Evgenia Antipova",
"Saint Petersburg",
"Leningrad"
] |
|
13695_T
|
Head of Franz Kafka
|
Focus on Head of Franz Kafka and analyze the abstract.
|
The Head of Franz Kafka (Czech: Hlava Franze Kafky), also known as the Statue of Kafka, is an outdoor sculpture by David Černý depicting Bohemian German-language writer Franz Kafka, installed outside the Quadrio shopping centre in Prague, Czech Republic. The kinetic sculpture is 11 metres tall and made of 42 rotating panels. Each layer is mechanized and rotates individually.
|
[
"David Černý",
"Quadrio",
"Czech Republic",
"Prague",
"Franz Kafka"
] |
|
13695_NT
|
Head of Franz Kafka
|
Focus on this artwork and analyze the abstract.
|
The Head of Franz Kafka (Czech: Hlava Franze Kafky), also known as the Statue of Kafka, is an outdoor sculpture by David Černý depicting Bohemian German-language writer Franz Kafka, installed outside the Quadrio shopping centre in Prague, Czech Republic. The kinetic sculpture is 11 metres tall and made of 42 rotating panels. Each layer is mechanized and rotates individually.
|
[
"David Černý",
"Quadrio",
"Czech Republic",
"Prague",
"Franz Kafka"
] |
|
13696_T
|
Madonna with Child (Crivelli)
|
In Madonna with Child (Crivelli), how is the abstract discussed?
|
The Madonna with Child is a tempera painting, transferred to canvas, by Renaissance artist Carlo Crivelli. It is a Madonna painting dating to c. 1470.
It was painted with tempera on wood, then transferred to canvas. It was a piece of an altar in the Church of the Osservanti in Macerata, Marche, Italy. It is now located in the Pinacoteca di Macerata.
|
[
"Madonna",
"Macerata",
"tempera",
"Renaissance",
"Carlo Crivelli",
"Marche",
"transferred to canvas"
] |
|
13696_NT
|
Madonna with Child (Crivelli)
|
In this artwork, how is the abstract discussed?
|
The Madonna with Child is a tempera painting, transferred to canvas, by Renaissance artist Carlo Crivelli. It is a Madonna painting dating to c. 1470.
It was painted with tempera on wood, then transferred to canvas. It was a piece of an altar in the Church of the Osservanti in Macerata, Marche, Italy. It is now located in the Pinacoteca di Macerata.
|
[
"Madonna",
"Macerata",
"tempera",
"Renaissance",
"Carlo Crivelli",
"Marche",
"transferred to canvas"
] |
|
13697_T
|
Geumgang jeondo
|
Focus on Geumgang jeondo and explore the abstract.
|
Geumgang jeondo (Korean: 금강전도; Hanja: 金剛全圖) is a 1734 landscape painted by Jeong Seon. It was painted during the reign of King Yeongjo, and has since become famous. The title literally means "General view of Mt. Geumgangsan" or The Diamond Mountains). It was classified as the 217th National Treasure of South Korea on August 6, 1984. The painting is currently held and managed by the Ho-Am Art Museum in Yongin, Gyeonggi Province and is owned by Lee Kun-hee.
While many contemporaneous painters imitated the latest art trends from China, Jeong Seon ignored these to create unique themes based on Korean landscapes. His catalogue of paintings of Geumgansan made him famous and the preeminent painter of his time at the age of 37. He eventually painted around 100 images of the mountains which still exist to this day. The artist’s love of the mountains influenced other artists to depict the Diamond Mountains and even encouraged mapmakers to make maps of the area.
Although Jeong Seon made many paintings of Mt. Geumgangsan, this painting is the largest and considered his best. Like many of his paintings, Jeong Seon painted this landscape while actually viewing the mountains. The painting is 130.7 centimeters in height and 94.1 centimeters in width. It is painted with India ink. The painting is of Naegeumgang, the Inner Mt. Geumgangsan. The painting depicts a total of twelve thousand peaks. The highest peak, Birobong, lies in the background and water flows from it toward a valley called Manpokdong which is divided from the left and right. The high sharp peaks are depicted by the artist with lines painted up and down while the artist used a dotting brush method to depict the earthen peaks, making them appear relatively soft and lush. This composition harmonizes the contrasting sharp edges of the rocky peaks with the softer earthen peaks.
|
[
"Geumgangsan",
"Gyeonggi Province",
"Hanja",
"left",
"Jeong Seon",
"Ho-Am Art Museum",
"Lee Kun-hee",
"King Yeongjo",
"National Treasure of South Korea",
"Yongin"
] |
|
13697_NT
|
Geumgang jeondo
|
Focus on this artwork and explore the abstract.
|
Geumgang jeondo (Korean: 금강전도; Hanja: 金剛全圖) is a 1734 landscape painted by Jeong Seon. It was painted during the reign of King Yeongjo, and has since become famous. The title literally means "General view of Mt. Geumgangsan" or The Diamond Mountains). It was classified as the 217th National Treasure of South Korea on August 6, 1984. The painting is currently held and managed by the Ho-Am Art Museum in Yongin, Gyeonggi Province and is owned by Lee Kun-hee.
While many contemporaneous painters imitated the latest art trends from China, Jeong Seon ignored these to create unique themes based on Korean landscapes. His catalogue of paintings of Geumgansan made him famous and the preeminent painter of his time at the age of 37. He eventually painted around 100 images of the mountains which still exist to this day. The artist’s love of the mountains influenced other artists to depict the Diamond Mountains and even encouraged mapmakers to make maps of the area.
Although Jeong Seon made many paintings of Mt. Geumgangsan, this painting is the largest and considered his best. Like many of his paintings, Jeong Seon painted this landscape while actually viewing the mountains. The painting is 130.7 centimeters in height and 94.1 centimeters in width. It is painted with India ink. The painting is of Naegeumgang, the Inner Mt. Geumgangsan. The painting depicts a total of twelve thousand peaks. The highest peak, Birobong, lies in the background and water flows from it toward a valley called Manpokdong which is divided from the left and right. The high sharp peaks are depicted by the artist with lines painted up and down while the artist used a dotting brush method to depict the earthen peaks, making them appear relatively soft and lush. This composition harmonizes the contrasting sharp edges of the rocky peaks with the softer earthen peaks.
|
[
"Geumgangsan",
"Gyeonggi Province",
"Hanja",
"left",
"Jeong Seon",
"Ho-Am Art Museum",
"Lee Kun-hee",
"King Yeongjo",
"National Treasure of South Korea",
"Yongin"
] |
|
13698_T
|
Geumgang jeondo
|
Focus on Geumgang jeondo and explain the Pungsu interpretation.
|
Many philosophical interpretations have been given of this work. The names of Teacher Choi Oen-su(최왼수), Prof. Yu Jeon-yeong(유준영), and Prof. Oh Ju-seok(오주석) are coming to mind. From the synthesis provided by Pr Gang Gwansik(姜寬植), this painting encompasses the landscape in a circular form, creating a "Geumgang planet". To obtain this result, some elements were resized, displaced or even suppressed, as can be seen by comparing with other paintings by Jeong Seon, like the Geumgang in autumn.
--to be continued--
|
[
"Jeong Seon",
"Geumgang in autumn"
] |
|
13698_NT
|
Geumgang jeondo
|
Focus on this artwork and explain the Pungsu interpretation.
|
Many philosophical interpretations have been given of this work. The names of Teacher Choi Oen-su(최왼수), Prof. Yu Jeon-yeong(유준영), and Prof. Oh Ju-seok(오주석) are coming to mind. From the synthesis provided by Pr Gang Gwansik(姜寬植), this painting encompasses the landscape in a circular form, creating a "Geumgang planet". To obtain this result, some elements were resized, displaced or even suppressed, as can be seen by comparing with other paintings by Jeong Seon, like the Geumgang in autumn.
--to be continued--
|
[
"Jeong Seon",
"Geumgang in autumn"
] |
|
13699_T
|
Geumgang jeondo
|
Explore the Additional poem of this artwork, Geumgang jeondo.
|
The upper left corner of the work contains the title of the painting 金剛全圖 (Map of the Geumgang Mountain) as well as the signature and the stamp of the artist.The upper right corner contains a set of 60 characters. The four central ones, 甲寅冬題, are making like an island and say "Gapin(1734) winter theme". The 56 others are the 8 verses of a poem,
萬二千峯皆骨山 - 만이천봉개골산
何人用意寫眞顔 - 하인용의사진안
衆香浮動扶桑外 - 중향부동부상외
積氣雄蟠世界間 - 적기웅반세계간
幾朶芙蓉揚素彩 - 기타부용양소채
半林松栢隱玄關 - 반림송백은현관
從今脚踏須今遍 - 종금각답수금편
爭似枕邊看不慳 - 쟁사침변간불간
and seem to draw the banks of a pond around the island.
This inscription has been used to date the painting to winter 1734, when Jeong Seon was 59 years old. (1734 was the only gap-in year during Jeong Seon's life). But a more precise analysis undertaken by Gang Gwan-sik has shown that this 60 characters inscription has not been written by Jeong Seon. The brush strokes are not the same. Moreover, the painting uses Mt. Geumgang (金剛), the spring name of Mt. Diamond, for its title, while the poem uses Mt. Gaegol (皆骨), the winter name of the mountain. A better evaluation of the poem is to consider it as an homage written in winter 1794 (another gap-in year) by the custodian of the work. Far being from describing a paint from view process, the poem ends by saying:"Even if you visit the mountain yourself and tread on its every nook and cranny, how can your joy be compared with what you feel upon viewing this picture from your bedside?"
|
[
"left",
"Jeong Seon"
] |
|
13699_NT
|
Geumgang jeondo
|
Explore the Additional poem of this artwork.
|
The upper left corner of the work contains the title of the painting 金剛全圖 (Map of the Geumgang Mountain) as well as the signature and the stamp of the artist.The upper right corner contains a set of 60 characters. The four central ones, 甲寅冬題, are making like an island and say "Gapin(1734) winter theme". The 56 others are the 8 verses of a poem,
萬二千峯皆骨山 - 만이천봉개골산
何人用意寫眞顔 - 하인용의사진안
衆香浮動扶桑外 - 중향부동부상외
積氣雄蟠世界間 - 적기웅반세계간
幾朶芙蓉揚素彩 - 기타부용양소채
半林松栢隱玄關 - 반림송백은현관
從今脚踏須今遍 - 종금각답수금편
爭似枕邊看不慳 - 쟁사침변간불간
and seem to draw the banks of a pond around the island.
This inscription has been used to date the painting to winter 1734, when Jeong Seon was 59 years old. (1734 was the only gap-in year during Jeong Seon's life). But a more precise analysis undertaken by Gang Gwan-sik has shown that this 60 characters inscription has not been written by Jeong Seon. The brush strokes are not the same. Moreover, the painting uses Mt. Geumgang (金剛), the spring name of Mt. Diamond, for its title, while the poem uses Mt. Gaegol (皆骨), the winter name of the mountain. A better evaluation of the poem is to consider it as an homage written in winter 1794 (another gap-in year) by the custodian of the work. Far being from describing a paint from view process, the poem ends by saying:"Even if you visit the mountain yourself and tread on its every nook and cranny, how can your joy be compared with what you feel upon viewing this picture from your bedside?"
|
[
"left",
"Jeong Seon"
] |
|
13700_T
|
The Fisher Boy
|
Focus on The Fisher Boy and discuss the abstract.
|
The Fisher Boy is a painting by the Dutch Golden Age painter Frans Hals, painted in the early 1630s, now in the Royal Museum of Fine Arts Antwerp.
|
[
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Dutch Golden Age painter",
"Frans Hals"
] |
|
13700_NT
|
The Fisher Boy
|
Focus on this artwork and discuss the abstract.
|
The Fisher Boy is a painting by the Dutch Golden Age painter Frans Hals, painted in the early 1630s, now in the Royal Museum of Fine Arts Antwerp.
|
[
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Dutch Golden Age painter",
"Frans Hals"
] |
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