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|---|---|---|---|---|---|
13701_T
|
The Fisher Boy
|
How does The Fisher Boy elucidate its Painting?
|
This painting was documented by Cornelis Hofstede de Groot in 1910, who wrote "49. DE STRANDLOOPER VAN HAARLEM (The Haarlem Fisher-Boy). B. 37 ; M. 254. Half-length ; life size. A fisher-boy, seen in full face, laughs at the spectator. His arms are folded on his breast. He wears a little cap ; his hair is in disorder. He wears a jacket with broad sleeves, and carries a basket on his back. At the back is a landscape ; to the right is the sea. [Possibly identical with 55, 58a, and 58c.] Signed on the left with the intertwined letters " F. H." ; canvas, 30 inches by 25 1/2 inches. Sale. Alphonse Oudry, Paris, April 16 and 20, 1869. In the possession of the Paris dealer Ch. Sedelmeyer, " Catalogue of 300 Paintings," 1898, No. 46. In the Antwerp Museum, 1905 catalogue, No. 188. "Hofstede de Groot noted several fisherboys by Hals along with this one (catalogue numbers 49 through to 58c). This painting was also documented by W.R. Valentiner in 1923.Other fisher folk by Hals:
|
[
"Cornelis Hofstede de Groot",
"Alphonse Oudry",
"Antwerp",
"W.R. Valentiner",
"Ch. Sedelmeyer"
] |
|
13701_NT
|
The Fisher Boy
|
How does this artwork elucidate its Painting?
|
This painting was documented by Cornelis Hofstede de Groot in 1910, who wrote "49. DE STRANDLOOPER VAN HAARLEM (The Haarlem Fisher-Boy). B. 37 ; M. 254. Half-length ; life size. A fisher-boy, seen in full face, laughs at the spectator. His arms are folded on his breast. He wears a little cap ; his hair is in disorder. He wears a jacket with broad sleeves, and carries a basket on his back. At the back is a landscape ; to the right is the sea. [Possibly identical with 55, 58a, and 58c.] Signed on the left with the intertwined letters " F. H." ; canvas, 30 inches by 25 1/2 inches. Sale. Alphonse Oudry, Paris, April 16 and 20, 1869. In the possession of the Paris dealer Ch. Sedelmeyer, " Catalogue of 300 Paintings," 1898, No. 46. In the Antwerp Museum, 1905 catalogue, No. 188. "Hofstede de Groot noted several fisherboys by Hals along with this one (catalogue numbers 49 through to 58c). This painting was also documented by W.R. Valentiner in 1923.Other fisher folk by Hals:
|
[
"Cornelis Hofstede de Groot",
"Alphonse Oudry",
"Antwerp",
"W.R. Valentiner",
"Ch. Sedelmeyer"
] |
|
13702_T
|
Mother and Daughter Seated
|
Focus on Mother and Daughter Seated and analyze the abstract.
|
Mother and Daughter Seated (also known as Mother and Daughter, seated and Madre e Hija Sentadas) is a 1971 outdoor bronze sculpture by Francisco Zúñiga, installed at Balboa Park in San Diego, in the U.S. state of California. It is part of the collection of the San Diego Museum of Art.
|
[
"bronze sculpture",
"U.S. state",
"San Diego",
"San Diego Museum of Art",
"Francisco Zúñiga",
"Balboa Park"
] |
|
13702_NT
|
Mother and Daughter Seated
|
Focus on this artwork and analyze the abstract.
|
Mother and Daughter Seated (also known as Mother and Daughter, seated and Madre e Hija Sentadas) is a 1971 outdoor bronze sculpture by Francisco Zúñiga, installed at Balboa Park in San Diego, in the U.S. state of California. It is part of the collection of the San Diego Museum of Art.
|
[
"bronze sculpture",
"U.S. state",
"San Diego",
"San Diego Museum of Art",
"Francisco Zúñiga",
"Balboa Park"
] |
|
13703_T
|
Versus Medici
|
In Versus Medici, how is the abstract discussed?
|
Versus Medici is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork, which references the Medici family, sold for $50.8 million at Sotheby's in May 2021.
|
[
"Jean-Michel Basquiat",
"Medici family",
"Sotheby's"
] |
|
13703_NT
|
Versus Medici
|
In this artwork, how is the abstract discussed?
|
Versus Medici is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork, which references the Medici family, sold for $50.8 million at Sotheby's in May 2021.
|
[
"Jean-Michel Basquiat",
"Medici family",
"Sotheby's"
] |
|
13704_T
|
Superlambanana
|
Focus on Superlambanana and explore the abstract.
|
Superlambanana is a bright yellow sculpture in Liverpool, England. Weighing almost 8 tonnes (7.9 long tons) and standing at 5.2 metres (17 feet) tall, it is intended to be a cross between a banana and a lamb and was designed by New York City-based Japanese artist Taro Chiezo. It currently stands in Tithebarn Street, outside the Avril Robarts Library of Liverpool John Moores University, having previously been located on Wapping near the Albert Dock.Chiezo himself only created a four-inch model, while the full-size replica was made by local artists Andy Small, Julian Taylor, Tommy Reason, and Ray Stokes. Developed for the 1998 ArtTransPennine Exhibition, the sculpture reflects the history of Liverpool, as both sheep and bananas were historically common cargos in the city's docks, while it is also a comment on the potential dangers of genetic engineering.
In 2008, as part of Liverpool's year-long position as the European Capital of Culture, 125 individual miniature replicas were created. Sponsored by local community organisations and businesses in the city, the mini Superlambananas were located throughout the Liverpool and Merseyside region. One sculpture, The Highest SuperLambBanana, was located on top of Moel Famau, North Wales, recognising the very close links the city has with that region.
|
[
"banana",
"Taro Chiezo",
"Liverpool",
"history of Liverpool",
"North Wales",
"Liver",
"England",
"Wapping",
"right",
"Albert Dock",
"lamb",
"Capital of Culture",
"New York City",
"Wales",
"Moel Famau",
"Liverpool John Moores University",
"Banana",
"Avril Robarts Library",
"genetic engineering",
"European Capital of Culture"
] |
|
13704_NT
|
Superlambanana
|
Focus on this artwork and explore the abstract.
|
Superlambanana is a bright yellow sculpture in Liverpool, England. Weighing almost 8 tonnes (7.9 long tons) and standing at 5.2 metres (17 feet) tall, it is intended to be a cross between a banana and a lamb and was designed by New York City-based Japanese artist Taro Chiezo. It currently stands in Tithebarn Street, outside the Avril Robarts Library of Liverpool John Moores University, having previously been located on Wapping near the Albert Dock.Chiezo himself only created a four-inch model, while the full-size replica was made by local artists Andy Small, Julian Taylor, Tommy Reason, and Ray Stokes. Developed for the 1998 ArtTransPennine Exhibition, the sculpture reflects the history of Liverpool, as both sheep and bananas were historically common cargos in the city's docks, while it is also a comment on the potential dangers of genetic engineering.
In 2008, as part of Liverpool's year-long position as the European Capital of Culture, 125 individual miniature replicas were created. Sponsored by local community organisations and businesses in the city, the mini Superlambananas were located throughout the Liverpool and Merseyside region. One sculpture, The Highest SuperLambBanana, was located on top of Moel Famau, North Wales, recognising the very close links the city has with that region.
|
[
"banana",
"Taro Chiezo",
"Liverpool",
"history of Liverpool",
"North Wales",
"Liver",
"England",
"Wapping",
"right",
"Albert Dock",
"lamb",
"Capital of Culture",
"New York City",
"Wales",
"Moel Famau",
"Liverpool John Moores University",
"Banana",
"Avril Robarts Library",
"genetic engineering",
"European Capital of Culture"
] |
|
13705_T
|
Superlambanana
|
Focus on Superlambanana and explain the Origin.
|
The sculpture was created for the ArtTransPennine Exhibition in 1998, part of an initiative to create a 'corridor of art' through the North of England. Liverpool's contribution, designed by Japanese artist Taro Chiezo, was the Superlambanana which was unveiled to the city at the reopening of Liverpool's branch of the famous Tate Gallery. An ironic comment on the dangers of genetic engineering, it was developed with the city specifically in mind as both the banana and lamb were once a common cargo in Liverpool's bustling docks. The thinking behind Chiezo's Superlambanana was the creation of something that 'spoke of the future of 90's Liverpool'. He had previously visited the city and been inspired by the Queensway Tunnel's ventilation shaft, in particular the symbolism of how a vital piece of 1930's engineering had been incorporated into a broader 'sculpture' (or in this case an aesthetically attractive building). Chiezo himself made only a four-inch model, with four local sculptors: Andy Small, Julian Taylor, Tommy Reason and Ray Stokes, recreating it on a scale of 50:1.It was created using a wire-mesh frame that supported a concrete and fibreglass shell and was developed at the former Bryant and May Matchworks factory in the south of the City at a total cost of £35,000. The sculpture was at first considered controversial and there was scepticism regarding its purpose and value. However it soon became a popular symbol in the city and a valued piece of public art. At the end of the ArtTransPennine Exhibition, responsibility for the sculpture was handed to the Liverpool Architecture & Design Trust.
|
[
"banana",
"Taro Chiezo",
"Queensway Tunnel",
"Liverpool",
"Liver",
"England",
"Tate",
"lamb",
"Bryant and May",
"Tate Gallery",
"genetic engineering",
"Liverpool's branch",
"Bryant and May Matchworks"
] |
|
13705_NT
|
Superlambanana
|
Focus on this artwork and explain the Origin.
|
The sculpture was created for the ArtTransPennine Exhibition in 1998, part of an initiative to create a 'corridor of art' through the North of England. Liverpool's contribution, designed by Japanese artist Taro Chiezo, was the Superlambanana which was unveiled to the city at the reopening of Liverpool's branch of the famous Tate Gallery. An ironic comment on the dangers of genetic engineering, it was developed with the city specifically in mind as both the banana and lamb were once a common cargo in Liverpool's bustling docks. The thinking behind Chiezo's Superlambanana was the creation of something that 'spoke of the future of 90's Liverpool'. He had previously visited the city and been inspired by the Queensway Tunnel's ventilation shaft, in particular the symbolism of how a vital piece of 1930's engineering had been incorporated into a broader 'sculpture' (or in this case an aesthetically attractive building). Chiezo himself made only a four-inch model, with four local sculptors: Andy Small, Julian Taylor, Tommy Reason and Ray Stokes, recreating it on a scale of 50:1.It was created using a wire-mesh frame that supported a concrete and fibreglass shell and was developed at the former Bryant and May Matchworks factory in the south of the City at a total cost of £35,000. The sculpture was at first considered controversial and there was scepticism regarding its purpose and value. However it soon became a popular symbol in the city and a valued piece of public art. At the end of the ArtTransPennine Exhibition, responsibility for the sculpture was handed to the Liverpool Architecture & Design Trust.
|
[
"banana",
"Taro Chiezo",
"Queensway Tunnel",
"Liverpool",
"Liver",
"England",
"Tate",
"lamb",
"Bryant and May",
"Tate Gallery",
"genetic engineering",
"Liverpool's branch",
"Bryant and May Matchworks"
] |
|
13706_T
|
Superlambanana
|
Explore the Time in the Liverpool area of this artwork, Superlambanana.
|
Since the sculpture's conception it was intended to move around the city and not remain in one location. It was originally located on the Strand near Liverpool's famous Liver Building and has since been located in several places including Williamson Square, Spike Island in Widnes, Cheshire, and on Wapping, close to the Albert Dock. Council leader Warren Bradley also suggested that the sculpture could be moved to Garston in the south of the city in the near future.Although its usual colour is yellow, the statue has occasionally been given a temporary repaint as part of a sponsorship arrangement. Colours have included pink, during a period of sponsorship by the breast cancer awareness charity Breakthrough, the colours of a Friesian cow during a period of 'quasi-vandalism', and purple during the SmokeFree Liverpool campaign. In 2023 the statue was painted in the colours of the Ukrainian flag to mark the Eurovision Song Contest being held in Liverpool on behalf of Ukraine, due to Russia's full scale war in Ukraine.
|
[
"Liverpool",
"Warren Bradley",
"Liver",
"Liver Building",
"Wapping",
"Garston",
"Williamson Square",
"Albert Dock",
"Widnes",
"Spike Island",
"Cheshire",
"breast cancer",
"Breakthrough",
"Widnes, Cheshire",
"Friesian cow"
] |
|
13706_NT
|
Superlambanana
|
Explore the Time in the Liverpool area of this artwork.
|
Since the sculpture's conception it was intended to move around the city and not remain in one location. It was originally located on the Strand near Liverpool's famous Liver Building and has since been located in several places including Williamson Square, Spike Island in Widnes, Cheshire, and on Wapping, close to the Albert Dock. Council leader Warren Bradley also suggested that the sculpture could be moved to Garston in the south of the city in the near future.Although its usual colour is yellow, the statue has occasionally been given a temporary repaint as part of a sponsorship arrangement. Colours have included pink, during a period of sponsorship by the breast cancer awareness charity Breakthrough, the colours of a Friesian cow during a period of 'quasi-vandalism', and purple during the SmokeFree Liverpool campaign. In 2023 the statue was painted in the colours of the Ukrainian flag to mark the Eurovision Song Contest being held in Liverpool on behalf of Ukraine, due to Russia's full scale war in Ukraine.
|
[
"Liverpool",
"Warren Bradley",
"Liver",
"Liver Building",
"Wapping",
"Garston",
"Williamson Square",
"Albert Dock",
"Widnes",
"Spike Island",
"Cheshire",
"breast cancer",
"Breakthrough",
"Widnes, Cheshire",
"Friesian cow"
] |
|
13707_T
|
Superlambanana
|
Focus on Superlambanana and discuss the After Liverpool.
|
There had been a great deal of speculation about the future of the sculpture after it emerged that it was only on loan to the city council from the artist and it had been suggested that the sculpture could be sold to Liverpool's neighbour Manchester. In September 2008 talks began between the Liverpool Culture Company and representatives of Taro Chiezo about keeping the sculpture in Liverpool.Six months later, in February 2009, it was announced that an agreement had been reached between the two parties that will see a new replica model being made by original sculptor Julian Taylor that will remain in the city for the next 80 years. It is expected that the current Superlambanana will be returned to Chiezo to be auctioned off.
|
[
"banana",
"Taro Chiezo",
"Liverpool",
"Liver",
"lamb",
"Liverpool Culture Company",
"Manchester",
"city council"
] |
|
13707_NT
|
Superlambanana
|
Focus on this artwork and discuss the After Liverpool.
|
There had been a great deal of speculation about the future of the sculpture after it emerged that it was only on loan to the city council from the artist and it had been suggested that the sculpture could be sold to Liverpool's neighbour Manchester. In September 2008 talks began between the Liverpool Culture Company and representatives of Taro Chiezo about keeping the sculpture in Liverpool.Six months later, in February 2009, it was announced that an agreement had been reached between the two parties that will see a new replica model being made by original sculptor Julian Taylor that will remain in the city for the next 80 years. It is expected that the current Superlambanana will be returned to Chiezo to be auctioned off.
|
[
"banana",
"Taro Chiezo",
"Liverpool",
"Liver",
"lamb",
"Liverpool Culture Company",
"Manchester",
"city council"
] |
|
13708_T
|
Superlambanana
|
How does Superlambanana elucidate its Go Superlambananas!?
|
As part of Liverpool's Capital of Culture celebrations, 125 two-metre-high replicas of Superlambanana were commissioned and located throughout Liverpool and the surrounding areas. The mini Superlambananas were developed in partnership between the Liverpool Culture Company and Wild in Art, with each one being sponsored by a local institution or business and designed by local community members. The miniature Superlambananas were on display for ten weeks, from the June to August 2008. The Liverpool Echo partnered with the event, releasing a location map and guide of every mini Superlambanana to encourage locals to get involved. All but two of them were located within the Merseyside area. Lovemedoodle was located at Euston railway station in London for a short while until it was moved back to Liverpool Lime Street station, whilst The Highest SuperLambBanana was located on top of Moel Famau in North Wales and was sponsored by Denbighshire County Council.At the end of their ten-week run, the mini Superlambananas were auctioned off for the Lord Mayor's charities, with each having a guide price ranging from £3,000 to £8,000. The first of two auctions was held at St George's Hall on 9 September 2008 with 68 Superlambananas up for sale. In total they sold for a combined sum of £550,000 or approximately £7,800 each, well above estimates. The highest bid on the night was £25,000, paid by the Chairman of National Museums Liverpool for 'Mandy' Mandala Superlambanana created by glass artist Patricia Lee, whilst Phil Redmond, creative director of the Liverpool Culture Company, purchased four lots for a total of £55,000. Other notable purchasers included comedian John Bishop, playwright Fred Lawless and Big Brother star Craig Phillips. A second, internet-based auction (hosted by AuctionYourProperty) took place on 16 September 2008 with 25% of the proceeds going to charity.
|
[
"banana",
"Liverpool Lime Street station",
"National Museums Liverpool",
"Liverpool",
"North Wales",
"The Liverpool Echo",
"Liver",
"Phil Redmond",
"Lime Street station",
"right",
"Denbighshire County Council",
"Big Brother",
"lamb",
"Capital of Culture",
"Go Superlambananas!",
"Euston railway station",
"Fred Lawless",
"Liverpool Culture Company",
"Wales",
"Craig Phillips",
"Moel Famau",
"Liverpool Echo",
"Banana",
"John Bishop",
"Lord Mayor"
] |
|
13708_NT
|
Superlambanana
|
How does this artwork elucidate its Go Superlambananas!?
|
As part of Liverpool's Capital of Culture celebrations, 125 two-metre-high replicas of Superlambanana were commissioned and located throughout Liverpool and the surrounding areas. The mini Superlambananas were developed in partnership between the Liverpool Culture Company and Wild in Art, with each one being sponsored by a local institution or business and designed by local community members. The miniature Superlambananas were on display for ten weeks, from the June to August 2008. The Liverpool Echo partnered with the event, releasing a location map and guide of every mini Superlambanana to encourage locals to get involved. All but two of them were located within the Merseyside area. Lovemedoodle was located at Euston railway station in London for a short while until it was moved back to Liverpool Lime Street station, whilst The Highest SuperLambBanana was located on top of Moel Famau in North Wales and was sponsored by Denbighshire County Council.At the end of their ten-week run, the mini Superlambananas were auctioned off for the Lord Mayor's charities, with each having a guide price ranging from £3,000 to £8,000. The first of two auctions was held at St George's Hall on 9 September 2008 with 68 Superlambananas up for sale. In total they sold for a combined sum of £550,000 or approximately £7,800 each, well above estimates. The highest bid on the night was £25,000, paid by the Chairman of National Museums Liverpool for 'Mandy' Mandala Superlambanana created by glass artist Patricia Lee, whilst Phil Redmond, creative director of the Liverpool Culture Company, purchased four lots for a total of £55,000. Other notable purchasers included comedian John Bishop, playwright Fred Lawless and Big Brother star Craig Phillips. A second, internet-based auction (hosted by AuctionYourProperty) took place on 16 September 2008 with 25% of the proceeds going to charity.
|
[
"banana",
"Liverpool Lime Street station",
"National Museums Liverpool",
"Liverpool",
"North Wales",
"The Liverpool Echo",
"Liver",
"Phil Redmond",
"Lime Street station",
"right",
"Denbighshire County Council",
"Big Brother",
"lamb",
"Capital of Culture",
"Go Superlambananas!",
"Euston railway station",
"Fred Lawless",
"Liverpool Culture Company",
"Wales",
"Craig Phillips",
"Moel Famau",
"Liverpool Echo",
"Banana",
"John Bishop",
"Lord Mayor"
] |
|
13709_T
|
Superlambanana
|
Focus on Superlambanana and analyze the Superlambananas return.
|
Early in 2010, eight new two-metre-high replicas of Superlambanana, known as the "Eight for 08" were commissioned as a permanent piece of public art. Initially placed on The Strand, in front of the Cunard and Liver Buildings, they were destined to be moved to Lime Street station following the station's refurbishment.In 2010, one of these sculptures was sent to the 2010 World Expo in Shanghai, China. This sculpture was named 'Archie' as it featured many designs from architectural details from the city. The sculpture was gifted by the city, and now resides in the Shanghai World Expo Museum. This sculpture was made in the medium of mosaic, and was designed and made by Debbie Ryan, a local artist from the city of Liverpool.
As of October 2014, four of the 'Eight for 08' have been relocated to the Pier Head, outside the new Museum of Liverpool. Mandy Mandala Superlambanana is in the museum itself. Before the Eurovision Song Contest was held in Liverpool in June 2023, the Museum of Liverpool made a video explaining to visitors what a Superlambana is.
|
[
"banana",
"Liverpool",
"Liver",
"Liver Building",
"Lime Street station",
"Cunard",
"lamb",
"Museum of Liverpool",
"Pier Head"
] |
|
13709_NT
|
Superlambanana
|
Focus on this artwork and analyze the Superlambananas return.
|
Early in 2010, eight new two-metre-high replicas of Superlambanana, known as the "Eight for 08" were commissioned as a permanent piece of public art. Initially placed on The Strand, in front of the Cunard and Liver Buildings, they were destined to be moved to Lime Street station following the station's refurbishment.In 2010, one of these sculptures was sent to the 2010 World Expo in Shanghai, China. This sculpture was named 'Archie' as it featured many designs from architectural details from the city. The sculpture was gifted by the city, and now resides in the Shanghai World Expo Museum. This sculpture was made in the medium of mosaic, and was designed and made by Debbie Ryan, a local artist from the city of Liverpool.
As of October 2014, four of the 'Eight for 08' have been relocated to the Pier Head, outside the new Museum of Liverpool. Mandy Mandala Superlambanana is in the museum itself. Before the Eurovision Song Contest was held in Liverpool in June 2023, the Museum of Liverpool made a video explaining to visitors what a Superlambana is.
|
[
"banana",
"Liverpool",
"Liver",
"Liver Building",
"Lime Street station",
"Cunard",
"lamb",
"Museum of Liverpool",
"Pier Head"
] |
|
13710_T
|
Fuente de la India
|
In Fuente de la India, how is the abstract discussed?
|
Fuente de la India ("Fountain of the Indian woman") is a fountain by Giuseppe Gaggini in Havana, Cuba, at the south extreme of Paseo del Prado, about 100 m south of El Capitolio, between Monte and Dragones Streets. The figure represents the Indian woman "Habana" in whose honor Havana was named.Originally (1837) it was placed outside the city walls at the end of the Alameda which today is the Paseo del Prado. From 1803 until that time a statue of King Carlos III was located there. Its opening was an event in the then still young town of San Cristobal. In 1863, by the resolution of Council, the fountain was moved to the Parque Central. In 1875 it was put back in its current position, i.e. its initial one but facing towards the then called Campo de Marte. In 1928, when the adjacent area became the Plaza de la Fraternidad, the statue was rotated 90° to face the new Capitolio building.
|
[
"Havana",
"Carlos III",
"Giuseppe Gaggini",
"El Capitolio",
"Cuba",
"Paseo del Prado",
"Parque Central"
] |
|
13710_NT
|
Fuente de la India
|
In this artwork, how is the abstract discussed?
|
Fuente de la India ("Fountain of the Indian woman") is a fountain by Giuseppe Gaggini in Havana, Cuba, at the south extreme of Paseo del Prado, about 100 m south of El Capitolio, between Monte and Dragones Streets. The figure represents the Indian woman "Habana" in whose honor Havana was named.Originally (1837) it was placed outside the city walls at the end of the Alameda which today is the Paseo del Prado. From 1803 until that time a statue of King Carlos III was located there. Its opening was an event in the then still young town of San Cristobal. In 1863, by the resolution of Council, the fountain was moved to the Parque Central. In 1875 it was put back in its current position, i.e. its initial one but facing towards the then called Campo de Marte. In 1928, when the adjacent area became the Plaza de la Fraternidad, the statue was rotated 90° to face the new Capitolio building.
|
[
"Havana",
"Carlos III",
"Giuseppe Gaggini",
"El Capitolio",
"Cuba",
"Paseo del Prado",
"Parque Central"
] |
|
13711_T
|
Fuente de la India
|
Focus on Fuente de la India and explore the History.
|
The fountain, was built at the initiative of the Count of Villanueva Don Claudio Martinez de Pinillos. It was brought from Italy in 1837, and was modeled in Carrara by Italian sculptor Giuseppe Gaggini. About 3m high, India is a fountain of white marble on a rectangular pedestal with four dolphins, one on each corner, whose tongues are dispensers that pour water on the huge shells that form its base.On a rock sits the young Indian woman looking to the east as if searching for some long-lost thing on the horizon. Her face is that of an Indian, but, and this is one of the strongest criticisms towards its creator, the statue shows a typical profile of a Greek woman, which, for its time, was the epitome of female perfection. She wears a crown of feathers over her left shoulder and a quiver full of arrows is fastened to her left shoulder, while with her right hand she holds the upper end of an oval shield, which bears the original symbols of the city. In her left hand she carries the cornucopia of Amalthea, but the Italian artist replaced European fruits with Cuban ones, and it is topped with a pineapple. Her image is highlighted by a pedestal adorned with laurels and garlands, which four large dolphins support.The fountain is presently sited facing due north so that the face of the Havana sculpture is always in shadow.
|
[
"Havana",
"Carrara",
"Giuseppe Gaggini",
"left",
"Cuba"
] |
|
13711_NT
|
Fuente de la India
|
Focus on this artwork and explore the History.
|
The fountain, was built at the initiative of the Count of Villanueva Don Claudio Martinez de Pinillos. It was brought from Italy in 1837, and was modeled in Carrara by Italian sculptor Giuseppe Gaggini. About 3m high, India is a fountain of white marble on a rectangular pedestal with four dolphins, one on each corner, whose tongues are dispensers that pour water on the huge shells that form its base.On a rock sits the young Indian woman looking to the east as if searching for some long-lost thing on the horizon. Her face is that of an Indian, but, and this is one of the strongest criticisms towards its creator, the statue shows a typical profile of a Greek woman, which, for its time, was the epitome of female perfection. She wears a crown of feathers over her left shoulder and a quiver full of arrows is fastened to her left shoulder, while with her right hand she holds the upper end of an oval shield, which bears the original symbols of the city. In her left hand she carries the cornucopia of Amalthea, but the Italian artist replaced European fruits with Cuban ones, and it is topped with a pineapple. Her image is highlighted by a pedestal adorned with laurels and garlands, which four large dolphins support.The fountain is presently sited facing due north so that the face of the Havana sculpture is always in shadow.
|
[
"Havana",
"Carrara",
"Giuseppe Gaggini",
"left",
"Cuba"
] |
|
13712_T
|
The Red Popsicle
|
Focus on The Red Popsicle and explain the abstract.
|
The Red Popsicle (also known as Giant Red Twin Popsicle or simply Popsicle) is a 2011 sculpture by Catherine Mayer, installed in Seattle's Belltown neighborhood, in the U.S. state of Washington.
|
[
"Seattle",
"Washington",
"Catherine Mayer",
"U.S. state",
"Belltown"
] |
|
13712_NT
|
The Red Popsicle
|
Focus on this artwork and explain the abstract.
|
The Red Popsicle (also known as Giant Red Twin Popsicle or simply Popsicle) is a 2011 sculpture by Catherine Mayer, installed in Seattle's Belltown neighborhood, in the U.S. state of Washington.
|
[
"Seattle",
"Washington",
"Catherine Mayer",
"U.S. state",
"Belltown"
] |
|
13713_T
|
The Red Popsicle
|
Explore the Description and history of this artwork, The Red Popsicle.
|
The 17-foot steel and epoxy artwork was installed at the intersection of Fourth and Blanchard outside the building of the same name in early June 2011.
|
[
"epoxy",
"building of the same name"
] |
|
13713_NT
|
The Red Popsicle
|
Explore the Description and history of this artwork.
|
The 17-foot steel and epoxy artwork was installed at the intersection of Fourth and Blanchard outside the building of the same name in early June 2011.
|
[
"epoxy",
"building of the same name"
] |
|
13714_T
|
The Red Popsicle
|
Focus on The Red Popsicle and discuss the Reception.
|
Christina Ausley of the Seattle Post-Intelligencer described the sculpture as "public pop art that looks good enough to eat, but sadly is not". The newspaper also included the artwork in a 2021 list of "24 of Seattle's quirkiest landmarks". Bradley Foster included the sculpture in Thrillist's 2014 list of "10 secret Seattle things you didn't know existed". Sean Keeley and Sarah Anne Lloyd included the work in Curbed Seattle's 2019 list of "30 notable public art spots in Seattle".
|
[
"Seattle",
"Curbed Seattle",
"Thrillist",
"Curbed",
"Seattle Post-Intelligencer"
] |
|
13714_NT
|
The Red Popsicle
|
Focus on this artwork and discuss the Reception.
|
Christina Ausley of the Seattle Post-Intelligencer described the sculpture as "public pop art that looks good enough to eat, but sadly is not". The newspaper also included the artwork in a 2021 list of "24 of Seattle's quirkiest landmarks". Bradley Foster included the sculpture in Thrillist's 2014 list of "10 secret Seattle things you didn't know existed". Sean Keeley and Sarah Anne Lloyd included the work in Curbed Seattle's 2019 list of "30 notable public art spots in Seattle".
|
[
"Seattle",
"Curbed Seattle",
"Thrillist",
"Curbed",
"Seattle Post-Intelligencer"
] |
|
13715_T
|
Fountain of Venus
|
How does Fountain of Venus elucidate its abstract?
|
The fountain of Venus (Spanish: Fuente de Venus) is installed in Mexico City's Alameda Central, in Mexico.
|
[
"Alameda Central",
"Venus",
"Mexico City"
] |
|
13715_NT
|
Fountain of Venus
|
How does this artwork elucidate its abstract?
|
The fountain of Venus (Spanish: Fuente de Venus) is installed in Mexico City's Alameda Central, in Mexico.
|
[
"Alameda Central",
"Venus",
"Mexico City"
] |
|
13716_T
|
Statue of George Washington (Houdon)
|
Focus on Statue of George Washington (Houdon) and analyze the abstract.
|
George Washington is a statue by the French sculptor Jean-Antoine Houdon from the late 18th century. Based on a life mask and other measurements of George Washington taken by Houdon, it is considered one of the most accurate depictions of the subject. The original sculpture is located in the rotunda of the Virginia State Capitol in Richmond, Virginia, and it has been copied extensively, with one copy standing in the United States Capitol Rotunda.
The date given for the sculpture varies. It was commissioned by the Virginia General Assembly in 1784, begun in 1785, signed "1788", completed in 1791 or 1792, and delivered in 1796.
|
[
"Virginia",
"Virginia State Capitol",
"George Washington",
"United States Capitol Rotunda",
"Richmond, Virginia",
"Virginia General Assembly",
"Jean-Antoine Houdon",
"United States Capitol",
"life mask"
] |
|
13716_NT
|
Statue of George Washington (Houdon)
|
Focus on this artwork and analyze the abstract.
|
George Washington is a statue by the French sculptor Jean-Antoine Houdon from the late 18th century. Based on a life mask and other measurements of George Washington taken by Houdon, it is considered one of the most accurate depictions of the subject. The original sculpture is located in the rotunda of the Virginia State Capitol in Richmond, Virginia, and it has been copied extensively, with one copy standing in the United States Capitol Rotunda.
The date given for the sculpture varies. It was commissioned by the Virginia General Assembly in 1784, begun in 1785, signed "1788", completed in 1791 or 1792, and delivered in 1796.
|
[
"Virginia",
"Virginia State Capitol",
"George Washington",
"United States Capitol Rotunda",
"Richmond, Virginia",
"Virginia General Assembly",
"Jean-Antoine Houdon",
"United States Capitol",
"life mask"
] |
|
13717_T
|
Statue of George Washington (Houdon)
|
In Statue of George Washington (Houdon), how is the Description discussed?
|
The original statue is carved from Carrara marble, weighing 18 tons. It depicts a standing life-sized Washington. In his right hand is a cane, his left arm rests on a fasces on which is slung his cape and sword, and at the back is a plow. He is shown wearing his military uniform, as Washington wished to be depicted in contemporary attire, rather than that of antiquity popular in Neo-classical sculpture.With its selection of objects both civilian (the plow and cane) and military (the fasces, sword, and uniform), the statue has been interpreted as invoking the imagery and ideal of an Ancient Roman dictator, Cincinnatus, with whom Washington has been compared in his decision to retire from public life following the Revolutionary War. Washington was elected president of The Society of the Cincinnati in 1783. At the time of the statue's commission, Washington had not yet served in the Constitutional Convention and would not become President of the United States until 1789.
Chief Justice John Marshall, a contemporary of Washington's said of the work, "Nothing in bronze or stone could be a more perfect image than this statue of the living Washington."
|
[
"Constitutional Convention",
"fasces",
"Society of the Cincinnati",
"Roman dictator",
"Cincinnatus",
"Chief Justice John Marshall",
"The Society of the Cincinnati",
"Carrara marble",
"Revolutionary War",
"John Marshall",
"Neo-classical sculpture",
"President of the United States"
] |
|
13717_NT
|
Statue of George Washington (Houdon)
|
In this artwork, how is the Description discussed?
|
The original statue is carved from Carrara marble, weighing 18 tons. It depicts a standing life-sized Washington. In his right hand is a cane, his left arm rests on a fasces on which is slung his cape and sword, and at the back is a plow. He is shown wearing his military uniform, as Washington wished to be depicted in contemporary attire, rather than that of antiquity popular in Neo-classical sculpture.With its selection of objects both civilian (the plow and cane) and military (the fasces, sword, and uniform), the statue has been interpreted as invoking the imagery and ideal of an Ancient Roman dictator, Cincinnatus, with whom Washington has been compared in his decision to retire from public life following the Revolutionary War. Washington was elected president of The Society of the Cincinnati in 1783. At the time of the statue's commission, Washington had not yet served in the Constitutional Convention and would not become President of the United States until 1789.
Chief Justice John Marshall, a contemporary of Washington's said of the work, "Nothing in bronze or stone could be a more perfect image than this statue of the living Washington."
|
[
"Constitutional Convention",
"fasces",
"Society of the Cincinnati",
"Roman dictator",
"Cincinnatus",
"Chief Justice John Marshall",
"The Society of the Cincinnati",
"Carrara marble",
"Revolutionary War",
"John Marshall",
"Neo-classical sculpture",
"President of the United States"
] |
|
13718_T
|
Statue of George Washington (Houdon)
|
Focus on Statue of George Washington (Houdon) and explore the Houdon original.
|
In 1784, the Virginia General Assembly commissioned a statue of George Washington "to be of the finest marble and the best workmanship," necessitating a European craftsman. The Governor of Virginia gave the responsibility of selecting the artist to Thomas Jefferson, then ambassador to France, who together with Benjamin Franklin recommended that Jean-Antoine Houdon, the most famous sculptor of the day, execute the work.Unsatisfied to work from a drawing of Washington by Charles Willson Peale sent for the project, and lured by a potential commission for an equestrian monument by the Congress of the Confederation, Houdon agreed to travel to the United States to work directly from Washington. His voyage was conditional on his life being insured for the trip, asking "that ten thousand livres be paid to his family should he die during the voyage". On July 28, 1785, (or, July 22, 1785 ) Houdon sailed with Benjamin Franklin and "two of his workmen" from Southampton, England, arriving in Philadelphia, Pennsylvania on September 14.In early October 1785, Houdon along with three assistants stayed at Washington's plantation Mount Vernon, taking detailed measurements of Washington's arms, legs, hands and chest and making a life mask of his face. By December, Houdon had returned to France.Though inscribed with the date "1788", it was completed in France in 1791 or 1792 (depending on the source). It was finally delivered to Richmond in 1796 and placed in the rotunda on May 14, 1796. Various explanations for the delay in its delivery have been given, including the French Revolution and untimely payments to Houdon, though most sources agree that the continued construction of the new Virginia State Capitol prevented its installation until the time it arrived.The equestrian monument that originally attracted Houdon to America was never commissioned. The 1783 resolution authorizing such a statue would eventually be fulfilled in 1860 when Clark Mills's equestrian statue of George Washington was installed at Washington Circle.
In the early 21st century the statue, together with the life mask and bust created by Houdon during the design process, were used as part of a forensic reconstruction of George Washington at various ages undertaken by Mount Vernon.
|
[
"Benjamin Franklin",
"Virginia",
"livres",
"Philadelphia, Pennsylvania",
"Virginia State Capitol",
"equestrian statue of George Washington",
"Charles Willson Peale",
"George Washington",
"Mount Vernon",
"Thomas Jefferson",
"Congress of the Confederation",
"Philadelphia",
"Clark Mills",
"Virginia General Assembly",
"Jean-Antoine Houdon",
"Washington Circle",
"French Revolution",
"life mask",
"insured"
] |
|
13718_NT
|
Statue of George Washington (Houdon)
|
Focus on this artwork and explore the Houdon original.
|
In 1784, the Virginia General Assembly commissioned a statue of George Washington "to be of the finest marble and the best workmanship," necessitating a European craftsman. The Governor of Virginia gave the responsibility of selecting the artist to Thomas Jefferson, then ambassador to France, who together with Benjamin Franklin recommended that Jean-Antoine Houdon, the most famous sculptor of the day, execute the work.Unsatisfied to work from a drawing of Washington by Charles Willson Peale sent for the project, and lured by a potential commission for an equestrian monument by the Congress of the Confederation, Houdon agreed to travel to the United States to work directly from Washington. His voyage was conditional on his life being insured for the trip, asking "that ten thousand livres be paid to his family should he die during the voyage". On July 28, 1785, (or, July 22, 1785 ) Houdon sailed with Benjamin Franklin and "two of his workmen" from Southampton, England, arriving in Philadelphia, Pennsylvania on September 14.In early October 1785, Houdon along with three assistants stayed at Washington's plantation Mount Vernon, taking detailed measurements of Washington's arms, legs, hands and chest and making a life mask of his face. By December, Houdon had returned to France.Though inscribed with the date "1788", it was completed in France in 1791 or 1792 (depending on the source). It was finally delivered to Richmond in 1796 and placed in the rotunda on May 14, 1796. Various explanations for the delay in its delivery have been given, including the French Revolution and untimely payments to Houdon, though most sources agree that the continued construction of the new Virginia State Capitol prevented its installation until the time it arrived.The equestrian monument that originally attracted Houdon to America was never commissioned. The 1783 resolution authorizing such a statue would eventually be fulfilled in 1860 when Clark Mills's equestrian statue of George Washington was installed at Washington Circle.
In the early 21st century the statue, together with the life mask and bust created by Houdon during the design process, were used as part of a forensic reconstruction of George Washington at various ages undertaken by Mount Vernon.
|
[
"Benjamin Franklin",
"Virginia",
"livres",
"Philadelphia, Pennsylvania",
"Virginia State Capitol",
"equestrian statue of George Washington",
"Charles Willson Peale",
"George Washington",
"Mount Vernon",
"Thomas Jefferson",
"Congress of the Confederation",
"Philadelphia",
"Clark Mills",
"Virginia General Assembly",
"Jean-Antoine Houdon",
"Washington Circle",
"French Revolution",
"life mask",
"insured"
] |
|
13719_T
|
Barrow (sculpture)
|
Focus on Barrow (sculpture) and explain the abstract.
|
Barrow is a public sculpture by an American artist Jill Viney. It is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture is just north of the Herron School of Art on New York Street. This sculpture is made from a double wall of fiberglass encasing a sheet of metal meshing. Barrow measures 8-foot (2.4 m) and 8-foot (2.4 m) in diameter. Barrow was installed at IUPUI at noon on 7 May 2008.
|
[
"IUPUI",
"metal",
"Indianapolis",
"Jill Viney",
"fiberglass",
"Indianapolis, Indiana",
"Indiana",
"Herron School of Art",
"Indiana University-Purdue University Indianapolis"
] |
|
13719_NT
|
Barrow (sculpture)
|
Focus on this artwork and explain the abstract.
|
Barrow is a public sculpture by an American artist Jill Viney. It is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture is just north of the Herron School of Art on New York Street. This sculpture is made from a double wall of fiberglass encasing a sheet of metal meshing. Barrow measures 8-foot (2.4 m) and 8-foot (2.4 m) in diameter. Barrow was installed at IUPUI at noon on 7 May 2008.
|
[
"IUPUI",
"metal",
"Indianapolis",
"Jill Viney",
"fiberglass",
"Indianapolis, Indiana",
"Indiana",
"Herron School of Art",
"Indiana University-Purdue University Indianapolis"
] |
|
13720_T
|
Barrow (sculpture)
|
Explore the Commissioning of this artwork, Barrow (sculpture).
|
Barrow was commissioned for IUPUI in 2007. The sculpture was installed at the Herron School of Art on Wednesday, May 7, at noon. Barrow will remain on display for two years. Barrow was inspired by Viney's visits to caves and burial mounds in Ireland and France. The word barrow means a prehistoric burial mound used by Celtic people of France, England, Scotland, and Ireland. Viney's inspiration for the ceiling of Barrow came from her experience in an actual barrow in Ireland. While inside the mound's central rounded space, a beam of light came streaming in through a slot in the ceiling. These slots were used to chart the solstices, and the paths of the sun and moon. The space also had empty niches in the walls, resembling the entry ways in Barrow.While visiting the Peche Merle cave in France along the river Dordogne, Viney discovered a cave with paintings and images lining the walls. The artists had crushed red oxide rock into a powder, and then blown it around their hands, leaving a negative imprint on the wall. The thumb and forefinger were touching, leaving behind a repeated circle pattern along the walls of the cave. This is red pattern is the influence for the red in Viney's patterned ceiling of Barrow
|
[
"IUPUI",
"red oxide",
"prehistoric",
"France",
"solstice",
"Ireland",
"cave",
"burial mound",
"Dordogne",
"Herron School of Art",
"Celtic",
"England",
"Scotland"
] |
|
13720_NT
|
Barrow (sculpture)
|
Explore the Commissioning of this artwork.
|
Barrow was commissioned for IUPUI in 2007. The sculpture was installed at the Herron School of Art on Wednesday, May 7, at noon. Barrow will remain on display for two years. Barrow was inspired by Viney's visits to caves and burial mounds in Ireland and France. The word barrow means a prehistoric burial mound used by Celtic people of France, England, Scotland, and Ireland. Viney's inspiration for the ceiling of Barrow came from her experience in an actual barrow in Ireland. While inside the mound's central rounded space, a beam of light came streaming in through a slot in the ceiling. These slots were used to chart the solstices, and the paths of the sun and moon. The space also had empty niches in the walls, resembling the entry ways in Barrow.While visiting the Peche Merle cave in France along the river Dordogne, Viney discovered a cave with paintings and images lining the walls. The artists had crushed red oxide rock into a powder, and then blown it around their hands, leaving a negative imprint on the wall. The thumb and forefinger were touching, leaving behind a repeated circle pattern along the walls of the cave. This is red pattern is the influence for the red in Viney's patterned ceiling of Barrow
|
[
"IUPUI",
"red oxide",
"prehistoric",
"France",
"solstice",
"Ireland",
"cave",
"burial mound",
"Dordogne",
"Herron School of Art",
"Celtic",
"England",
"Scotland"
] |
|
13721_T
|
Barrow (sculpture)
|
Focus on Barrow (sculpture) and discuss the Artist.
|
Jill Viney was born in a coastal town in California. She earned her bachelor's degree at Sarah Lawrence College, and her Master of Fine Arts at Columbia University. Viney has used a quotation from Albert Einstein in her artist statement: "Look, look deep into nature and you will understand everything better." She is very interested in how advancements in technology allow us to see deeper into spaces that would otherwise be unseen. She alters the viewer's perceptions of light, space, and color.
As of September 2009, Barrow was Viney's most recent work. She is currently working on drawings to relate to the process used to create her latest sculpture.
|
[
"Albert Einstein",
"Jill Viney",
"Sarah Lawrence College",
"Master of Fine Arts",
"Columbia University"
] |
|
13721_NT
|
Barrow (sculpture)
|
Focus on this artwork and discuss the Artist.
|
Jill Viney was born in a coastal town in California. She earned her bachelor's degree at Sarah Lawrence College, and her Master of Fine Arts at Columbia University. Viney has used a quotation from Albert Einstein in her artist statement: "Look, look deep into nature and you will understand everything better." She is very interested in how advancements in technology allow us to see deeper into spaces that would otherwise be unseen. She alters the viewer's perceptions of light, space, and color.
As of September 2009, Barrow was Viney's most recent work. She is currently working on drawings to relate to the process used to create her latest sculpture.
|
[
"Albert Einstein",
"Jill Viney",
"Sarah Lawrence College",
"Master of Fine Arts",
"Columbia University"
] |
|
13722_T
|
Statue of Adolf Dassler
|
How does Statue of Adolf Dassler elucidate its abstract?
|
The Statue of Adolf Dassler is a life-size sculpture, which was erected in May 2006 at the Adi Dassler stadium in Herzogenaurach. The sculpture portrays the founder of the sporting goods company Adidas, and was created by sculptor Josef Tabachnyk. The statue sits like a spectator on a stand within the stadium, which is located next to the main entrance of the Adidas headquarters in Herzogenaurach. After the sculpture opening in 2006, the sculpture of its founder has often been used as a symbol for the company and its roots in producing sports shoes in the 1920s.The life-size, bronze statue was reproduced in various sizes and now also sits at the new flagship Adidas store in New York City, which is the biggest Adidas store worldwide. The opening of the sculpture in New York was on 1 December 2016. Since January 2019 another original of the statue is placed at the entrance to the Adidas-Store at 22 Avenue des Champs-Élysées in Paris.
|
[
"Adidas",
"Adolf Dassler",
"Champs-Élysées",
"Herzogenaurach",
"New York City",
"Paris",
"Avenue des Champs-Élysées",
"Josef Tabachnyk",
"Adi Dassler"
] |
|
13722_NT
|
Statue of Adolf Dassler
|
How does this artwork elucidate its abstract?
|
The Statue of Adolf Dassler is a life-size sculpture, which was erected in May 2006 at the Adi Dassler stadium in Herzogenaurach. The sculpture portrays the founder of the sporting goods company Adidas, and was created by sculptor Josef Tabachnyk. The statue sits like a spectator on a stand within the stadium, which is located next to the main entrance of the Adidas headquarters in Herzogenaurach. After the sculpture opening in 2006, the sculpture of its founder has often been used as a symbol for the company and its roots in producing sports shoes in the 1920s.The life-size, bronze statue was reproduced in various sizes and now also sits at the new flagship Adidas store in New York City, which is the biggest Adidas store worldwide. The opening of the sculpture in New York was on 1 December 2016. Since January 2019 another original of the statue is placed at the entrance to the Adidas-Store at 22 Avenue des Champs-Élysées in Paris.
|
[
"Adidas",
"Adolf Dassler",
"Champs-Élysées",
"Herzogenaurach",
"New York City",
"Paris",
"Avenue des Champs-Élysées",
"Josef Tabachnyk",
"Adi Dassler"
] |
|
13723_T
|
Bust of King Charles I (Bernini)
|
Focus on Bust of King Charles I (Bernini) and analyze the abstract.
|
The Bust of Charles I was a sculptural bust produced by the Italian artist Gianlorenzo Bernini which according to one historian, "set the visual conventions for centuries … [establishing itself as] the official portrait of secular absolutism.". The sculpture was of the then king Charles I of England, who wrote to Bernini that the artist's name was "exalted above those of all men of talent who have exercised your profession.".
|
[
"Gianlorenzo Bernini",
"bust",
"absolutism",
"Charles I of England"
] |
|
13723_NT
|
Bust of King Charles I (Bernini)
|
Focus on this artwork and analyze the abstract.
|
The Bust of Charles I was a sculptural bust produced by the Italian artist Gianlorenzo Bernini which according to one historian, "set the visual conventions for centuries … [establishing itself as] the official portrait of secular absolutism.". The sculpture was of the then king Charles I of England, who wrote to Bernini that the artist's name was "exalted above those of all men of talent who have exercised your profession.".
|
[
"Gianlorenzo Bernini",
"bust",
"absolutism",
"Charles I of England"
] |
|
13724_T
|
Bust of King Charles I (Bernini)
|
In Bust of King Charles I (Bernini), how is the Creation discussed?
|
Bernini did not travel to London to undertake the work; rather he made use of a painted triple portrait of Charles I (i.e. a view of Charles from three points) created especially by the Flemish artist Anthony van Dyck for Bernini. Despite not meeting Charles I face-to-face, Bernini's bust was considered a success at the time, and the English king rewarded Bernini with jewellery worth over 4,000 Roman scudi (a figure over 60 times the average yearly salary of a worker in Rome).Pope Urban VIII sent the bust to Charles's queen Henrietta Maria in 1638 in the hope of encouraging a reconciliation of the Roman Catholic Church with the Church of England. The bust was presented in 1637 and admired for its workmanship and likeness to the king. Charles rewarded Bernini with a valuable diamond ring. Queen Henrietta Maria commissioned Bernini to make a companion bust of her, but the English Civil War intervened and it was never made. The bust of Charles was sold at the end of the English Civil War but recovered for the Royal Collection on the Restoration, only to be destroyed by a fire in Whitehall Palace in January 1698.
Numerous copies of the image exist in other forms (e.g. engravings, bronze sculptures).For a time in the 19th and early 20th centuries, there was a belief in England and elsewhere that Bernini had also created a bust of Oliver Cromwell, the victor over Charles I in the English Civil War. However, the attribution was refuted in 1922.
|
[
"Restoration",
"Oliver Cromwell",
"Anthony van Dyck",
"Catholic Church",
"Roman Catholic Church",
"scudi",
"Church of England",
"Royal Collection",
"bust",
"London",
"Whitehall Palace",
"triple portrait of Charles I",
"English Civil War",
"Henrietta Maria",
"Pope Urban VIII"
] |
|
13724_NT
|
Bust of King Charles I (Bernini)
|
In this artwork, how is the Creation discussed?
|
Bernini did not travel to London to undertake the work; rather he made use of a painted triple portrait of Charles I (i.e. a view of Charles from three points) created especially by the Flemish artist Anthony van Dyck for Bernini. Despite not meeting Charles I face-to-face, Bernini's bust was considered a success at the time, and the English king rewarded Bernini with jewellery worth over 4,000 Roman scudi (a figure over 60 times the average yearly salary of a worker in Rome).Pope Urban VIII sent the bust to Charles's queen Henrietta Maria in 1638 in the hope of encouraging a reconciliation of the Roman Catholic Church with the Church of England. The bust was presented in 1637 and admired for its workmanship and likeness to the king. Charles rewarded Bernini with a valuable diamond ring. Queen Henrietta Maria commissioned Bernini to make a companion bust of her, but the English Civil War intervened and it was never made. The bust of Charles was sold at the end of the English Civil War but recovered for the Royal Collection on the Restoration, only to be destroyed by a fire in Whitehall Palace in January 1698.
Numerous copies of the image exist in other forms (e.g. engravings, bronze sculptures).For a time in the 19th and early 20th centuries, there was a belief in England and elsewhere that Bernini had also created a bust of Oliver Cromwell, the victor over Charles I in the English Civil War. However, the attribution was refuted in 1922.
|
[
"Restoration",
"Oliver Cromwell",
"Anthony van Dyck",
"Catholic Church",
"Roman Catholic Church",
"scudi",
"Church of England",
"Royal Collection",
"bust",
"London",
"Whitehall Palace",
"triple portrait of Charles I",
"English Civil War",
"Henrietta Maria",
"Pope Urban VIII"
] |
|
13725_T
|
Standing Figure: Knife Edge
|
Focus on Standing Figure: Knife Edge and explore the abstract.
|
Standing Figure: Knife Edge is a bronze sculpture by the English artist Henry Moore. It was cast in two full-size versions: Standing Figure: Knife Edge (LH 482) in 1961, and a larger Large Standing Figure: Knife Edge (LH 482a) in 1976. The sculpture also is sometimes known as Standing Figure (Bone) or Winged Figure.
Moore first conceived the work in 1961. It is based on a fragment of a bird's breastbone, to which a base and a head were added with plasticine. A rounded protrusion forms the head, and the figure has a diagonal line at its waist. The resulting composition resembles a human torso, similar to the Winged Victory of Samothrace. It had been described as the end point of Moore's investigation of upright figures, which started with Standing Figure (1950) (LH 290). He used a similar process, starting with bone fragments, for his 1962 work, Knife Edge Two Piece.
The sculpture was enlarged in three stages. First, Moore made a 162.5 centimetres (5 ft 4.0 in) high working model (LH 481) in 1961. The Henry Moore Foundation at Perry Green, Hertfordshire, has two versions, one in plaster and another in fibreglass, and other examples are held by the Hakone Open-Air Museum in Japan, and the Hirshhorn Museum and Sculpture Garden in Washington DC.
Second, Moore made the 2.8 metres (9 ft 2 in) high Standing Figure: Knife Edge (LH 482), cast at the Morris Singer art foundry in 1961 in an edition of 7 (6 plus 1 artist's copy). The artist's copy, cast 0, is displayed in the W.B. Yeats Memorial Garden at St Stephen's Green in Dublin. This piece was restored in 2020. There are other examples at:One Maritime Plaza in San Francisco
Norton Simon Museum in Pasadena (cast 4)
Minneapolis Sculpture Garden
Botanischer Garten Grugapark, Essen, Germany
Kreeger Museum, Washington, DCMoore enlarged the work again to create the 3.6 metres (11 ft 10 in) high Large Standing Figure: Knife Edge (LH 482a), cast in 1976 in an edition of 8 (6 plus 2 artist's copies). The two artists copies, cast 0 and cast 00, are owned by the Henry Moore Foundation, with one displayed in Greenwich Park from 1979 to 2007, and again since 2011.
There are other examples at:Henie Onstad Kunstsenter, in Hovikodden, Norway (cast 1)
one at the Stiftung Landis and Gyr, beside Lake Zug in Switzerland (cast 3)
National Museum of Art, Osaka, Japan
North Carolina Museum of Art in Raleigh, North Carolina
Little Rock, Arkansas
|
[
"Hirshhorn Museum and Sculpture Garden",
"breastbone",
"Winged Victory of Samothrace",
"Hovikodden",
"National Museum of Art, Osaka",
"bronze",
"Hakone Open-Air Museum",
"Henry Moore Foundation",
"Henry Moore",
"North Carolina Museum of Art",
"Lake Zug",
"Kreeger Museum",
"Greenwich Park",
"Knife Edge Two Piece",
"Henie Onstad Kunstsenter",
"Botanischer Garten Grugapark",
"Perry Green, Hertfordshire",
"One Maritime Plaza",
"Morris Singer",
"St Stephen's Green",
"W.B. Yeats",
"Norton Simon Museum",
"Little Rock, Arkansas",
"Minneapolis Sculpture Garden",
"plasticine"
] |
|
13725_NT
|
Standing Figure: Knife Edge
|
Focus on this artwork and explore the abstract.
|
Standing Figure: Knife Edge is a bronze sculpture by the English artist Henry Moore. It was cast in two full-size versions: Standing Figure: Knife Edge (LH 482) in 1961, and a larger Large Standing Figure: Knife Edge (LH 482a) in 1976. The sculpture also is sometimes known as Standing Figure (Bone) or Winged Figure.
Moore first conceived the work in 1961. It is based on a fragment of a bird's breastbone, to which a base and a head were added with plasticine. A rounded protrusion forms the head, and the figure has a diagonal line at its waist. The resulting composition resembles a human torso, similar to the Winged Victory of Samothrace. It had been described as the end point of Moore's investigation of upright figures, which started with Standing Figure (1950) (LH 290). He used a similar process, starting with bone fragments, for his 1962 work, Knife Edge Two Piece.
The sculpture was enlarged in three stages. First, Moore made a 162.5 centimetres (5 ft 4.0 in) high working model (LH 481) in 1961. The Henry Moore Foundation at Perry Green, Hertfordshire, has two versions, one in plaster and another in fibreglass, and other examples are held by the Hakone Open-Air Museum in Japan, and the Hirshhorn Museum and Sculpture Garden in Washington DC.
Second, Moore made the 2.8 metres (9 ft 2 in) high Standing Figure: Knife Edge (LH 482), cast at the Morris Singer art foundry in 1961 in an edition of 7 (6 plus 1 artist's copy). The artist's copy, cast 0, is displayed in the W.B. Yeats Memorial Garden at St Stephen's Green in Dublin. This piece was restored in 2020. There are other examples at:One Maritime Plaza in San Francisco
Norton Simon Museum in Pasadena (cast 4)
Minneapolis Sculpture Garden
Botanischer Garten Grugapark, Essen, Germany
Kreeger Museum, Washington, DCMoore enlarged the work again to create the 3.6 metres (11 ft 10 in) high Large Standing Figure: Knife Edge (LH 482a), cast in 1976 in an edition of 8 (6 plus 2 artist's copies). The two artists copies, cast 0 and cast 00, are owned by the Henry Moore Foundation, with one displayed in Greenwich Park from 1979 to 2007, and again since 2011.
There are other examples at:Henie Onstad Kunstsenter, in Hovikodden, Norway (cast 1)
one at the Stiftung Landis and Gyr, beside Lake Zug in Switzerland (cast 3)
National Museum of Art, Osaka, Japan
North Carolina Museum of Art in Raleigh, North Carolina
Little Rock, Arkansas
|
[
"Hirshhorn Museum and Sculpture Garden",
"breastbone",
"Winged Victory of Samothrace",
"Hovikodden",
"National Museum of Art, Osaka",
"bronze",
"Hakone Open-Air Museum",
"Henry Moore Foundation",
"Henry Moore",
"North Carolina Museum of Art",
"Lake Zug",
"Kreeger Museum",
"Greenwich Park",
"Knife Edge Two Piece",
"Henie Onstad Kunstsenter",
"Botanischer Garten Grugapark",
"Perry Green, Hertfordshire",
"One Maritime Plaza",
"Morris Singer",
"St Stephen's Green",
"W.B. Yeats",
"Norton Simon Museum",
"Little Rock, Arkansas",
"Minneapolis Sculpture Garden",
"plasticine"
] |
|
13726_T
|
26 October 1993
|
Focus on 26 October 1993 and explain the abstract.
|
26 October 1993 is an artwork created in 1993 as a collaboration between English artists Henry Bond and Sam Taylor-Wood, both of whom were involved in the Young British Artists scene of contemporary art. It is a pastiche or remaking of a well-known photographic portrait of John Lennon and Yoko Ono that was made by Annie Leibovitz a few hours before Lennon's murder.
|
[
"John Lennon",
"Annie Leibovitz",
"Yoko Ono",
"pastiche",
"Sam Taylor-Wood",
"Young British Artists",
"Lennon's murder",
"Henry Bond"
] |
|
13726_NT
|
26 October 1993
|
Focus on this artwork and explain the abstract.
|
26 October 1993 is an artwork created in 1993 as a collaboration between English artists Henry Bond and Sam Taylor-Wood, both of whom were involved in the Young British Artists scene of contemporary art. It is a pastiche or remaking of a well-known photographic portrait of John Lennon and Yoko Ono that was made by Annie Leibovitz a few hours before Lennon's murder.
|
[
"John Lennon",
"Annie Leibovitz",
"Yoko Ono",
"pastiche",
"Sam Taylor-Wood",
"Young British Artists",
"Lennon's murder",
"Henry Bond"
] |
|
13727_T
|
26 October 1993
|
Explore the Production and critical reception of this artwork, 26 October 1993.
|
The photo "made a splash in the British art scene in 1993." The work was exhibited as part of the exhibition Brilliant! held at the Walker Art Center, Minneapolis, USA, in 1995.In his 2001 book High Art Lite, art historian Julian Stallabrass states that the Bond/Taylor-Wood version offers a "reversal of gender roles" (however, the original also has Lennon and Ono in the same position). Stallabrass also states that:
"The work refers to naïve 1960s idealism, though not entirely mockingly, rather asking the viewer to contrast the situation in the 1990s with the 1960s ... for such artists, it is clear we are living in a time of the twilight of ideals."
Commenting on the photo-work in 2010, Taylor-Wood said: The bizarre thing is that I'd completely forgotten about that piece until it was brought up in an interview ... I don't remember what drove us to make it. Must have been high concept in there somewhere, but God knows what it was. I guess there's a running interest in male vulnerability in my work, so maybe it's just that.
The authorship of this artwork has been contested with both artists, at different times, assuming control of the image and asserting origination/intellectual property; indeed, it has been suggested that the photographer that the pair hired to shoot the photograph also later claimed authorship of it.The photograph is 23 in × 19 in (58 cm × 48 cm); on 23 October 2001, the photograph was offered at an art auction held by Christie's Auctioneers as "work number five from an edition of five" and sold for $15,059.
|
[
"Brilliant!",
"High Art Lite",
"Christie's",
"Christie's Auctioneers",
"Walker Art Center",
"Julian Stallabrass"
] |
|
13727_NT
|
26 October 1993
|
Explore the Production and critical reception of this artwork.
|
The photo "made a splash in the British art scene in 1993." The work was exhibited as part of the exhibition Brilliant! held at the Walker Art Center, Minneapolis, USA, in 1995.In his 2001 book High Art Lite, art historian Julian Stallabrass states that the Bond/Taylor-Wood version offers a "reversal of gender roles" (however, the original also has Lennon and Ono in the same position). Stallabrass also states that:
"The work refers to naïve 1960s idealism, though not entirely mockingly, rather asking the viewer to contrast the situation in the 1990s with the 1960s ... for such artists, it is clear we are living in a time of the twilight of ideals."
Commenting on the photo-work in 2010, Taylor-Wood said: The bizarre thing is that I'd completely forgotten about that piece until it was brought up in an interview ... I don't remember what drove us to make it. Must have been high concept in there somewhere, but God knows what it was. I guess there's a running interest in male vulnerability in my work, so maybe it's just that.
The authorship of this artwork has been contested with both artists, at different times, assuming control of the image and asserting origination/intellectual property; indeed, it has been suggested that the photographer that the pair hired to shoot the photograph also later claimed authorship of it.The photograph is 23 in × 19 in (58 cm × 48 cm); on 23 October 2001, the photograph was offered at an art auction held by Christie's Auctioneers as "work number five from an edition of five" and sold for $15,059.
|
[
"Brilliant!",
"High Art Lite",
"Christie's",
"Christie's Auctioneers",
"Walker Art Center",
"Julian Stallabrass"
] |
|
13728_T
|
Young Woman with a Blue Ribbon
|
Focus on Young Woman with a Blue Ribbon and discuss the abstract.
|
Young Woman with a Blue Ribbon is an 1888 oil on canvas painting by Pierre-Auguste Renoir, now in the Museum of Fine Arts of Lyon. The name of the model is unknown but she can also be seen in other Renoir works such as the young woman splashing the others in Les Grandes Baigneuses (Renoir, 1887). The painting itself represented a return by Renoir to a gentler, more delicate style after his years of experimenting with Impressionism. As he himself said at the time in a letter to the art dealer Paul Durand-Ruel "I have taken up again, never to abandon it, my old style, soft and light of touch. This is to give you some idea of my new and final manner of painting".
|
[
"Paul Durand-Ruel",
"Museum of Fine Arts of Lyon",
"Pierre-Auguste Renoir"
] |
|
13728_NT
|
Young Woman with a Blue Ribbon
|
Focus on this artwork and discuss the abstract.
|
Young Woman with a Blue Ribbon is an 1888 oil on canvas painting by Pierre-Auguste Renoir, now in the Museum of Fine Arts of Lyon. The name of the model is unknown but she can also be seen in other Renoir works such as the young woman splashing the others in Les Grandes Baigneuses (Renoir, 1887). The painting itself represented a return by Renoir to a gentler, more delicate style after his years of experimenting with Impressionism. As he himself said at the time in a letter to the art dealer Paul Durand-Ruel "I have taken up again, never to abandon it, my old style, soft and light of touch. This is to give you some idea of my new and final manner of painting".
|
[
"Paul Durand-Ruel",
"Museum of Fine Arts of Lyon",
"Pierre-Auguste Renoir"
] |
|
13729_T
|
Le prisonnier politique
|
How does Le prisonnier politique elucidate its abstract?
|
Le prisonnier politique (French; The Political Prisoner) is a bronze sculpture created in 1949 by Luxembourgish sculptor Lucien Wercollier. It exists in three different versions.
|
[
"Luxembourg",
"French",
"bronze sculpture",
"Political Prisoner",
"Luxembourgish",
"Lucien Wercollier"
] |
|
13729_NT
|
Le prisonnier politique
|
How does this artwork elucidate its abstract?
|
Le prisonnier politique (French; The Political Prisoner) is a bronze sculpture created in 1949 by Luxembourgish sculptor Lucien Wercollier. It exists in three different versions.
|
[
"Luxembourg",
"French",
"bronze sculpture",
"Political Prisoner",
"Luxembourgish",
"Lucien Wercollier"
] |
|
13730_T
|
Le prisonnier politique
|
Focus on Le prisonnier politique and analyze the History.
|
During the Second World War, from September 1942 to November 1943, Lucien Wercollier was a prisoner in the Nazi Hinzert concentration camp, where he witnessed other prisoners being tortured. SS officers took two of them, roped their hands together and then tied their backs together. After this, they had to stay outside for days, in winter.
It was in the Hinzert concentration camp that Wercollier met Jean Daligault, a French Resistance fighter, priest and artist, who was kidnapped and brought to Hinzert after the Nacht und Nebel directive.
In December 1942, Wercollier shared food out of his Christmas package with Daligault, who was not allowed to receive anything from his family.
As a thank-you gift, Daligault gave Wercollier a small sculpture that he had made out of old pieces of wood. It represented two prisoners with their hands tied together and roped together back to back.
Wercollier hid this sculpture under his things, to bring it home to Luxembourg in November 1943.
After the war, Wercollier made his own sculpture, Le prisonnier politique, using one of Daligault's prisoners as model.Today, Daligault's original sculpture is still owned by the Wercollier Family.
|
[
"French Resistance",
"Luxembourg",
"French",
"Hinzert concentration camp",
"Second World War",
"Nazi",
"Lucien Wercollier",
"Nacht und Nebel",
"SS"
] |
|
13730_NT
|
Le prisonnier politique
|
Focus on this artwork and analyze the History.
|
During the Second World War, from September 1942 to November 1943, Lucien Wercollier was a prisoner in the Nazi Hinzert concentration camp, where he witnessed other prisoners being tortured. SS officers took two of them, roped their hands together and then tied their backs together. After this, they had to stay outside for days, in winter.
It was in the Hinzert concentration camp that Wercollier met Jean Daligault, a French Resistance fighter, priest and artist, who was kidnapped and brought to Hinzert after the Nacht und Nebel directive.
In December 1942, Wercollier shared food out of his Christmas package with Daligault, who was not allowed to receive anything from his family.
As a thank-you gift, Daligault gave Wercollier a small sculpture that he had made out of old pieces of wood. It represented two prisoners with their hands tied together and roped together back to back.
Wercollier hid this sculpture under his things, to bring it home to Luxembourg in November 1943.
After the war, Wercollier made his own sculpture, Le prisonnier politique, using one of Daligault's prisoners as model.Today, Daligault's original sculpture is still owned by the Wercollier Family.
|
[
"French Resistance",
"Luxembourg",
"French",
"Hinzert concentration camp",
"Second World War",
"Nazi",
"Lucien Wercollier",
"Nacht und Nebel",
"SS"
] |
|
13731_T
|
Le prisonnier politique
|
In Le prisonnier politique, how is the Versions discussed?
|
Today, three versions of Lucien Wercollier's Le prisonnier politique exist. All three of them are made of bronze.A first version was put up in 1956 in the Musée national de la résistance (National Resistance Museum) in Esch-sur-Alzette.
In 1969, a second version, made in 1954, was erected at the cemetery Cimetière Notre-Dame in Limpertsberg, as a part of the Monument national de la résistance et de la déportation (Monument of the national resistance and deportation).
After the death of Wercollier, the state of Luxembourg ordered a third version of the sculpture, cast from the artist's original gypsum model. This version is exhibited with a part of the artist's private collection in Neumünster Abbey.
|
[
"Luxembourg",
"National Resistance Museum",
"Limpertsberg",
"Lucien Wercollier",
"gypsum",
"Neumünster Abbey",
"Esch-sur-Alzette"
] |
|
13731_NT
|
Le prisonnier politique
|
In this artwork, how is the Versions discussed?
|
Today, three versions of Lucien Wercollier's Le prisonnier politique exist. All three of them are made of bronze.A first version was put up in 1956 in the Musée national de la résistance (National Resistance Museum) in Esch-sur-Alzette.
In 1969, a second version, made in 1954, was erected at the cemetery Cimetière Notre-Dame in Limpertsberg, as a part of the Monument national de la résistance et de la déportation (Monument of the national resistance and deportation).
After the death of Wercollier, the state of Luxembourg ordered a third version of the sculpture, cast from the artist's original gypsum model. This version is exhibited with a part of the artist's private collection in Neumünster Abbey.
|
[
"Luxembourg",
"National Resistance Museum",
"Limpertsberg",
"Lucien Wercollier",
"gypsum",
"Neumünster Abbey",
"Esch-sur-Alzette"
] |
|
13732_T
|
The Psyché (My Studio)
|
Focus on The Psyché (My Studio) and explore the abstract.
|
The Psyché (My Studio) is an oil on panel painting by the Belgian artist Alfred Stevens. Painted in circa 1871, the painting once belonged to Robert de Montesquiou, and is currently housed at the Princeton University Art Museum located in Princeton, New Jersey.The Psyché is noted for its realism, witticism, and allegory, three dimensions generally perceived sequentially herein. The French word psyché (meaning, as in English, both "the mind" and the ancient goddess beloved of Cupid) also designates a full-length mirror, invented in the late eighteenth century, that can be moved up and down or tilted on its chassis. Here, however, the psyché is placed on an easel, where a canvas is supposed to sit. The young woman, like Psyche to Cupid in the ancient tale, peers stealthily around the edge of the mirror to the viewer. In this painting, Psyche looks both into the mirror and, via the latter, at the viewer.
|
[
"Belgian",
"Robert de Montesquiou",
"easel",
"Cupid",
"realism",
"Psyche",
"Princeton, New Jersey",
"ancient tale",
"Princeton University Art Museum",
"Alfred Stevens"
] |
|
13732_NT
|
The Psyché (My Studio)
|
Focus on this artwork and explore the abstract.
|
The Psyché (My Studio) is an oil on panel painting by the Belgian artist Alfred Stevens. Painted in circa 1871, the painting once belonged to Robert de Montesquiou, and is currently housed at the Princeton University Art Museum located in Princeton, New Jersey.The Psyché is noted for its realism, witticism, and allegory, three dimensions generally perceived sequentially herein. The French word psyché (meaning, as in English, both "the mind" and the ancient goddess beloved of Cupid) also designates a full-length mirror, invented in the late eighteenth century, that can be moved up and down or tilted on its chassis. Here, however, the psyché is placed on an easel, where a canvas is supposed to sit. The young woman, like Psyche to Cupid in the ancient tale, peers stealthily around the edge of the mirror to the viewer. In this painting, Psyche looks both into the mirror and, via the latter, at the viewer.
|
[
"Belgian",
"Robert de Montesquiou",
"easel",
"Cupid",
"realism",
"Psyche",
"Princeton, New Jersey",
"ancient tale",
"Princeton University Art Museum",
"Alfred Stevens"
] |
|
13733_T
|
The Psyché (My Studio)
|
Focus on The Psyché (My Studio) and explain the Signature.
|
In the years between 1850 and 1870, Stevens was pre-eminently regarded as a painter of the Parisian establishment . He made a name for himself as the upper class' ladies painter and painted in a highly realistic style, deeply influenced by the Dutch fine painters and Old Masters, particularly Johannes Vermeer. However, his works are distinguished by his emphasis on the casual, transitory moment, anticipating Impressionism. On the other hand, the emerging Impressionism began to influence Stevens around 1870, which manifested itself in a looser brushwork. La Psyché is one of the first works by Stevens in which these two aspects coincide.
|
[
"Impressionism",
"Johannes Vermeer",
"Vermeer",
"Paris"
] |
|
13733_NT
|
The Psyché (My Studio)
|
Focus on this artwork and explain the Signature.
|
In the years between 1850 and 1870, Stevens was pre-eminently regarded as a painter of the Parisian establishment . He made a name for himself as the upper class' ladies painter and painted in a highly realistic style, deeply influenced by the Dutch fine painters and Old Masters, particularly Johannes Vermeer. However, his works are distinguished by his emphasis on the casual, transitory moment, anticipating Impressionism. On the other hand, the emerging Impressionism began to influence Stevens around 1870, which manifested itself in a looser brushwork. La Psyché is one of the first works by Stevens in which these two aspects coincide.
|
[
"Impressionism",
"Johannes Vermeer",
"Vermeer",
"Paris"
] |
|
13734_T
|
The Psyché (My Studio)
|
Explore the Theme and interpretation of this artwork, The Psyché (My Studio).
|
La Psyché shows a young model in Stevens' Parisian studio during a break. She is half hidden behind a mirror, through which she looks at the viewer directly in the eye. Such a large mirror, wherein one can see oneself fully, is a piece of furniture typical of the second half of the nineteenth century and, as mentioned, it was also called psyché. The title of the painting, however, also refers through the furtive glance of the young woman to the myth of Psyche, who was forbidden to look at her beloved Amor, but secretly could not resist.
In the painting, in a witty transposition, Stevens’ model takes a break from posing and peeks around the psyché that stands in for the canvas on an easel. The artist's presence is implied by his cigarette butt, ash, and extinguished match on the floor (Stevens was a heavy smoker). There is a parrot, which signifies the act of imitation—just as the bird mimics human speech, so the artist imitates (or "mirrors") life. The Japanese prints in a portfolio reveal the artist's interest in Asian art. Stevens was an early collector, and he advocated Japonisme, which became increasingly available after a treaty opened Japan to international trade in 1854. Like Rembrant, Stevens was renowned for his ability in portraying exotic objects.
|
[
"Japonisme",
"Amor",
"easel",
"Psyche",
"Paris"
] |
|
13734_NT
|
The Psyché (My Studio)
|
Explore the Theme and interpretation of this artwork.
|
La Psyché shows a young model in Stevens' Parisian studio during a break. She is half hidden behind a mirror, through which she looks at the viewer directly in the eye. Such a large mirror, wherein one can see oneself fully, is a piece of furniture typical of the second half of the nineteenth century and, as mentioned, it was also called psyché. The title of the painting, however, also refers through the furtive glance of the young woman to the myth of Psyche, who was forbidden to look at her beloved Amor, but secretly could not resist.
In the painting, in a witty transposition, Stevens’ model takes a break from posing and peeks around the psyché that stands in for the canvas on an easel. The artist's presence is implied by his cigarette butt, ash, and extinguished match on the floor (Stevens was a heavy smoker). There is a parrot, which signifies the act of imitation—just as the bird mimics human speech, so the artist imitates (or "mirrors") life. The Japanese prints in a portfolio reveal the artist's interest in Asian art. Stevens was an early collector, and he advocated Japonisme, which became increasingly available after a treaty opened Japan to international trade in 1854. Like Rembrant, Stevens was renowned for his ability in portraying exotic objects.
|
[
"Japonisme",
"Amor",
"easel",
"Psyche",
"Paris"
] |
|
13735_T
|
The Psyché (My Studio)
|
Focus on The Psyché (My Studio) and discuss the Montesquiou.
|
The Parisian dandy Robert de Montesquiou, who was the main inspiration for Baron de Charlus in Proust's À la recherche du temps perdu, was one of the early owners of La psyché. Of the work he wrote that it is "as if an apotheosis of Stevens' art and of his loves: the women, the objects and the reflections they multiply". As mentioned, on a chair there are the Japanese prints that the artist was so fond of. Montesquiou, however, was especially fascinated by the trinkets and other exotica that better suited him and his own lifestyle. He summarized the rubbish in the studio as d'une vérité bien hollandaise (of a truly Dutch reality). In a laudatory article, he pointed to the similarity between Vermeer and Stevens, especially the way in which both could paint to the finest detail not familiar, but rather exotic gems and objects: rubies, turquoise, and even the wonderfully colored wings of an exotic butterfly.
|
[
"Robert de Montesquiou",
"À la recherche du temps perdu",
"Proust",
"Vermeer",
"Paris"
] |
|
13735_NT
|
The Psyché (My Studio)
|
Focus on this artwork and discuss the Montesquiou.
|
The Parisian dandy Robert de Montesquiou, who was the main inspiration for Baron de Charlus in Proust's À la recherche du temps perdu, was one of the early owners of La psyché. Of the work he wrote that it is "as if an apotheosis of Stevens' art and of his loves: the women, the objects and the reflections they multiply". As mentioned, on a chair there are the Japanese prints that the artist was so fond of. Montesquiou, however, was especially fascinated by the trinkets and other exotica that better suited him and his own lifestyle. He summarized the rubbish in the studio as d'une vérité bien hollandaise (of a truly Dutch reality). In a laudatory article, he pointed to the similarity between Vermeer and Stevens, especially the way in which both could paint to the finest detail not familiar, but rather exotic gems and objects: rubies, turquoise, and even the wonderfully colored wings of an exotic butterfly.
|
[
"Robert de Montesquiou",
"À la recherche du temps perdu",
"Proust",
"Vermeer",
"Paris"
] |
|
13736_T
|
The Great Taking of the Veil (Nesterov)
|
How does The Great Taking of the Veil (Nesterov) elucidate its abstract?
|
The Great Taking of the Veil is an oil-on-canvas painting executed in 1897–98 by the Russian Symbolist painter Mikhail Nesterov. It is now in the collection of the Russian Museum in Saint Petersburg.
The canvas depicts a solemn procession of nuns accompanying a novice to the taking of the veil in the Volga countryside, after which she would renounce her worldly life for a life of religious devotion in a nunnery.In the artist's words: "The theme is sad, but the reviving nature, the Russian north, quiet and delicate ... makes the picture touching, at least for those who have a tender feeling". It ensured Nesterov's election in 1898 to the Russian Imperial Academy of Arts.
|
[
"Imperial Academy of Arts",
"Russian Museum",
"Mikhail Nesterov"
] |
|
13736_NT
|
The Great Taking of the Veil (Nesterov)
|
How does this artwork elucidate its abstract?
|
The Great Taking of the Veil is an oil-on-canvas painting executed in 1897–98 by the Russian Symbolist painter Mikhail Nesterov. It is now in the collection of the Russian Museum in Saint Petersburg.
The canvas depicts a solemn procession of nuns accompanying a novice to the taking of the veil in the Volga countryside, after which she would renounce her worldly life for a life of religious devotion in a nunnery.In the artist's words: "The theme is sad, but the reviving nature, the Russian north, quiet and delicate ... makes the picture touching, at least for those who have a tender feeling". It ensured Nesterov's election in 1898 to the Russian Imperial Academy of Arts.
|
[
"Imperial Academy of Arts",
"Russian Museum",
"Mikhail Nesterov"
] |
|
13737_T
|
The Kensingtons at Laventie
|
Focus on The Kensingtons at Laventie and analyze the abstract.
|
The Kensingtons at Laventie is a large oil painting on glass by Eric Kennington completed in 1915 that depicts a First World War platoon of British troops. The group depicted was Kennington's own infantry platoon; Platoon No 7, C Company, the 1/13th (County of London) Battalion, the London Regiment (Kensington), who were commonly known as the Kensingtons. Kennington completed the painting having been invalided out of the British Army due to wounds suffered on the Western Front in early 1915.
The painting is Kennington's most famous work. It has been described as "one of the iconic images of the First World War", and is held by the Imperial War Museum. When it was first exhibited in 1916, the painting had a large impact and hastened the establishment of an official British scheme for war artists.
|
[
"1/13th (County of London) Battalion, the London Regiment",
"Kensingtons",
"Eric Kennington",
"war artist",
"Imperial War Museum",
"Laventie",
"Western Front",
"First World War",
"London"
] |
|
13737_NT
|
The Kensingtons at Laventie
|
Focus on this artwork and analyze the abstract.
|
The Kensingtons at Laventie is a large oil painting on glass by Eric Kennington completed in 1915 that depicts a First World War platoon of British troops. The group depicted was Kennington's own infantry platoon; Platoon No 7, C Company, the 1/13th (County of London) Battalion, the London Regiment (Kensington), who were commonly known as the Kensingtons. Kennington completed the painting having been invalided out of the British Army due to wounds suffered on the Western Front in early 1915.
The painting is Kennington's most famous work. It has been described as "one of the iconic images of the First World War", and is held by the Imperial War Museum. When it was first exhibited in 1916, the painting had a large impact and hastened the establishment of an official British scheme for war artists.
|
[
"1/13th (County of London) Battalion, the London Regiment",
"Kensingtons",
"Eric Kennington",
"war artist",
"Imperial War Museum",
"Laventie",
"Western Front",
"First World War",
"London"
] |
|
13738_T
|
The Kensingtons at Laventie
|
In The Kensingtons at Laventie, how is the Background discussed?
|
On 6 August 1914, days after the outbreak of the First World War, Kennington enlisted with the 1/13th (Kensington) Battalion of the London Regiment, as their recruiting office was the nearest one to his London studio. After several months of training in England, he fought with his battalion on the Western Front from November 1914, but was wounded in January 1915. One toe of Kennington's left foot was amputated, and he was fortunate not to lose a foot due to a subsequent infection. He spent four months in hospital in London and Liverpool before being discharged as unfit for further service in June 1915. After his convalescence, he spent six months painting The Kensingtons at Laventie.
During his few months of active service before he was wounded, Kennington's unit suffered 127 casualties, approximately 20 per cent of its original strength; by the time he completed the painting, 90 per cent of the 700 soldiers who arrived in France with the battalion in late 1914 had been killed or wounded.
|
[
"Kensingtons",
"Laventie",
"Western Front",
"First World War",
"London"
] |
|
13738_NT
|
The Kensingtons at Laventie
|
In this artwork, how is the Background discussed?
|
On 6 August 1914, days after the outbreak of the First World War, Kennington enlisted with the 1/13th (Kensington) Battalion of the London Regiment, as their recruiting office was the nearest one to his London studio. After several months of training in England, he fought with his battalion on the Western Front from November 1914, but was wounded in January 1915. One toe of Kennington's left foot was amputated, and he was fortunate not to lose a foot due to a subsequent infection. He spent four months in hospital in London and Liverpool before being discharged as unfit for further service in June 1915. After his convalescence, he spent six months painting The Kensingtons at Laventie.
During his few months of active service before he was wounded, Kennington's unit suffered 127 casualties, approximately 20 per cent of its original strength; by the time he completed the painting, 90 per cent of the 700 soldiers who arrived in France with the battalion in late 1914 had been killed or wounded.
|
[
"Kensingtons",
"Laventie",
"Western Front",
"First World War",
"London"
] |
|
13739_T
|
The Kensingtons at Laventie
|
Focus on The Kensingtons at Laventie and explore the Description.
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The Kensingtons spent the extremely cold winter of 1914 in the front-line trenches forward of the village of Laventie in the Pas-de-Calais. Their trenches were poorly built and frequently under artillery fire. The painting depicts a moment when the platoon, having spent four days and nights in a forward fire trench, have made their way through a flooded communications trench to the ruined village of Laventie. The men are waiting for the order to 'fall in' for the 5 mile march to an overnight billet outside shelling range.The painting is a group portrait of nine soldiers from Kennington's own infantry platoon, Platoon No 7, C Company. Kennington went to great lengths to contact his former comrades and sketch them while preparing the painting. It depicts eight figures standing on the snow-covered ground amid the detritus of war, beside a whitewashed wall, seven in a loose group to the left and one alone on the right overlooked by a calvary cross in the top right corner, while a ninth lies on the ground, exhausted.
Kennington supplied extensive notes that identified each individual in the painting and explained the situation depicted. The men depicted, from left to right, are:Private H Bristol, wearing the red scarf;
Private A McCafferty, with a bandaged head. One of the two rifles on his back belonged to a Private Perry who had been killed by a sniper whilst beside McCafferty in a trench at La Rue Tilleloy and a German Pickelhaube helmet is attached to his belt;
Kennington is third from the left, wearing a balaclava;
Private W Harvey;
Private P A Guy, nicknamed 'Good Little Guy';
Lance-Corporal H 'Tug' Wilson, wearing a balaclava and with his fork and spoon tucked into his puttee;
Private M Slade, standing with both hands on his rifle;
Corporal J Kealey;
The figure on the ground in the forefront of the painting is Private 'Sweeney' Todd, an under-age soldier who Kennington wrote was "exhausted by continual service, hard work, lack of sleep, long hours of 'standing to' and observing".
|
[
"Kensingtons",
"Laventie",
"calvary cross",
"Pas-de-Calais",
"Pickelhaube"
] |
|
13739_NT
|
The Kensingtons at Laventie
|
Focus on this artwork and explore the Description.
|
The Kensingtons spent the extremely cold winter of 1914 in the front-line trenches forward of the village of Laventie in the Pas-de-Calais. Their trenches were poorly built and frequently under artillery fire. The painting depicts a moment when the platoon, having spent four days and nights in a forward fire trench, have made their way through a flooded communications trench to the ruined village of Laventie. The men are waiting for the order to 'fall in' for the 5 mile march to an overnight billet outside shelling range.The painting is a group portrait of nine soldiers from Kennington's own infantry platoon, Platoon No 7, C Company. Kennington went to great lengths to contact his former comrades and sketch them while preparing the painting. It depicts eight figures standing on the snow-covered ground amid the detritus of war, beside a whitewashed wall, seven in a loose group to the left and one alone on the right overlooked by a calvary cross in the top right corner, while a ninth lies on the ground, exhausted.
Kennington supplied extensive notes that identified each individual in the painting and explained the situation depicted. The men depicted, from left to right, are:Private H Bristol, wearing the red scarf;
Private A McCafferty, with a bandaged head. One of the two rifles on his back belonged to a Private Perry who had been killed by a sniper whilst beside McCafferty in a trench at La Rue Tilleloy and a German Pickelhaube helmet is attached to his belt;
Kennington is third from the left, wearing a balaclava;
Private W Harvey;
Private P A Guy, nicknamed 'Good Little Guy';
Lance-Corporal H 'Tug' Wilson, wearing a balaclava and with his fork and spoon tucked into his puttee;
Private M Slade, standing with both hands on his rifle;
Corporal J Kealey;
The figure on the ground in the forefront of the painting is Private 'Sweeney' Todd, an under-age soldier who Kennington wrote was "exhausted by continual service, hard work, lack of sleep, long hours of 'standing to' and observing".
|
[
"Kensingtons",
"Laventie",
"calvary cross",
"Pas-de-Calais",
"Pickelhaube"
] |
|
13740_T
|
The Kensingtons at Laventie
|
Focus on The Kensingtons at Laventie and explain the Composition.
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Kennington painted the picture in a highly unconventional manner, painting in reverse on glass with the exterior layers applied first and the background last. This method, and Kennington's use of gold to pick out metallic details, gives the painting a particular clarity and luminosity. Whereas an oil painting on canvas will fade with time as the oils sink into the canvas, an oil on glass painting will largely retain its original brightness. Kennington claimed to have travelled some 500 miles while painting the picture in walking from the back of the glass to the front to check the composition.The style of the painting has been compared to the Pre-Raphaelites, Pieter Breughel, and religious icons in the Russian Orthodox tradition; and its composition bears resemblance to Uccellos Battle of San Romano.
|
[
"Pieter Breughel",
"Pre-Raphaelites",
"Battle of San Romano",
"Uccello",
"Russian Orthodox",
"reverse on glass"
] |
|
13740_NT
|
The Kensingtons at Laventie
|
Focus on this artwork and explain the Composition.
|
Kennington painted the picture in a highly unconventional manner, painting in reverse on glass with the exterior layers applied first and the background last. This method, and Kennington's use of gold to pick out metallic details, gives the painting a particular clarity and luminosity. Whereas an oil painting on canvas will fade with time as the oils sink into the canvas, an oil on glass painting will largely retain its original brightness. Kennington claimed to have travelled some 500 miles while painting the picture in walking from the back of the glass to the front to check the composition.The style of the painting has been compared to the Pre-Raphaelites, Pieter Breughel, and religious icons in the Russian Orthodox tradition; and its composition bears resemblance to Uccellos Battle of San Romano.
|
[
"Pieter Breughel",
"Pre-Raphaelites",
"Battle of San Romano",
"Uccello",
"Russian Orthodox",
"reverse on glass"
] |
|
13741_T
|
The Kensingtons at Laventie
|
Explore the Reception of this artwork, The Kensingtons at Laventie.
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The painting was first exhibited at the Goupil gallery on Regent Street from April to July 1916, to raise funds for the Star and Garter Building Fund. Its portrayal of exhausted soldiers caused a sensation. The painting was widely praised for its technical virtuosity, iconic colour scheme, and its "stately presentation of human endurance, of the quiet heroism of the rank and file", showing the war "in all its squalor and glory". The success of the painting led to the establishment of an official British war artist scheme by the Department of Information. Kennington himself was appointed a war artist and returned to France in 1917. In support of his application to become a war artist, the painter Sir John Lavery wrote "Mr Kennington, in my opinion, has painted in “The Kensingtons”, the only picture of the Great War that I have seen so far that will actually live."In May 2015, the Royal Mail issued a stamp featuring a detail from the painting as part of a First World War commemorative set.
|
[
"Goupil",
"Department of Information",
"Kensingtons",
"war artist",
"Star and Garter Building Fund",
"First World War",
"British war artist",
"Royal Mail",
"John Lavery",
"Regent Street"
] |
|
13741_NT
|
The Kensingtons at Laventie
|
Explore the Reception of this artwork.
|
The painting was first exhibited at the Goupil gallery on Regent Street from April to July 1916, to raise funds for the Star and Garter Building Fund. Its portrayal of exhausted soldiers caused a sensation. The painting was widely praised for its technical virtuosity, iconic colour scheme, and its "stately presentation of human endurance, of the quiet heroism of the rank and file", showing the war "in all its squalor and glory". The success of the painting led to the establishment of an official British war artist scheme by the Department of Information. Kennington himself was appointed a war artist and returned to France in 1917. In support of his application to become a war artist, the painter Sir John Lavery wrote "Mr Kennington, in my opinion, has painted in “The Kensingtons”, the only picture of the Great War that I have seen so far that will actually live."In May 2015, the Royal Mail issued a stamp featuring a detail from the painting as part of a First World War commemorative set.
|
[
"Goupil",
"Department of Information",
"Kensingtons",
"war artist",
"Star and Garter Building Fund",
"First World War",
"British war artist",
"Royal Mail",
"John Lavery",
"Regent Street"
] |
|
13742_T
|
Corpse of Christ
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Focus on Corpse of Christ and discuss the abstract.
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The Corpse of Christ is a painting by the Italian Baroque master Annibale Carracci, dating to c. 1583-1585 and housed in the Staatsgalerie of Stuttgart, Germany.
The work, dating to Carracci's early career, is a manifest homage to Andrea Mantegna's Dead Christ, which he had perhaps seen in the Aldobrandini collection. Christ is portrayed lying in a contorted position, seen from his feet. Differently from Mantegna, Carracci did not paint the mourners at the side, and adopted a more realistic depiction of the body.
|
[
"Annibale Carracci",
"Staatsgalerie",
"Aldobrandini",
"Andrea Mantegna",
"Carracci",
"Germany",
"Stuttgart"
] |
|
13742_NT
|
Corpse of Christ
|
Focus on this artwork and discuss the abstract.
|
The Corpse of Christ is a painting by the Italian Baroque master Annibale Carracci, dating to c. 1583-1585 and housed in the Staatsgalerie of Stuttgart, Germany.
The work, dating to Carracci's early career, is a manifest homage to Andrea Mantegna's Dead Christ, which he had perhaps seen in the Aldobrandini collection. Christ is portrayed lying in a contorted position, seen from his feet. Differently from Mantegna, Carracci did not paint the mourners at the side, and adopted a more realistic depiction of the body.
|
[
"Annibale Carracci",
"Staatsgalerie",
"Aldobrandini",
"Andrea Mantegna",
"Carracci",
"Germany",
"Stuttgart"
] |
|
13743_T
|
Fuente de Cibeles (Mexico City)
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How does Fuente de Cibeles (Mexico City) elucidate its History?
|
The fountain was inaugurated on September 5, 1980, by Mexican President José López Portillo, Madrid mayor, Enrique Tierno Galván and Mexico City mayor Carlos Hank González.
Féretro
The fountain is located in a plaza which used to be the Plaza of Miraville "created in the 19th century at the intersection of the antique carriageway of access to the lands that belonged to the family of the third Countess of Miravalle". Today they are Durango and Oaxaca streets. Underneath this plaza there was a well that served as the main source of drinking water for the Colonia Roma. This copy of the Spanish fountain was donated by Spanish immigrants to Mexico.
In 2011, the then mayor of Mexico City, Marcelo Ebrard, announced that the fountain was one of the 67 monuments to receive maintenance and refurbishment. The renovation included the "reintegration of missing pieces, restoration of bronze sculptures, rehabilitation of the water system, improvement of green areas and illumination with the objective of reducing electrical energy spending [by] 30%”. The re-inauguration of the fountain was on January 21, 2011, by the same mayor, the Spanish ambassador to Mexico Manuel Alabart, and Secretary of Works and Services of the Government of the Federal District, Fernando Aboitiz.
|
[
"Colonia Roma",
"Marcelo Ebrard",
"Enrique Tierno Galván",
"José López Portillo",
"Carlos Hank González",
"Mexico City",
"Madrid"
] |
|
13743_NT
|
Fuente de Cibeles (Mexico City)
|
How does this artwork elucidate its History?
|
The fountain was inaugurated on September 5, 1980, by Mexican President José López Portillo, Madrid mayor, Enrique Tierno Galván and Mexico City mayor Carlos Hank González.
Féretro
The fountain is located in a plaza which used to be the Plaza of Miraville "created in the 19th century at the intersection of the antique carriageway of access to the lands that belonged to the family of the third Countess of Miravalle". Today they are Durango and Oaxaca streets. Underneath this plaza there was a well that served as the main source of drinking water for the Colonia Roma. This copy of the Spanish fountain was donated by Spanish immigrants to Mexico.
In 2011, the then mayor of Mexico City, Marcelo Ebrard, announced that the fountain was one of the 67 monuments to receive maintenance and refurbishment. The renovation included the "reintegration of missing pieces, restoration of bronze sculptures, rehabilitation of the water system, improvement of green areas and illumination with the objective of reducing electrical energy spending [by] 30%”. The re-inauguration of the fountain was on January 21, 2011, by the same mayor, the Spanish ambassador to Mexico Manuel Alabart, and Secretary of Works and Services of the Government of the Federal District, Fernando Aboitiz.
|
[
"Colonia Roma",
"Marcelo Ebrard",
"Enrique Tierno Galván",
"José López Portillo",
"Carlos Hank González",
"Mexico City",
"Madrid"
] |
|
13744_T
|
Fuente de Cibeles (Mexico City)
|
Focus on Fuente de Cibeles (Mexico City) and analyze the Description and access.
|
The sculptural group measures approximately 12.5 meters long, 4.7 meters in width and 5.5 meters tall with a weight of 12 tons. It is located two blocks away from Metro Insurgentes and two blocks away from the Durango Metrobus station at the crossing of four streets: Oaxaca, Durango, Medellin and El Oro.
The fountain is located in the middle of a traffic circle surrounded by stores and restaurants that make up the Plaza Cibeles. Once a week, a flea market is set up, commonly known as "el tianguis de la Cibeles" or "el bazar de Oro".
|
[
"flea market",
"tianguis",
"Metrobus",
"Metro Insurgentes"
] |
|
13744_NT
|
Fuente de Cibeles (Mexico City)
|
Focus on this artwork and analyze the Description and access.
|
The sculptural group measures approximately 12.5 meters long, 4.7 meters in width and 5.5 meters tall with a weight of 12 tons. It is located two blocks away from Metro Insurgentes and two blocks away from the Durango Metrobus station at the crossing of four streets: Oaxaca, Durango, Medellin and El Oro.
The fountain is located in the middle of a traffic circle surrounded by stores and restaurants that make up the Plaza Cibeles. Once a week, a flea market is set up, commonly known as "el tianguis de la Cibeles" or "el bazar de Oro".
|
[
"flea market",
"tianguis",
"Metrobus",
"Metro Insurgentes"
] |
|
13745_T
|
Fuente de Cibeles (Mexico City)
|
In Fuente de Cibeles (Mexico City), how is the Spanish community discussed?
|
The fountain was donated by the community of Spanish residents in Mexico and was "erected as a symbol of brotherhood between both metropolises", Mexico City and Madrid.The ambassador of Spain in Mexico, Manuel Alabart, thanked the head of government of the Federal District Marcelo Ebrard for the renovations made in 2011 of what he called an "emblematic space" making Madrid and Mexico City closer, as well as for the "warmth and hospitality the city gives to almost 40 thousand Spanish that live in the Federal District". Ebrard also mentioned the importance of the emblematic work of the refurbishment that "strengthens the ties of friendship between Spain and Mexico".Even the business district surrounding the Plaza Cibeles is known for its Madrilenian style and influence. It has also become a tradition for the fountain to be invaded by fans of the Spanish soccer team in celebration of its victories.
|
[
"Marcelo Ebrard",
"Mexico City",
"Madrid"
] |
|
13745_NT
|
Fuente de Cibeles (Mexico City)
|
In this artwork, how is the Spanish community discussed?
|
The fountain was donated by the community of Spanish residents in Mexico and was "erected as a symbol of brotherhood between both metropolises", Mexico City and Madrid.The ambassador of Spain in Mexico, Manuel Alabart, thanked the head of government of the Federal District Marcelo Ebrard for the renovations made in 2011 of what he called an "emblematic space" making Madrid and Mexico City closer, as well as for the "warmth and hospitality the city gives to almost 40 thousand Spanish that live in the Federal District". Ebrard also mentioned the importance of the emblematic work of the refurbishment that "strengthens the ties of friendship between Spain and Mexico".Even the business district surrounding the Plaza Cibeles is known for its Madrilenian style and influence. It has also become a tradition for the fountain to be invaded by fans of the Spanish soccer team in celebration of its victories.
|
[
"Marcelo Ebrard",
"Mexico City",
"Madrid"
] |
|
13746_T
|
General William Tecumseh Sherman Monument
|
Focus on General William Tecumseh Sherman Monument and explore the abstract.
|
The General William Tecumseh Sherman Monument is an equestrian statue of American Civil War Major General William Tecumseh Sherman located in Sherman Plaza, which is part of President's Park in Washington, D.C., in the United States. The selection of an artist in 1896 to design the monument was highly controversial. During the monument's design phase, artist Carl Rohl-Smith died, and his memorial was finished by a number of other sculptors. The Sherman statue was unveiled in 1903. It is a contributing property to the Civil War Monuments in Washington, D.C. (added in 1978) and to the President's Park South (added in 1980), both of which are historic sites listed on the National Register of Historic Places.
|
[
"National Register of Historic Places",
"Monument",
"Carl Rohl-Smith",
"Washington, D.C.",
"William Tecumseh Sherman",
"contributing property",
"Civil War Monuments in Washington, D.C.",
"Sherman",
"American Civil War",
"President's Park"
] |
|
13746_NT
|
General William Tecumseh Sherman Monument
|
Focus on this artwork and explore the abstract.
|
The General William Tecumseh Sherman Monument is an equestrian statue of American Civil War Major General William Tecumseh Sherman located in Sherman Plaza, which is part of President's Park in Washington, D.C., in the United States. The selection of an artist in 1896 to design the monument was highly controversial. During the monument's design phase, artist Carl Rohl-Smith died, and his memorial was finished by a number of other sculptors. The Sherman statue was unveiled in 1903. It is a contributing property to the Civil War Monuments in Washington, D.C. (added in 1978) and to the President's Park South (added in 1980), both of which are historic sites listed on the National Register of Historic Places.
|
[
"National Register of Historic Places",
"Monument",
"Carl Rohl-Smith",
"Washington, D.C.",
"William Tecumseh Sherman",
"contributing property",
"Civil War Monuments in Washington, D.C.",
"Sherman",
"American Civil War",
"President's Park"
] |
|
13747_T
|
General William Tecumseh Sherman Monument
|
Focus on General William Tecumseh Sherman Monument and explain the Genesis of the monument, and design controversy.
|
Sherman died on February 14, 1891. Within days, the Society of the Army of the Tennessee, a veterans' group for those who served in the Army of the Tennessee, began planning for a memorial to their late commander. At the society's annual meeting in October 1891, the members of the society resolved to ask Congress to contribute $50,000 to a memorial and to establish a Sherman Memorial Commission. On July 5, 1892, Congress enacted legislation establishing the Sherman Monument Commission. The three commission members were the president of the Society of the Army of the Tennessee, the Secretary of War, and the Commander of the United States Army. The Society of the Army of the Tennessee agreed to raise $50,000 (half the cost of the monument). The society contacted its own members as well as those of other veterans groups such as the Grand Army of the Republic, Society of the Army of the Potomac, Society of the Army of the Ohio, Society of the Army of the Cumberland, and the Military Order of the Loyal Legion of the United States. However, the fund-raising appeal netted just $14,469.91. Congress was forced to double its contribution in order to make up the difference.In 1895, the Sherman Memorial Commission issued a call for proposals. It specified an equestrian statue, and limited the competition to American artists (living at home or abroad). A committee of the National Sculpture Society agreed to judge the submissions. When the competition closed on December 31, 1894, 23 sculptors had submitted proposals. These included Paul Wayland Bartlett (plinth with deeply cut bas-relief of Sherman, War, and Study), Henry Jackson Ellicott and William Bruce Gray (an Ionic pedestal), Adrian Jones of New York (equestrian statue), Fernando Miranda (an elliptical Greek Revival temple), L. Mullgardt (a park with four columns), Charles Henry Niehaus (pedestal with exedra), Victor Olsa (pedestal with bas relief panels), William Ordway Partridge (equestrian statue), and J. Massey Rhind (a monumental pyramid). All the proposed memorials were exhibited in Washington, D.C., to large crowds. The submission by Carl Rohl-Smith generated the most popular acclaim. The National Sculpture Society (NSS) judging committee consisted of Daniel Chester French, Augustus Saint-Gaudens, Olin Levi Warner and John Quincy Adams Ward. The committee narrowed the submissions down to a short list of four: Bartlett, Niehaus, Partridge, and Rhind. The submission by Carl Rohl-Smith did not make the short list. It was ranked almost dead last by the NSS committee.On May 27, the memorial commission of the Society of the Army of the Tennessee overruled the NSS judging committee and chose the Carl Rohl-Smith design. The National Sculpture Society was outraged, and protested the award strongly to the society and the press. Several newspapers also protested the award. The New York Times called the decision "one of the most discreditable events ever in the annals of the public art of the United States". Senator Edward O. Wolcott sponsored legislation to investigate the award process. Although his resolution was not successful, the Senate debate over the award process was rancorous and showed the Senate's deep distrust of "art experts". Rohl-Smith was accused of using political influence to win the commission, an accusation he vehemently denied. After two months of protests, the National Sculpture Society ceased to contest the award.
|
[
"L. Mullgardt",
"Military Order of the Loyal Legion of the United States",
"Monument",
"Olin Levi Warner",
"exedra",
"Carl Rohl-Smith",
"Army of the Tennessee",
"Edward O. Wolcott",
"Washington, D.C.",
"Jackson",
"John Quincy Adams Ward",
"United States Army",
"plinth",
"Paul Wayland Bartlett",
"Augustus Saint-Gaudens",
"Grand Army of the Republic",
"Daniel Chester French",
"National Sculpture Society",
"Charles Henry Niehaus",
"J. Massey Rhind",
"Secretary of War",
"The New York Times",
"Sherman",
"William Ordway Partridge",
"Ionic",
"Army of the Potomac",
"bas relief",
"Henry Jackson Ellicott"
] |
|
13747_NT
|
General William Tecumseh Sherman Monument
|
Focus on this artwork and explain the Genesis of the monument, and design controversy.
|
Sherman died on February 14, 1891. Within days, the Society of the Army of the Tennessee, a veterans' group for those who served in the Army of the Tennessee, began planning for a memorial to their late commander. At the society's annual meeting in October 1891, the members of the society resolved to ask Congress to contribute $50,000 to a memorial and to establish a Sherman Memorial Commission. On July 5, 1892, Congress enacted legislation establishing the Sherman Monument Commission. The three commission members were the president of the Society of the Army of the Tennessee, the Secretary of War, and the Commander of the United States Army. The Society of the Army of the Tennessee agreed to raise $50,000 (half the cost of the monument). The society contacted its own members as well as those of other veterans groups such as the Grand Army of the Republic, Society of the Army of the Potomac, Society of the Army of the Ohio, Society of the Army of the Cumberland, and the Military Order of the Loyal Legion of the United States. However, the fund-raising appeal netted just $14,469.91. Congress was forced to double its contribution in order to make up the difference.In 1895, the Sherman Memorial Commission issued a call for proposals. It specified an equestrian statue, and limited the competition to American artists (living at home or abroad). A committee of the National Sculpture Society agreed to judge the submissions. When the competition closed on December 31, 1894, 23 sculptors had submitted proposals. These included Paul Wayland Bartlett (plinth with deeply cut bas-relief of Sherman, War, and Study), Henry Jackson Ellicott and William Bruce Gray (an Ionic pedestal), Adrian Jones of New York (equestrian statue), Fernando Miranda (an elliptical Greek Revival temple), L. Mullgardt (a park with four columns), Charles Henry Niehaus (pedestal with exedra), Victor Olsa (pedestal with bas relief panels), William Ordway Partridge (equestrian statue), and J. Massey Rhind (a monumental pyramid). All the proposed memorials were exhibited in Washington, D.C., to large crowds. The submission by Carl Rohl-Smith generated the most popular acclaim. The National Sculpture Society (NSS) judging committee consisted of Daniel Chester French, Augustus Saint-Gaudens, Olin Levi Warner and John Quincy Adams Ward. The committee narrowed the submissions down to a short list of four: Bartlett, Niehaus, Partridge, and Rhind. The submission by Carl Rohl-Smith did not make the short list. It was ranked almost dead last by the NSS committee.On May 27, the memorial commission of the Society of the Army of the Tennessee overruled the NSS judging committee and chose the Carl Rohl-Smith design. The National Sculpture Society was outraged, and protested the award strongly to the society and the press. Several newspapers also protested the award. The New York Times called the decision "one of the most discreditable events ever in the annals of the public art of the United States". Senator Edward O. Wolcott sponsored legislation to investigate the award process. Although his resolution was not successful, the Senate debate over the award process was rancorous and showed the Senate's deep distrust of "art experts". Rohl-Smith was accused of using political influence to win the commission, an accusation he vehemently denied. After two months of protests, the National Sculpture Society ceased to contest the award.
|
[
"L. Mullgardt",
"Military Order of the Loyal Legion of the United States",
"Monument",
"Olin Levi Warner",
"exedra",
"Carl Rohl-Smith",
"Army of the Tennessee",
"Edward O. Wolcott",
"Washington, D.C.",
"Jackson",
"John Quincy Adams Ward",
"United States Army",
"plinth",
"Paul Wayland Bartlett",
"Augustus Saint-Gaudens",
"Grand Army of the Republic",
"Daniel Chester French",
"National Sculpture Society",
"Charles Henry Niehaus",
"J. Massey Rhind",
"Secretary of War",
"The New York Times",
"Sherman",
"William Ordway Partridge",
"Ionic",
"Army of the Potomac",
"bas relief",
"Henry Jackson Ellicott"
] |
|
13748_T
|
General William Tecumseh Sherman Monument
|
Explore the Design, construction, and dedication of this artwork, General William Tecumseh Sherman Monument.
|
Carl Rohl-Smith never saw his statue completed. He died in August 1900. Although the government determined that the contract with Rohl-Smith was null after his death, the memorial committee agreed to allow Rohl-Smith's assistant and wife, Sara, to oversee the statue's completion. Mrs. Rohl-Smith asked sculptors Theo Kitson, Henry Kirke Bush-Brown, and Jens Ferdinand Willumsen to help with the statue's completion. Later reports do not mention Bush-Brown or Willumsen's work on the monument, but Lauritz Jensen worked on the main statue, while Danish sculptor Stephen Sinding modelled the War and Peace figures. Sinding created plaster models for these pieces from Rohl-Smith's sketches. But upon review, the postures and sizes of the two figures were found not to harmonize with the rest of the monument. Sigvald Asbjornsen remodelled them. As Rohl-Smith had already completed three of the four soldier figures on the corners of the monument, Sigvald Asbjornsen completed the fourth. Sources differ as to whether Asbjornsen completed the artilleryman or the cavalryman. Kitson completed the medallions which depicted the corps commanders who served under Sherman. Jensen completed the four bas relief panels based on work already done by Rohl-Smith, and completed the badge (eagle) of the Army of the Tennessee as well.Gorham Brothers of Providence, Connecticut, cast the statues and medallions.The stone pedestal was designed by Rohl-Smith. Erected by April 1902, it was built by the Harrison Granite Company. The granite came from the Fletcher Granite Company of Westford, Massachusetts. The mosaic around the pedestal was designed by Rohl-Smith and constructed by the National Mosaic Company. The monument was expected to cost $90,000, but the final amount was $123,969.91.The monument was dedicated by President Theodore Roosevelt on October 15, 1903. The monument is located in Sherman Park. This area is where Sherman, along with President Andrew Johnson and General Ulysses Grant, reviewed the Army of the Potomac on May 23, 1865. Sherman led the parade of the Army of the Tennessee past this same site the next day.On February 18, 1904, Congress legislatively gave the name "Sherman Plaza" to the area where the monument stands.In 2011, the statue underwent a $2 million restoration.The statue is a contributing monument to the National Register of Historic Places' Civil War Monuments in Washington, D.C., which was established by Executive Order 11593 on May 13, 1971. The memorial is also a contributing element to President's Park South, an area which was listed on the National Register of Historic Places in 1980.
|
[
"National Register of Historic Places",
"Jens Ferdinand Willumsen",
"Monument",
"Carl Rohl-Smith",
"Army of the Tennessee",
"Washington, D.C.",
"Sigvald Asbjornsen",
"Ulysses Grant",
"Westford, Massachusetts",
"Henry Kirke Bush-Brown",
"Andrew Johnson",
"Executive Order",
"Theo Kitson",
"Civil War Monuments in Washington, D.C.",
"Sherman",
"Army of the Potomac",
"bas relief",
"President's Park",
"Theodore Roosevelt"
] |
|
13748_NT
|
General William Tecumseh Sherman Monument
|
Explore the Design, construction, and dedication of this artwork.
|
Carl Rohl-Smith never saw his statue completed. He died in August 1900. Although the government determined that the contract with Rohl-Smith was null after his death, the memorial committee agreed to allow Rohl-Smith's assistant and wife, Sara, to oversee the statue's completion. Mrs. Rohl-Smith asked sculptors Theo Kitson, Henry Kirke Bush-Brown, and Jens Ferdinand Willumsen to help with the statue's completion. Later reports do not mention Bush-Brown or Willumsen's work on the monument, but Lauritz Jensen worked on the main statue, while Danish sculptor Stephen Sinding modelled the War and Peace figures. Sinding created plaster models for these pieces from Rohl-Smith's sketches. But upon review, the postures and sizes of the two figures were found not to harmonize with the rest of the monument. Sigvald Asbjornsen remodelled them. As Rohl-Smith had already completed three of the four soldier figures on the corners of the monument, Sigvald Asbjornsen completed the fourth. Sources differ as to whether Asbjornsen completed the artilleryman or the cavalryman. Kitson completed the medallions which depicted the corps commanders who served under Sherman. Jensen completed the four bas relief panels based on work already done by Rohl-Smith, and completed the badge (eagle) of the Army of the Tennessee as well.Gorham Brothers of Providence, Connecticut, cast the statues and medallions.The stone pedestal was designed by Rohl-Smith. Erected by April 1902, it was built by the Harrison Granite Company. The granite came from the Fletcher Granite Company of Westford, Massachusetts. The mosaic around the pedestal was designed by Rohl-Smith and constructed by the National Mosaic Company. The monument was expected to cost $90,000, but the final amount was $123,969.91.The monument was dedicated by President Theodore Roosevelt on October 15, 1903. The monument is located in Sherman Park. This area is where Sherman, along with President Andrew Johnson and General Ulysses Grant, reviewed the Army of the Potomac on May 23, 1865. Sherman led the parade of the Army of the Tennessee past this same site the next day.On February 18, 1904, Congress legislatively gave the name "Sherman Plaza" to the area where the monument stands.In 2011, the statue underwent a $2 million restoration.The statue is a contributing monument to the National Register of Historic Places' Civil War Monuments in Washington, D.C., which was established by Executive Order 11593 on May 13, 1971. The memorial is also a contributing element to President's Park South, an area which was listed on the National Register of Historic Places in 1980.
|
[
"National Register of Historic Places",
"Jens Ferdinand Willumsen",
"Monument",
"Carl Rohl-Smith",
"Army of the Tennessee",
"Washington, D.C.",
"Sigvald Asbjornsen",
"Ulysses Grant",
"Westford, Massachusetts",
"Henry Kirke Bush-Brown",
"Andrew Johnson",
"Executive Order",
"Theo Kitson",
"Civil War Monuments in Washington, D.C.",
"Sherman",
"Army of the Potomac",
"bas relief",
"President's Park",
"Theodore Roosevelt"
] |
|
13749_T
|
General William Tecumseh Sherman Monument
|
Focus on General William Tecumseh Sherman Monument and discuss the About the monument.
|
The monument is located in Sherman Plaza, which is at the intersection of 15th Street NW, Pennsylvania Avenue NW, and Treasury Place NW. The equestrian statue of General Sherman is 17 feet 6 inches (5.33 m) tall, and stands atop a granite pedestal 25 feet 4 inches (7.72 m) high. The War and Peace statue groups are each 9 feet 6 inches (2.90 m) high. The four corner statues representing branches of the army are each 7 feet (2.1 m) tall. The March Through Georgia and Battle of Atlanta bas reliefs are each 7 feet 6 inches (2.29 m) by 3 feet 9 inches (1.14 m), while the Sherman By the Campfire and Missionary Ridge bas reliefs are 4 feet (1.2 m) by 3 feet 9 inches (1.14 m) in size. The sculpted badge of the Army of the Tennessee is 5 feet (1.5 m) by 1 foot 6 inches (0.46 m), while the medallion in each pair of medallions is 1 foot 3 inches (0.38 m) square.From the front step to the back step, the statue is 59 feet 8 inches (18.19 m) long, while the "terrace" above the steps (which surrounds the pedestal) is 41 feet (12 m) long.The subfoundation of the Sherman Monument was completed in December 1898. About 1,680 cubic yards (1,280 m3) were excavated from the site, while another 284 cubic yards (217 m3) of material were required to backfill and level it. Two hundred and four wooden pilings were driven into the ground to help support the monument, and 1,142 cubic yards (873 m3) of sand and fill and 397.7 cubic yards (304.1 m3) of concrete were used to complete the subfoundation. The pilings had to be sunk 35 feet (11 m) lower than anticipated due to the existence of groundwater at the site. Congress appropriated an extra $10,000 to cover the cost.Rohl-Smith designed the equestrian statue of Sherman so that it depicted him on the day he rode up Pennsylvania Avenue at the head of the Army of the Tennessee on May 24, 1865.
Four bas-relief panels adorn the sides of the monument:
North side: The March Through Georgia depicts men singing as they make their way easily through enemy territory. Sherman can be seen in the background, accompanied by staff members Colonel Lewis M. Dayton, Colonel James C. McCoy, and Captain Joseph C. Audenried. General Peter Joseph Osterhaus is to the left, and many former slaves gape in awe as Sherman's troops pass by.
South side: The Battle of Atlanta depicts Sherman and his staff listening to cannon fire at Sherman's headquarters at the Augustus Hurt (Howard) House. Among those present and identifiable are General Oliver O. Howard, General John Schofield, and Colonel Orlando Metcalfe Poe (the Chief of Engineers, who is delivering information to Sherman). In the background, the XVIth Corps is shown repulsing the attack which saved the Army of the Tennessee from defeat. In the lower left corner, an escort is arriving. This escort is intended to symbolize the troop which would take the body of General James B. McPherson from the field of battle. The badge of the Army of the Tennessee is below the bas-relief.
West side: Sherman by the Campfire depicts the recollections of Colonel S. H. M. Byers, who wrote in McClure's Magazine in August 1894 that he often saw Sherman standing or walking by a campfire at night while his men slept.
East side: Missionary Ridge depicts the Battle of Missionary Ridge on November 25, 1863. Sherman is depicted waiting for news that Major General George Henry Thomas has attacked in the middle of the battle line. Sherman's troops are shown fighting on the ridge in the background.There are two major figure groups, one on the east and one on the west side of the monument. The western group depicts War (presenting Sherman's epithet that "War is hell!") as an older woman who is tearing asunder her clothing and the straps that bind her. She is trampling on the body of a dead soldier (who lies on his back), while a vulture perches behind her feet and another spreads its wings menacingly over the dead man. The mouth of a cannon can be seen poking from below the dead man's legs. The eastern group depicts Peace as a young woman naked from the waist up, the flowering branch of a fruit tree in her left hand. To her left, a nude young girl tends a wounded young boy dressed in tattered pants (a depiction of the strong caring for the weak). To the woman's right, a nude boy lies in the grass feeding a bird.There are four figures at each corner of the monument. They represent the artillery (northeast corner), infantry (northwest corner), cavalry (southeast corner), and engineers (southwest corner).Pairs of medallions depicting the army and corps commanders of the Army of the Tennessee are on each side of the monument. These pairs are: General James B. McPherson and General Oliver O. Howard, General John A. Logan and Major General Frank P. Blair, Jr., Brigadier General Grenville M. Dodge and Brigadier General Thomas E. G. Ransom, and Major General Benjamin Grierson and Brigadier General Andrew Jackson Smith.Rohl-Smith designed the monument to have two low steps, and for a mosaic 6 feet (1.8 m) wide to surround the monument. But Rohl-Smith did not complete the design for the mosaic before his death. His wife, Sara Rohl-Smith, designed the actual mosaic pattern. Congress appropriated another $8,000 to complete it. The mosaic contains the names of the battles Sherman fought in:
North side: Griswoldville, Waynesboro, Fort McAllister, Capture of Savannah, Averasborough, Bentonville, Durham Station, and the Surrender of Johnston's Army
East side: Kenesaw Mountain (it is misspelled with one "n" on the monument), Ruff's Mills, Peach Tree Creek, Atlanta, Ezra Church, Utoy Creek, Jonesboro, Capture of Atlanta, and Allatoona.
South side: Chattanooga, Ringgold, Missionary Ridge, Relief of Knoxville, Meridian Expedition, Dalton, Resaca, New Hope Church, Dallas, and Kulp's Farm (Kolb's Farm is misspelled on the monument).
West side: Bull Run, Shiloh, Corinth, Chickasaw Bluffs, Arkansas Post, Steele's Bayou, Jackson, Vicksburg, and Colliersville (misspelled, as in most Union reports, with an "s" in the middle).The inscription around the monument reads:(Base, front:)
WILLIAM TECUMSEH SHERMAN
1820–1891
(North side of base:)
ON NO EARTHLY ACCOUNT WILL I DO ANY ACT OR
THINK ANY THOUGHT HOSTILE TO OR IN DEFIANCE
OF THE OLD GOVERNMENT OF THE UNITED STATES
ALEXANDRIA, LOUISIANA JANUARY 18, 1861
WAR'S LEGITIMATE OBJECT IS MORE PERFECT PEACE
WASHINGTON, DC FEBRUARY 23, 1882
(South side of base:)
SEMINOLE WAR 1840–1842
WAR IN MEXICO 1847–1848
OCCUPATION OF CALIFORNIA
CIVIL WAR 1861–1865
GENERAL COMMANDING THE
ARMY OF THE UNITED STATES
1869–1884
(South base, lower side:)
ERECTED BY THE
SOCIETY OF THE ARMY OF THE TENNESSEE
WITH THE AID OF THE
CONGRESS OF THE UNITED STATES
1903
|
[
"engineers",
"Colliersville",
"Ezra Church",
"Peach Tree Creek",
"Relief of Knoxville",
"Corinth",
"Atlanta",
"Monument",
"Bull Run",
"Vicksburg",
"Thomas E. G. Ransom",
"Chickasaw Bluffs",
"Army of the Tennessee",
"Ringgold",
"Kulp's Farm",
"Dallas",
"Jackson",
"Orlando Metcalfe Poe",
"Griswoldville",
"Oliver O. Howard",
"Capture of Savannah",
"Battle of Atlanta",
"Chattanooga",
"Augustus Hurt (Howard) House",
"Averasborough",
"New Hope Church",
"Arkansas Post",
"Steele's Bayou",
"Frank P. Blair, Jr.",
"S. H. M. Byers",
"Pennsylvania Avenue",
"Waynesboro",
"Benjamin Grierson",
"Utoy Creek",
"Fort McAllister",
"Peter Joseph Osterhaus",
"Allatoona",
"Surrender of Johnston's Army",
"Kenesaw Mountain",
"Grenville M. Dodge",
"Resaca",
"Battle of Missionary Ridge",
"Jonesboro",
"Sherman",
"Andrew Jackson Smith",
"Meridian Expedition",
"John Schofield",
"George Henry Thomas",
"Dalton",
"Bentonville",
"James B. McPherson",
"Shiloh",
"left",
"bas relief",
"John A. Logan"
] |
|
13749_NT
|
General William Tecumseh Sherman Monument
|
Focus on this artwork and discuss the About the monument.
|
The monument is located in Sherman Plaza, which is at the intersection of 15th Street NW, Pennsylvania Avenue NW, and Treasury Place NW. The equestrian statue of General Sherman is 17 feet 6 inches (5.33 m) tall, and stands atop a granite pedestal 25 feet 4 inches (7.72 m) high. The War and Peace statue groups are each 9 feet 6 inches (2.90 m) high. The four corner statues representing branches of the army are each 7 feet (2.1 m) tall. The March Through Georgia and Battle of Atlanta bas reliefs are each 7 feet 6 inches (2.29 m) by 3 feet 9 inches (1.14 m), while the Sherman By the Campfire and Missionary Ridge bas reliefs are 4 feet (1.2 m) by 3 feet 9 inches (1.14 m) in size. The sculpted badge of the Army of the Tennessee is 5 feet (1.5 m) by 1 foot 6 inches (0.46 m), while the medallion in each pair of medallions is 1 foot 3 inches (0.38 m) square.From the front step to the back step, the statue is 59 feet 8 inches (18.19 m) long, while the "terrace" above the steps (which surrounds the pedestal) is 41 feet (12 m) long.The subfoundation of the Sherman Monument was completed in December 1898. About 1,680 cubic yards (1,280 m3) were excavated from the site, while another 284 cubic yards (217 m3) of material were required to backfill and level it. Two hundred and four wooden pilings were driven into the ground to help support the monument, and 1,142 cubic yards (873 m3) of sand and fill and 397.7 cubic yards (304.1 m3) of concrete were used to complete the subfoundation. The pilings had to be sunk 35 feet (11 m) lower than anticipated due to the existence of groundwater at the site. Congress appropriated an extra $10,000 to cover the cost.Rohl-Smith designed the equestrian statue of Sherman so that it depicted him on the day he rode up Pennsylvania Avenue at the head of the Army of the Tennessee on May 24, 1865.
Four bas-relief panels adorn the sides of the monument:
North side: The March Through Georgia depicts men singing as they make their way easily through enemy territory. Sherman can be seen in the background, accompanied by staff members Colonel Lewis M. Dayton, Colonel James C. McCoy, and Captain Joseph C. Audenried. General Peter Joseph Osterhaus is to the left, and many former slaves gape in awe as Sherman's troops pass by.
South side: The Battle of Atlanta depicts Sherman and his staff listening to cannon fire at Sherman's headquarters at the Augustus Hurt (Howard) House. Among those present and identifiable are General Oliver O. Howard, General John Schofield, and Colonel Orlando Metcalfe Poe (the Chief of Engineers, who is delivering information to Sherman). In the background, the XVIth Corps is shown repulsing the attack which saved the Army of the Tennessee from defeat. In the lower left corner, an escort is arriving. This escort is intended to symbolize the troop which would take the body of General James B. McPherson from the field of battle. The badge of the Army of the Tennessee is below the bas-relief.
West side: Sherman by the Campfire depicts the recollections of Colonel S. H. M. Byers, who wrote in McClure's Magazine in August 1894 that he often saw Sherman standing or walking by a campfire at night while his men slept.
East side: Missionary Ridge depicts the Battle of Missionary Ridge on November 25, 1863. Sherman is depicted waiting for news that Major General George Henry Thomas has attacked in the middle of the battle line. Sherman's troops are shown fighting on the ridge in the background.There are two major figure groups, one on the east and one on the west side of the monument. The western group depicts War (presenting Sherman's epithet that "War is hell!") as an older woman who is tearing asunder her clothing and the straps that bind her. She is trampling on the body of a dead soldier (who lies on his back), while a vulture perches behind her feet and another spreads its wings menacingly over the dead man. The mouth of a cannon can be seen poking from below the dead man's legs. The eastern group depicts Peace as a young woman naked from the waist up, the flowering branch of a fruit tree in her left hand. To her left, a nude young girl tends a wounded young boy dressed in tattered pants (a depiction of the strong caring for the weak). To the woman's right, a nude boy lies in the grass feeding a bird.There are four figures at each corner of the monument. They represent the artillery (northeast corner), infantry (northwest corner), cavalry (southeast corner), and engineers (southwest corner).Pairs of medallions depicting the army and corps commanders of the Army of the Tennessee are on each side of the monument. These pairs are: General James B. McPherson and General Oliver O. Howard, General John A. Logan and Major General Frank P. Blair, Jr., Brigadier General Grenville M. Dodge and Brigadier General Thomas E. G. Ransom, and Major General Benjamin Grierson and Brigadier General Andrew Jackson Smith.Rohl-Smith designed the monument to have two low steps, and for a mosaic 6 feet (1.8 m) wide to surround the monument. But Rohl-Smith did not complete the design for the mosaic before his death. His wife, Sara Rohl-Smith, designed the actual mosaic pattern. Congress appropriated another $8,000 to complete it. The mosaic contains the names of the battles Sherman fought in:
North side: Griswoldville, Waynesboro, Fort McAllister, Capture of Savannah, Averasborough, Bentonville, Durham Station, and the Surrender of Johnston's Army
East side: Kenesaw Mountain (it is misspelled with one "n" on the monument), Ruff's Mills, Peach Tree Creek, Atlanta, Ezra Church, Utoy Creek, Jonesboro, Capture of Atlanta, and Allatoona.
South side: Chattanooga, Ringgold, Missionary Ridge, Relief of Knoxville, Meridian Expedition, Dalton, Resaca, New Hope Church, Dallas, and Kulp's Farm (Kolb's Farm is misspelled on the monument).
West side: Bull Run, Shiloh, Corinth, Chickasaw Bluffs, Arkansas Post, Steele's Bayou, Jackson, Vicksburg, and Colliersville (misspelled, as in most Union reports, with an "s" in the middle).The inscription around the monument reads:(Base, front:)
WILLIAM TECUMSEH SHERMAN
1820–1891
(North side of base:)
ON NO EARTHLY ACCOUNT WILL I DO ANY ACT OR
THINK ANY THOUGHT HOSTILE TO OR IN DEFIANCE
OF THE OLD GOVERNMENT OF THE UNITED STATES
ALEXANDRIA, LOUISIANA JANUARY 18, 1861
WAR'S LEGITIMATE OBJECT IS MORE PERFECT PEACE
WASHINGTON, DC FEBRUARY 23, 1882
(South side of base:)
SEMINOLE WAR 1840–1842
WAR IN MEXICO 1847–1848
OCCUPATION OF CALIFORNIA
CIVIL WAR 1861–1865
GENERAL COMMANDING THE
ARMY OF THE UNITED STATES
1869–1884
(South base, lower side:)
ERECTED BY THE
SOCIETY OF THE ARMY OF THE TENNESSEE
WITH THE AID OF THE
CONGRESS OF THE UNITED STATES
1903
|
[
"engineers",
"Colliersville",
"Ezra Church",
"Peach Tree Creek",
"Relief of Knoxville",
"Corinth",
"Atlanta",
"Monument",
"Bull Run",
"Vicksburg",
"Thomas E. G. Ransom",
"Chickasaw Bluffs",
"Army of the Tennessee",
"Ringgold",
"Kulp's Farm",
"Dallas",
"Jackson",
"Orlando Metcalfe Poe",
"Griswoldville",
"Oliver O. Howard",
"Capture of Savannah",
"Battle of Atlanta",
"Chattanooga",
"Augustus Hurt (Howard) House",
"Averasborough",
"New Hope Church",
"Arkansas Post",
"Steele's Bayou",
"Frank P. Blair, Jr.",
"S. H. M. Byers",
"Pennsylvania Avenue",
"Waynesboro",
"Benjamin Grierson",
"Utoy Creek",
"Fort McAllister",
"Peter Joseph Osterhaus",
"Allatoona",
"Surrender of Johnston's Army",
"Kenesaw Mountain",
"Grenville M. Dodge",
"Resaca",
"Battle of Missionary Ridge",
"Jonesboro",
"Sherman",
"Andrew Jackson Smith",
"Meridian Expedition",
"John Schofield",
"George Henry Thomas",
"Dalton",
"Bentonville",
"James B. McPherson",
"Shiloh",
"left",
"bas relief",
"John A. Logan"
] |
|
13750_T
|
General William Tecumseh Sherman Monument
|
How does General William Tecumseh Sherman Monument elucidate its Access?
|
Access to the monument is currently restricted due to the United States Secret Service having expanded the security perimeter around the White House
|
[
"United States Secret Service"
] |
|
13750_NT
|
General William Tecumseh Sherman Monument
|
How does this artwork elucidate its Access?
|
Access to the monument is currently restricted due to the United States Secret Service having expanded the security perimeter around the White House
|
[
"United States Secret Service"
] |
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