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13851_T
|
At Eternity's Gate
|
Focus on At Eternity's Gate and explore the Genesis.
|
Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied (totalement abruti) and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy: What can I tell you of these two last months, things aren't going well at all, I'm more sad and bored than I could tell you, and I no longer know what point I'm at ... While I was ill I nevertheless still did a few small canvases from memory which you'll see later, memories from the north [souvenirs du nord] ... so melancholy do I feel. It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man ('At Eternity's Gate') is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.
|
[
"epilepsy",
"Dr. Félix Rey",
"hospital in Arles",
"memories from the north",
"Theo",
"following the celebrated incident involving his ear",
"lithograph",
"bipolar disorder",
"suffered from some form of mental illness",
"At Eternity's Gate",
"catalogue raisonné",
"Jan Hulsker",
"absinthe",
"Vincent van Gogh"
] |
|
13851_NT
|
At Eternity's Gate
|
Focus on this artwork and explore the Genesis.
|
Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied (totalement abruti) and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy: What can I tell you of these two last months, things aren't going well at all, I'm more sad and bored than I could tell you, and I no longer know what point I'm at ... While I was ill I nevertheless still did a few small canvases from memory which you'll see later, memories from the north [souvenirs du nord] ... so melancholy do I feel. It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man ('At Eternity's Gate') is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.
|
[
"epilepsy",
"Dr. Félix Rey",
"hospital in Arles",
"memories from the north",
"Theo",
"following the celebrated incident involving his ear",
"lithograph",
"bipolar disorder",
"suffered from some form of mental illness",
"At Eternity's Gate",
"catalogue raisonné",
"Jan Hulsker",
"absinthe",
"Vincent van Gogh"
] |
|
13852_T
|
Statue of Christopher Columbus (St. Louis)
|
Explore the abstract of this artwork, Statue of Christopher Columbus (St. Louis).
|
In 1884, a statue of Christopher Columbus was installed in St. Louis, Missouri, United States. The dedication inscription on its base read: “The XIX Centurÿ to Christopher Columbus 1884.”
The monument was removed in June 2020.
|
[
"Missouri",
"Christopher Columbus",
"St. Louis"
] |
|
13852_NT
|
Statue of Christopher Columbus (St. Louis)
|
Explore the abstract of this artwork.
|
In 1884, a statue of Christopher Columbus was installed in St. Louis, Missouri, United States. The dedication inscription on its base read: “The XIX Centurÿ to Christopher Columbus 1884.”
The monument was removed in June 2020.
|
[
"Missouri",
"Christopher Columbus",
"St. Louis"
] |
|
13853_T
|
The Dream and Lie of Franco
|
Focus on The Dream and Lie of Franco and discuss the abstract.
|
The Dream and Lie of Franco (Spanish: Sueño y mentira de Franco) is a series of two sheets of prints, comprising 18 individual images, and an accompanying prose poem, by Pablo Picasso produced in 1937. The sheets each contain nine images arranged in a 3x3 grid. The first 14, in etching and aquatint, are dated 8 January 1937. The remaining four images were added to the second printing plate later, without use of aquatint, and dated June 7, 1937.The Dream and Lie of Franco is significant as Picasso's first overtly political work and prefigures his iconic political painting Guernica. The etchings satirise Spanish Generalísimo Francisco Franco's claim to represent and defend conservative Spanish culture and values by showing him in various ridiculous guises, while destroying Spain and its culture. The poem denounces "evil-omened polyps". Three of the four images added in June 1937 are directly related to studies for Guernica.The individual images were originally intended to be published as postcards to raise funds for the Spanish Republican government, and sold at the Spanish Pavilion of the 1937 World's Fair, although it is unclear whether any prints were made or sold in postcard format.In his review of the etchings for The Spectator in October 1937, art historian (and member of the Cambridge Five spy-ring) Anthony Blunt complained that the work could not "reach more than the limited coterie of aesthetes". Critic and author John Golding on the other hand, claimed that "more than any other work by Picasso Dream and Lie of Franco breaks down, as the Surrealists so passionately longed to, distinctions between thought, writing and visual imagery."
|
[
"polyp",
"printing plate",
"Francisco Franco",
"aquatint",
"Spanish Republican government",
"postcard",
"The Spectator",
"Cambridge Five",
"Guernica",
"prose poem",
"political work",
"aesthetes",
"Anthony Blunt",
"etching",
"Surrealists",
"Generalísimo",
"1937 World's Fair",
"satirise",
"Pablo Picasso"
] |
|
13853_NT
|
The Dream and Lie of Franco
|
Focus on this artwork and discuss the abstract.
|
The Dream and Lie of Franco (Spanish: Sueño y mentira de Franco) is a series of two sheets of prints, comprising 18 individual images, and an accompanying prose poem, by Pablo Picasso produced in 1937. The sheets each contain nine images arranged in a 3x3 grid. The first 14, in etching and aquatint, are dated 8 January 1937. The remaining four images were added to the second printing plate later, without use of aquatint, and dated June 7, 1937.The Dream and Lie of Franco is significant as Picasso's first overtly political work and prefigures his iconic political painting Guernica. The etchings satirise Spanish Generalísimo Francisco Franco's claim to represent and defend conservative Spanish culture and values by showing him in various ridiculous guises, while destroying Spain and its culture. The poem denounces "evil-omened polyps". Three of the four images added in June 1937 are directly related to studies for Guernica.The individual images were originally intended to be published as postcards to raise funds for the Spanish Republican government, and sold at the Spanish Pavilion of the 1937 World's Fair, although it is unclear whether any prints were made or sold in postcard format.In his review of the etchings for The Spectator in October 1937, art historian (and member of the Cambridge Five spy-ring) Anthony Blunt complained that the work could not "reach more than the limited coterie of aesthetes". Critic and author John Golding on the other hand, claimed that "more than any other work by Picasso Dream and Lie of Franco breaks down, as the Surrealists so passionately longed to, distinctions between thought, writing and visual imagery."
|
[
"polyp",
"printing plate",
"Francisco Franco",
"aquatint",
"Spanish Republican government",
"postcard",
"The Spectator",
"Cambridge Five",
"Guernica",
"prose poem",
"political work",
"aesthetes",
"Anthony Blunt",
"etching",
"Surrealists",
"Generalísimo",
"1937 World's Fair",
"satirise",
"Pablo Picasso"
] |
|
13854_T
|
The Dream and Lie of Franco
|
Focus on The Dream and Lie of Franco and analyze the Selected bibliography.
|
Schuldiner, Michael (Autumn 2016). "Narrative Markers in Pablo Picasso's Tragicomic Strip, The Dream and Lie of Franco". European Comic Art. 9 (3): 6–26. doi:10.3167/eca.2016.090202.
|
[
"Pablo Picasso"
] |
|
13854_NT
|
The Dream and Lie of Franco
|
Focus on this artwork and analyze the Selected bibliography.
|
Schuldiner, Michael (Autumn 2016). "Narrative Markers in Pablo Picasso's Tragicomic Strip, The Dream and Lie of Franco". European Comic Art. 9 (3): 6–26. doi:10.3167/eca.2016.090202.
|
[
"Pablo Picasso"
] |
|
13855_T
|
Portrait of Jakob Muffel
|
In Portrait of Jakob Muffel, how is the abstract discussed?
|
The Portrait of Jakob Muffel is a painting by German Renaissance master Albrecht Dürer, signed and dated from 1526, now housed in the Gemäldegalerie of Berlin, Germany.
The work was executed in Nuremberg, the same year in which the German artist portrayed Johann Kleberger and Hieronymus Holzschuher. Jakob Muffel was burgomaster of the city in the year in which Dürer had donated it his four panels of The Four Apostles and the two paintings are perhaps related to each other.
The panel is the same size as the portrait of Holzschuher and it has thus been speculated that they may have been commissioned for an official celebration and exhibited at the city's town hall
|
[
"Gemäldegalerie",
"Johann Kleberger",
"Albrecht Dürer",
"The Four Apostles",
"Nuremberg",
"Berlin",
"Hieronymus Holzschuher"
] |
|
13855_NT
|
Portrait of Jakob Muffel
|
In this artwork, how is the abstract discussed?
|
The Portrait of Jakob Muffel is a painting by German Renaissance master Albrecht Dürer, signed and dated from 1526, now housed in the Gemäldegalerie of Berlin, Germany.
The work was executed in Nuremberg, the same year in which the German artist portrayed Johann Kleberger and Hieronymus Holzschuher. Jakob Muffel was burgomaster of the city in the year in which Dürer had donated it his four panels of The Four Apostles and the two paintings are perhaps related to each other.
The panel is the same size as the portrait of Holzschuher and it has thus been speculated that they may have been commissioned for an official celebration and exhibited at the city's town hall
|
[
"Gemäldegalerie",
"Johann Kleberger",
"Albrecht Dürer",
"The Four Apostles",
"Nuremberg",
"Berlin",
"Hieronymus Holzschuher"
] |
|
13856_T
|
The Apotheosis of Catherine of Braganza
|
Focus on The Apotheosis of Catherine of Braganza and explore the abstract.
|
The Apotheosis of Catherine of Braganza is a ceiling painting by Antonio Verrio, at Windsor Castle. It is one of three that survived, of the original twenty, mostly destroyed during George IV's nineteenth century reconstruction of the castle.
|
[
"Catherine of Braganza",
"George IV",
"Windsor Castle",
"Antonio Verrio"
] |
|
13856_NT
|
The Apotheosis of Catherine of Braganza
|
Focus on this artwork and explore the abstract.
|
The Apotheosis of Catherine of Braganza is a ceiling painting by Antonio Verrio, at Windsor Castle. It is one of three that survived, of the original twenty, mostly destroyed during George IV's nineteenth century reconstruction of the castle.
|
[
"Catherine of Braganza",
"George IV",
"Windsor Castle",
"Antonio Verrio"
] |
|
13857_T
|
The Apotheosis of Catherine of Braganza
|
Focus on The Apotheosis of Catherine of Braganza and explain the The painting.
|
The painting depicts Catherine of Braganza, the wife of Charles II, seated under a billowing canopy, and surrounded by allegorical figures.
It is located in the Queen's Presence Chamber in Windsor Castle.
|
[
"Catherine of Braganza",
"Windsor Castle",
"Charles II"
] |
|
13857_NT
|
The Apotheosis of Catherine of Braganza
|
Focus on this artwork and explain the The painting.
|
The painting depicts Catherine of Braganza, the wife of Charles II, seated under a billowing canopy, and surrounded by allegorical figures.
It is located in the Queen's Presence Chamber in Windsor Castle.
|
[
"Catherine of Braganza",
"Windsor Castle",
"Charles II"
] |
|
13858_T
|
The Split of Life
|
Explore the abstract of this artwork, The Split of Life.
|
The Split of Life is a series of over 80 mural size oil paintings by Nabil Kanso. The paintings span a period from 1974 to 1994, and deal with contemporary and historical issues of war and violence.
|
[
"Nabil Kanso"
] |
|
13858_NT
|
The Split of Life
|
Explore the abstract of this artwork.
|
The Split of Life is a series of over 80 mural size oil paintings by Nabil Kanso. The paintings span a period from 1974 to 1994, and deal with contemporary and historical issues of war and violence.
|
[
"Nabil Kanso"
] |
|
13859_T
|
The Split of Life
|
Focus on The Split of Life and discuss the Development and description.
|
The subject of war in Kanso’s work began during 1972–1974 in New York when he did a series of paintings and drawings on the Vietnam War. After a brief pause, he started in 1975 the Lebanon war series evoked by the civil war that broke out in his native land. The intersection of the two series reflecting similarity in composition, scale, style and theme provided the framework for a larger series whose underlying theme formed the basis of the Split of Life series in encompassing several other series dealing with war.The Split of Life series delineates two periods: 1974–1985 and 1986–1994. The works of the first period are characterized by the use of warm colors dominated by red, orange, yellow and black, and the depiction of compositions in which masses of figures occupy the entire surface plane. Among the series in the period are the Vietnam, Lebanon, One-Minute on (Hiroshima and Nagasaki) and Time Suspended in Space on (South Africa) series. The works of the 1986–94 period depict compositions that divide the canvas in two or more sections depicting figures painted in dark blue and black within an enclosure of red and orange surrounded by a white space. Everywhere in the painting there is the dynamics of transformation, rather than static forms of distribution and knowledge. Among the series in this period are the Cluster Matter, Glory and Cruelty, and Living Memory (Auschwitz) series. It is suggested that most of the Split of Life paintings are recessive in the upper center, and somewhat bilaterally symmetrical. This division is often in the form of a face placed against a V form. The violence seems to deploy itself towards that opening so that the center is dominated by a mother of war, a kali-figure.
|
[
"Auschwitz",
"One-Minute",
"native land",
"Vietnam War",
"Time Suspended in Space",
"(South Africa)",
"Living Memory",
"civil war",
"(Hiroshima and Nagasaki)",
"Vietnam",
"Glory and Cruelty",
"Lebanon"
] |
|
13859_NT
|
The Split of Life
|
Focus on this artwork and discuss the Development and description.
|
The subject of war in Kanso’s work began during 1972–1974 in New York when he did a series of paintings and drawings on the Vietnam War. After a brief pause, he started in 1975 the Lebanon war series evoked by the civil war that broke out in his native land. The intersection of the two series reflecting similarity in composition, scale, style and theme provided the framework for a larger series whose underlying theme formed the basis of the Split of Life series in encompassing several other series dealing with war.The Split of Life series delineates two periods: 1974–1985 and 1986–1994. The works of the first period are characterized by the use of warm colors dominated by red, orange, yellow and black, and the depiction of compositions in which masses of figures occupy the entire surface plane. Among the series in the period are the Vietnam, Lebanon, One-Minute on (Hiroshima and Nagasaki) and Time Suspended in Space on (South Africa) series. The works of the 1986–94 period depict compositions that divide the canvas in two or more sections depicting figures painted in dark blue and black within an enclosure of red and orange surrounded by a white space. Everywhere in the painting there is the dynamics of transformation, rather than static forms of distribution and knowledge. Among the series in this period are the Cluster Matter, Glory and Cruelty, and Living Memory (Auschwitz) series. It is suggested that most of the Split of Life paintings are recessive in the upper center, and somewhat bilaterally symmetrical. This division is often in the form of a face placed against a V form. The violence seems to deploy itself towards that opening so that the center is dominated by a mother of war, a kali-figure.
|
[
"Auschwitz",
"One-Minute",
"native land",
"Vietnam War",
"Time Suspended in Space",
"(South Africa)",
"Living Memory",
"civil war",
"(Hiroshima and Nagasaki)",
"Vietnam",
"Glory and Cruelty",
"Lebanon"
] |
|
13860_T
|
The Split of Life
|
How does The Split of Life elucidate its Analysis and interpretations?
|
In examining the works in the Split of Life series, some studies point to compositional and thematic aspects in conjunction with a set of distinctive concepts, in particular, the human subject, the Gods, the luminous sky, and the concealing self-concealing earth.The human figures appear as the flesh of humanity, always compelled by the law of regeneration, offering itself willingly to the torments of domination and submission. Human suffering and torment seem to have always existed. They bear the pain and continue to remain in this dreadful state dictated by a delinquent social reality. In the split of Life, they exist in a new and different reality created by the artist imagination on big canvases in which they make their case as condemned beings. Their presence disturbs and troubles us. We find ourselves immersed in their world whose reality becomes our own reality.The Gods appear immortal but not eternal; each Holy Family presides only over one epoch in the history of men with the Gods. The powers (beyond Good and Evil) into which “Necessity is analyzed have no history; they crush humanity within the eternal circle of helpless reflection and unconscious desire.”The picture surface occludes the sky, the empty space of the horizon that makes possible light, darkness, and their relations, the horizon as a boundary between sky and earth. the composition covers that space and all its cognitive illusions The explosions of wars wreaking destruction and devastation inflamed and obfuscated the blue sky with dark forms erupting from earth burning fires. The violent scenes disturbs the chromatic gamut of chiaroscuro, light and shadow through which the victims emerge from the canvases with a common sigh of an open injury sustained by social reality. The pictorial layout extends to the edges of the canvases as light or dark with no space. Light emanates from the figures and use the, so light, therefore, is ultimately a force Light, space, sky closely relate to forms of redemption through irony, acceptance of mortality, the story of people, light against darkness.
The earth absorbs the forces that conceal, and conceal themselves in, everything that comes to light. The earth cannot appear by itself; it needs of painting, of the choice of the painter, even as it consumes them. Kanso explores the terror that surrounds the act of choice of self-choice, of painting. The paintings bring out the earthly nightmares that have concealed the serenity of paradise and peace, and transmit a new calling for an awakening.In discussing artistic tendencies, it is remarked that Kanso breaks with the pictorial traditions of both the East and the West. He gives us instead the Middle, "the chasm of necessity that yawns at the heart of human contingency and universal contingency."The gap in the middle provided the ground for a total redefinition of painting in a style in which Kanso departed from the pictorial conventions of both the East and West. He presents a view of the world and its forms in terms of its multiplicity and interrelatedness. A world in which the political boundaries are not arbitrarily drawn by the superpowers. In the words of Edward Said "The more one is able to leave one’s cultural home the more one is able to judge it, and the whole world as well, with the spiritual detachment and generosity necessary for true vision. The more easily too, does one assess oneself and alien cultures with the same combination of intimacy and distance."The question of cultural multiplicity as opposed to cultural dislocation comes into play. Orientalism is a form of cultural dislocation because it imposed a western culture on the “orient” in such a way that what is reflected back by the Orient is not the Oriental culture but instead a colonized culture. Cultural multiplicity on the other hand is maintaining one’s own cultural identity and presenting it with other cultures. It is noted that “Nabil Kanso is the first Middle Eastern artist to surface outside, if not against the framework of colonialism.” He presents a view of the world through the boundary situations of death, love, suffering, and guilt. The organization of these boundary situation, a critic points out, constitutes his poetics, which is "predicated on a profound human kingship with the West and an amazed expectant detachment from it. From this circle he derives his extraordinary power of expression."
|
[
"Orient",
"Edward Said",
"Nabil Kanso",
"Orientalism"
] |
|
13860_NT
|
The Split of Life
|
How does this artwork elucidate its Analysis and interpretations?
|
In examining the works in the Split of Life series, some studies point to compositional and thematic aspects in conjunction with a set of distinctive concepts, in particular, the human subject, the Gods, the luminous sky, and the concealing self-concealing earth.The human figures appear as the flesh of humanity, always compelled by the law of regeneration, offering itself willingly to the torments of domination and submission. Human suffering and torment seem to have always existed. They bear the pain and continue to remain in this dreadful state dictated by a delinquent social reality. In the split of Life, they exist in a new and different reality created by the artist imagination on big canvases in which they make their case as condemned beings. Their presence disturbs and troubles us. We find ourselves immersed in their world whose reality becomes our own reality.The Gods appear immortal but not eternal; each Holy Family presides only over one epoch in the history of men with the Gods. The powers (beyond Good and Evil) into which “Necessity is analyzed have no history; they crush humanity within the eternal circle of helpless reflection and unconscious desire.”The picture surface occludes the sky, the empty space of the horizon that makes possible light, darkness, and their relations, the horizon as a boundary between sky and earth. the composition covers that space and all its cognitive illusions The explosions of wars wreaking destruction and devastation inflamed and obfuscated the blue sky with dark forms erupting from earth burning fires. The violent scenes disturbs the chromatic gamut of chiaroscuro, light and shadow through which the victims emerge from the canvases with a common sigh of an open injury sustained by social reality. The pictorial layout extends to the edges of the canvases as light or dark with no space. Light emanates from the figures and use the, so light, therefore, is ultimately a force Light, space, sky closely relate to forms of redemption through irony, acceptance of mortality, the story of people, light against darkness.
The earth absorbs the forces that conceal, and conceal themselves in, everything that comes to light. The earth cannot appear by itself; it needs of painting, of the choice of the painter, even as it consumes them. Kanso explores the terror that surrounds the act of choice of self-choice, of painting. The paintings bring out the earthly nightmares that have concealed the serenity of paradise and peace, and transmit a new calling for an awakening.In discussing artistic tendencies, it is remarked that Kanso breaks with the pictorial traditions of both the East and the West. He gives us instead the Middle, "the chasm of necessity that yawns at the heart of human contingency and universal contingency."The gap in the middle provided the ground for a total redefinition of painting in a style in which Kanso departed from the pictorial conventions of both the East and West. He presents a view of the world and its forms in terms of its multiplicity and interrelatedness. A world in which the political boundaries are not arbitrarily drawn by the superpowers. In the words of Edward Said "The more one is able to leave one’s cultural home the more one is able to judge it, and the whole world as well, with the spiritual detachment and generosity necessary for true vision. The more easily too, does one assess oneself and alien cultures with the same combination of intimacy and distance."The question of cultural multiplicity as opposed to cultural dislocation comes into play. Orientalism is a form of cultural dislocation because it imposed a western culture on the “orient” in such a way that what is reflected back by the Orient is not the Oriental culture but instead a colonized culture. Cultural multiplicity on the other hand is maintaining one’s own cultural identity and presenting it with other cultures. It is noted that “Nabil Kanso is the first Middle Eastern artist to surface outside, if not against the framework of colonialism.” He presents a view of the world through the boundary situations of death, love, suffering, and guilt. The organization of these boundary situation, a critic points out, constitutes his poetics, which is "predicated on a profound human kingship with the West and an amazed expectant detachment from it. From this circle he derives his extraordinary power of expression."
|
[
"Orient",
"Edward Said",
"Nabil Kanso",
"Orientalism"
] |
|
13861_T
|
The Split of Life
|
Focus on The Split of Life and analyze the Exhibitions.
|
Between 1983 and 1993, a wide range of paintings from various phases of The Split of Life series were exhibited a various art centers in Argentina BrazilMexico, Panama, Korea,Kuwait, Sweden, Switzerland and Venezuela,
The exhibitions were the subject of articles, essays, poems, conferences, and peace projects. In Venezuela, installations were featured as part of the Second Ibero-American Symposium held in Caracas in 1987, the International Encounter for Peace in Mérida in 1988.
The paintings displayed in different exhibitions were viewed as reflecting a sense of "over-all-ness, of one painting running into another." It is remarked that the magnitude of the paintings place the viewer in the midst of a violent cage. Their synchrony and diachronic cross a still point in which the show is no longer a total of several pieces, but only one painting. Some critics point to a sense of entrapment in which standing in the central space surrounded by Kanso’s 12-foot-high paintings is as close as you get to being in the middle of a fire. "The painted holocaust surrounding us," a reviewer wrote "entrapped us in cage of feeling". "In encountering these paintings", a critic remarked, "it would be impossible to escape. The scenes draw the viewer in witnessing the violent events." “We find ourselves immersed in this violent totality, terrible and incisive, we are trapped." The horrors appear to burst out of the canvases bringing the viewer face to face with scenes reflecting a continuum of war and violence occurring in our time and space.
|
[
"Caracas",
"Panama",
"Brazil",
"Mexico",
"Korea",
"Venezuela",
"Argentina",
"Mérida",
"Kuwait",
"Sweden",
"Switzerland"
] |
|
13861_NT
|
The Split of Life
|
Focus on this artwork and analyze the Exhibitions.
|
Between 1983 and 1993, a wide range of paintings from various phases of The Split of Life series were exhibited a various art centers in Argentina BrazilMexico, Panama, Korea,Kuwait, Sweden, Switzerland and Venezuela,
The exhibitions were the subject of articles, essays, poems, conferences, and peace projects. In Venezuela, installations were featured as part of the Second Ibero-American Symposium held in Caracas in 1987, the International Encounter for Peace in Mérida in 1988.
The paintings displayed in different exhibitions were viewed as reflecting a sense of "over-all-ness, of one painting running into another." It is remarked that the magnitude of the paintings place the viewer in the midst of a violent cage. Their synchrony and diachronic cross a still point in which the show is no longer a total of several pieces, but only one painting. Some critics point to a sense of entrapment in which standing in the central space surrounded by Kanso’s 12-foot-high paintings is as close as you get to being in the middle of a fire. "The painted holocaust surrounding us," a reviewer wrote "entrapped us in cage of feeling". "In encountering these paintings", a critic remarked, "it would be impossible to escape. The scenes draw the viewer in witnessing the violent events." “We find ourselves immersed in this violent totality, terrible and incisive, we are trapped." The horrors appear to burst out of the canvases bringing the viewer face to face with scenes reflecting a continuum of war and violence occurring in our time and space.
|
[
"Caracas",
"Panama",
"Brazil",
"Mexico",
"Korea",
"Venezuela",
"Argentina",
"Mérida",
"Kuwait",
"Sweden",
"Switzerland"
] |
|
13862_T
|
The Split of Life
|
In The Split of Life, how is the 1984-85 series discussed?
|
In 1985, Kanso exhibited a series of seven paintings that covered the walls of the gallery at Nexus Contemporary Art Center reflecting in the opinion of one reviewer “a monumental display of neo-expressionist horrors of war.” "The horrors of war in Lebanon" an art critic wrote "have fueled the fires that burn in these very effective paintings," “In the face of horror,” remarked one critic, “there are only two courses: to circumscribe, create a bar, an absolute demarcation, to be “at one” with the confluence and to refuse to overcome it- or to obsess to the point of no return, to create a canvas the size and shape of the original, a one-to-one mapping of the real upon itself, which uses the body of the artist “in a transitive sense” across it. And that is what is occurring in these paintings.” A reviewer thought of the expressions as “a tapestry of souls, struggling, reaching for one another… painted jazz rhythms of naked spirits climbing an interminable Jacob’s ladder in a metaphorical conflagration which repulses and sucks us all in.
In examining the series of seven paintings executed in 1984-85, art critics point to a variety of themes, in particular, power, death, and sexuality, and the poetics, which organize the themes within the paintings. The interrelatedness of these themes and the composed symbols associated with them provide a framework that lend crucial meaning to the paintings. Doorways, empty centers, and ladders exist in all these paintings. In critical opinion, they carry with them a message of a change or a shift in the modes of power from a system, which controls through repression and reduction, connected to the law of the sovereign, to a positive system which aims to promote and execute life and whose connection is to the social body.
Warring Wings, 12 X 34 feet (3.65 X 10.50 meters), oil on canvas, 1984 Four central warriors figures pair in a face to face fight wielding two large curved blades shaped like sickle or scythe with sharp arrows pointing in multiple directions. Between then, protrude an enigmatic face with wide-open mouth and teeth. The intersection of the two blades forms two large entwined wings that divide the scene in two sections related to the struggle and filled with constant movement and tension heightening the atmosphere of brutality, oppression, suffering, and violence. “In this painting” an art critic writes, “Kanso explores the multiplicity of power and makes aware of its mobile relations by creating a center with no central figure. Four figures replace the notion of a center of power with the multiplicity of mobile relations. In essence “power is exercised from innumerable points, in the interplay of non-egalitarian and mobile relations.”. The figures around the center appear as “hegemonic symbols” of the mobile relations, where there is power there is resistance” a term developed as a result of American Orientalism. There are four horsemen evenly distributed in front four towers with masklike faces. Some critics contend that these riders represent their accumulated power and wealth i.e. corporations and corporate heads. A spectral figure riding a horse confronts a crucified bearded figure who is being speared at the chest. He seems to be pulling forcefully in a look of rage. This figure alludes to the crucified Christ and symbolizes the vanishing of consensus at the center of power. The heads rising from the forefront symbolize the inconstancies, discontinuities, and elusiveness of power without consensus, which these heads shelter and facilitate through silence and secrecy.
The Door, 12 X 18 feet, (3.65 X 5.50 meters), oil on canvas, 1985 A dominant figure mounted on a horse in the upper center of the painting seems to oversee the event symbolize authority and power. He rides near a figure standing in front of an open door of flaming hearth. He gestures with outflanked embraced arms and looks toward three headless figures walking towards him. A figure clutching a book seems to watch their pace while awaits their arrival. In critical opinion the headless figures are symbols of the conjunction of legalism and death. The figure in the doorway and the one with a book symbolize the intermediaries who carries out the law by obeying and upholding power.
Between the Walls, 12 X 10 feet, 3,65 X 3 meters, oil on canvas, 1985 The entire canvas is dripping with blood symbolic of power that spoke through blood: the honor of war, the fear of famine, the triumph of death, the sovereign with his sword, a reality with a symbolic function.” Blood drips over a constructed prison where six terrified weeping children lean at the lower stones of the wall stretching out their hands with pleading gesture. Across the upper part are six bleeding doves trying to fly above the walls that enclose them. A brightly lit wire-barbed doorway with black birds trying to fly in and out fills the center. A ladder twists up the left side of the painting camouflaging the sixth child and connecting it to the sixth bird. Some critics contends that the composition portrays humanity surrounded by towers of powers (walls) and its soul is arrested in flight, despair emanates from the doorway, and everything seems submerged in sanguinity (the law).”
Naked Ghosts, 12 X 18 feet (3.65 X 5.50 meters), oil on canvas, 1984 A gigantic bird with menacing look swoops down over a turbulent scene expanding with several divisions of varying complexities, tensions, and counter tensions. Figures with outstretched arms in gestures of outrage and rescue emerge from the two upper sides of the painting and dive diagonally toward a scene of abduction, rape, torture, or death. An aggressive and threatening looking tiger roars at two fighting figures with long spear. It is noted that the composition deals with the impotence of the repressive system in relation to the individual symbolized by a figure delineated by man’s turning back on himself: in evidence is an act of cannibalism taking place in the upper right corner of the painting. The relations of death and the mobile forces of power are manifest in forms of reduction and repression symbolized in executions and punishments.
Masters Rhythm, 12 X 18 feet (3.65 X 5.50 meters), oil on canvas, 1984 A figure plays piano next to a sitting donkey. On the grand piano, a man lying on his back with his arms stretched around a woman on top of him. She leans backward in an ecstatic trance toward a male figure dancing frantically. The pianist symbolizes authority issuing his decrees from a piano. The light from the doorway emanates from the center of a circle of bleeding brains. The heads that flanked the foregrounds in the Door and Warring Wings paintings have metamorphosed from heads with no bodies to bodies with no brains. They dance hysterically on the right side of the canvas unable to unite with their floating brains, as the political processes have rendered them helpless, a role played by the figure of maestro conducting the dancing figures.
Transgression, 12 X 22 feet ( 3.65 X 6.75 meters), oil on canvas, 1984 The composition divides the scene in three triangular parts dominated by a large central section extending its edges to the upper corners of the canvas. At the center top, two winding ladders entwine in V-shape form alongside two large birds of prey swooping over a scene intensified by divisions, shapes, and symmetry of spatial areas animated by struggling figures in various acts and encounters. According to critical analysis, this painting presents the human body as the most telling vehicle to a new sense of soul, and its transformation from the metaphysical to the communicative level. Kanso focuses on the process of transforming sexual desire into discourse and brings into focus the place of sex within techniques of communication and absence of communication as made explicit in psychoanalysis. The only clothed woman in the paintings is placed in the upper right of the center. She alludes to the Madonna reflecting connotations such as asceticism, confession, and mysticism, all concepts closely related to psychoanalysis as a human technique. Her clothing intensifies the sensuality of the nude figures that surround her. On the left side, the figures of a mother, father, and child are symbols of secular sexuality. Prominently positioned in the foreground is the backside of male figure with wing-shape raised arms and almost invisible bent down head is seen thrusting toward forked legs at the center surrounded by female figures. It is noted by some critics that sensuality and eroticism of the women in the painting reflect aspects that partake of Kali and her femininity embodying the erotic and the presence of the body as revolutionary. Hence the eroticism of these bodies and their revolutionary aspect.
Falling Shades, 12 X 10 feet (3.65 X 3 meters), oil on canvas, 1985 The composition shows a ladder moving from the center of the light toward the frontal plane and recedes up through a doorway where the lower half of a body is seen disappearing out. The figure appears upside down diving diagonally from the upper left corner toward the center of the picture but does not enter the lighted center. It is suggested by some writers that this figure has reached a new terminal point, one that, considers death not in terms of the individual body and soul, but in terms of a species, which is the Split of Life.” It is remarked by some critics that “man has arrived at a position in the world where he has the power to annihilate himself through his technology and if he fails at this he is faced with annihilation through disease.” In this painting Kanso presented us with a mass of bodies across the bottom looking up –these are not the bodies which reflect murderous splendor of the sovereign, but rather a species considering its fate. How the artist presents the human body is the most telling vehicle to a new sense of soul, and its transformation from the metaphysical to the communicative level.
|
[
"Madonna",
"Nexus Contemporary Art Center",
"sickle",
"Orient",
"right",
"scythe",
"Kali",
"Lebanon",
"Orientalism"
] |
|
13862_NT
|
The Split of Life
|
In this artwork, how is the 1984-85 series discussed?
|
In 1985, Kanso exhibited a series of seven paintings that covered the walls of the gallery at Nexus Contemporary Art Center reflecting in the opinion of one reviewer “a monumental display of neo-expressionist horrors of war.” "The horrors of war in Lebanon" an art critic wrote "have fueled the fires that burn in these very effective paintings," “In the face of horror,” remarked one critic, “there are only two courses: to circumscribe, create a bar, an absolute demarcation, to be “at one” with the confluence and to refuse to overcome it- or to obsess to the point of no return, to create a canvas the size and shape of the original, a one-to-one mapping of the real upon itself, which uses the body of the artist “in a transitive sense” across it. And that is what is occurring in these paintings.” A reviewer thought of the expressions as “a tapestry of souls, struggling, reaching for one another… painted jazz rhythms of naked spirits climbing an interminable Jacob’s ladder in a metaphorical conflagration which repulses and sucks us all in.
In examining the series of seven paintings executed in 1984-85, art critics point to a variety of themes, in particular, power, death, and sexuality, and the poetics, which organize the themes within the paintings. The interrelatedness of these themes and the composed symbols associated with them provide a framework that lend crucial meaning to the paintings. Doorways, empty centers, and ladders exist in all these paintings. In critical opinion, they carry with them a message of a change or a shift in the modes of power from a system, which controls through repression and reduction, connected to the law of the sovereign, to a positive system which aims to promote and execute life and whose connection is to the social body.
Warring Wings, 12 X 34 feet (3.65 X 10.50 meters), oil on canvas, 1984 Four central warriors figures pair in a face to face fight wielding two large curved blades shaped like sickle or scythe with sharp arrows pointing in multiple directions. Between then, protrude an enigmatic face with wide-open mouth and teeth. The intersection of the two blades forms two large entwined wings that divide the scene in two sections related to the struggle and filled with constant movement and tension heightening the atmosphere of brutality, oppression, suffering, and violence. “In this painting” an art critic writes, “Kanso explores the multiplicity of power and makes aware of its mobile relations by creating a center with no central figure. Four figures replace the notion of a center of power with the multiplicity of mobile relations. In essence “power is exercised from innumerable points, in the interplay of non-egalitarian and mobile relations.”. The figures around the center appear as “hegemonic symbols” of the mobile relations, where there is power there is resistance” a term developed as a result of American Orientalism. There are four horsemen evenly distributed in front four towers with masklike faces. Some critics contend that these riders represent their accumulated power and wealth i.e. corporations and corporate heads. A spectral figure riding a horse confronts a crucified bearded figure who is being speared at the chest. He seems to be pulling forcefully in a look of rage. This figure alludes to the crucified Christ and symbolizes the vanishing of consensus at the center of power. The heads rising from the forefront symbolize the inconstancies, discontinuities, and elusiveness of power without consensus, which these heads shelter and facilitate through silence and secrecy.
The Door, 12 X 18 feet, (3.65 X 5.50 meters), oil on canvas, 1985 A dominant figure mounted on a horse in the upper center of the painting seems to oversee the event symbolize authority and power. He rides near a figure standing in front of an open door of flaming hearth. He gestures with outflanked embraced arms and looks toward three headless figures walking towards him. A figure clutching a book seems to watch their pace while awaits their arrival. In critical opinion the headless figures are symbols of the conjunction of legalism and death. The figure in the doorway and the one with a book symbolize the intermediaries who carries out the law by obeying and upholding power.
Between the Walls, 12 X 10 feet, 3,65 X 3 meters, oil on canvas, 1985 The entire canvas is dripping with blood symbolic of power that spoke through blood: the honor of war, the fear of famine, the triumph of death, the sovereign with his sword, a reality with a symbolic function.” Blood drips over a constructed prison where six terrified weeping children lean at the lower stones of the wall stretching out their hands with pleading gesture. Across the upper part are six bleeding doves trying to fly above the walls that enclose them. A brightly lit wire-barbed doorway with black birds trying to fly in and out fills the center. A ladder twists up the left side of the painting camouflaging the sixth child and connecting it to the sixth bird. Some critics contends that the composition portrays humanity surrounded by towers of powers (walls) and its soul is arrested in flight, despair emanates from the doorway, and everything seems submerged in sanguinity (the law).”
Naked Ghosts, 12 X 18 feet (3.65 X 5.50 meters), oil on canvas, 1984 A gigantic bird with menacing look swoops down over a turbulent scene expanding with several divisions of varying complexities, tensions, and counter tensions. Figures with outstretched arms in gestures of outrage and rescue emerge from the two upper sides of the painting and dive diagonally toward a scene of abduction, rape, torture, or death. An aggressive and threatening looking tiger roars at two fighting figures with long spear. It is noted that the composition deals with the impotence of the repressive system in relation to the individual symbolized by a figure delineated by man’s turning back on himself: in evidence is an act of cannibalism taking place in the upper right corner of the painting. The relations of death and the mobile forces of power are manifest in forms of reduction and repression symbolized in executions and punishments.
Masters Rhythm, 12 X 18 feet (3.65 X 5.50 meters), oil on canvas, 1984 A figure plays piano next to a sitting donkey. On the grand piano, a man lying on his back with his arms stretched around a woman on top of him. She leans backward in an ecstatic trance toward a male figure dancing frantically. The pianist symbolizes authority issuing his decrees from a piano. The light from the doorway emanates from the center of a circle of bleeding brains. The heads that flanked the foregrounds in the Door and Warring Wings paintings have metamorphosed from heads with no bodies to bodies with no brains. They dance hysterically on the right side of the canvas unable to unite with their floating brains, as the political processes have rendered them helpless, a role played by the figure of maestro conducting the dancing figures.
Transgression, 12 X 22 feet ( 3.65 X 6.75 meters), oil on canvas, 1984 The composition divides the scene in three triangular parts dominated by a large central section extending its edges to the upper corners of the canvas. At the center top, two winding ladders entwine in V-shape form alongside two large birds of prey swooping over a scene intensified by divisions, shapes, and symmetry of spatial areas animated by struggling figures in various acts and encounters. According to critical analysis, this painting presents the human body as the most telling vehicle to a new sense of soul, and its transformation from the metaphysical to the communicative level. Kanso focuses on the process of transforming sexual desire into discourse and brings into focus the place of sex within techniques of communication and absence of communication as made explicit in psychoanalysis. The only clothed woman in the paintings is placed in the upper right of the center. She alludes to the Madonna reflecting connotations such as asceticism, confession, and mysticism, all concepts closely related to psychoanalysis as a human technique. Her clothing intensifies the sensuality of the nude figures that surround her. On the left side, the figures of a mother, father, and child are symbols of secular sexuality. Prominently positioned in the foreground is the backside of male figure with wing-shape raised arms and almost invisible bent down head is seen thrusting toward forked legs at the center surrounded by female figures. It is noted by some critics that sensuality and eroticism of the women in the painting reflect aspects that partake of Kali and her femininity embodying the erotic and the presence of the body as revolutionary. Hence the eroticism of these bodies and their revolutionary aspect.
Falling Shades, 12 X 10 feet (3.65 X 3 meters), oil on canvas, 1985 The composition shows a ladder moving from the center of the light toward the frontal plane and recedes up through a doorway where the lower half of a body is seen disappearing out. The figure appears upside down diving diagonally from the upper left corner toward the center of the picture but does not enter the lighted center. It is suggested by some writers that this figure has reached a new terminal point, one that, considers death not in terms of the individual body and soul, but in terms of a species, which is the Split of Life.” It is remarked by some critics that “man has arrived at a position in the world where he has the power to annihilate himself through his technology and if he fails at this he is faced with annihilation through disease.” In this painting Kanso presented us with a mass of bodies across the bottom looking up –these are not the bodies which reflect murderous splendor of the sovereign, but rather a species considering its fate. How the artist presents the human body is the most telling vehicle to a new sense of soul, and its transformation from the metaphysical to the communicative level.
|
[
"Madonna",
"Nexus Contemporary Art Center",
"sickle",
"Orient",
"right",
"scythe",
"Kali",
"Lebanon",
"Orientalism"
] |
|
13863_T
|
Young Girl in a Park
|
Focus on Young Girl in a Park and explore the abstract.
|
Young Girl in a Park is an oil-on-canvas painting by French artist Berthe Morisot, created between 1888 and 1893. It has the dimensions of 90 by 81 cm. It is held at the Musée des Augustins in Toulouse.
|
[
"Musée des Augustins",
"Berthe Morisot",
"Toulouse"
] |
|
13863_NT
|
Young Girl in a Park
|
Focus on this artwork and explore the abstract.
|
Young Girl in a Park is an oil-on-canvas painting by French artist Berthe Morisot, created between 1888 and 1893. It has the dimensions of 90 by 81 cm. It is held at the Musée des Augustins in Toulouse.
|
[
"Musée des Augustins",
"Berthe Morisot",
"Toulouse"
] |
|
13864_T
|
Young Girl in a Park
|
Focus on Young Girl in a Park and explain the Analysis.
|
Morisot develops a painting where the forms dissolve to suggest impressions, an atmosphere linked to the model and the place represented. In this work, it is not only the face of the young girl, her features and her physical particularities that interest Morisot, but also her attitude and the impression she gives. The bust of the young girl is very straight, her pose is restrained, with her hands resting on her thighs, and her gaze remains fixed: the whole portrait seems to reflect a certain uneasiness in the young girl, sitting alone on the bench.
This impression of unease is contrasted, however, with a soft, spring-like light, the harmonious shades and tones and the smile sketched on the young girl's lips. Berthe Morisot suggests an impression of movement in the vegetation and in the model's hair, as if a light wind was crossing the garden. The harmony and the softness of the landscape produces a peaceful atmosphere which attenuates the stiffness of the young girl.
The work, by its date of creation and by the aesthetics that develops there – an aesthetics of impression and sensations, of movement and of nature, an aesthetics where forms dissolve, where the touch is broad and where colors and light have a more important role than line and drawing belongs to the current of Impressionism which developed in the last quarter of the 19th century. Morisot was part of this artistic current, alongside artists like Édouard Manet, Edgar Degas and Pierre-Auguste Renoir, with whom she maintained an important artistic relationship.
|
[
"Impressionism",
"Édouard Manet",
"Edgar Degas",
"Berthe Morisot",
"Pierre-Auguste Renoir"
] |
|
13864_NT
|
Young Girl in a Park
|
Focus on this artwork and explain the Analysis.
|
Morisot develops a painting where the forms dissolve to suggest impressions, an atmosphere linked to the model and the place represented. In this work, it is not only the face of the young girl, her features and her physical particularities that interest Morisot, but also her attitude and the impression she gives. The bust of the young girl is very straight, her pose is restrained, with her hands resting on her thighs, and her gaze remains fixed: the whole portrait seems to reflect a certain uneasiness in the young girl, sitting alone on the bench.
This impression of unease is contrasted, however, with a soft, spring-like light, the harmonious shades and tones and the smile sketched on the young girl's lips. Berthe Morisot suggests an impression of movement in the vegetation and in the model's hair, as if a light wind was crossing the garden. The harmony and the softness of the landscape produces a peaceful atmosphere which attenuates the stiffness of the young girl.
The work, by its date of creation and by the aesthetics that develops there – an aesthetics of impression and sensations, of movement and of nature, an aesthetics where forms dissolve, where the touch is broad and where colors and light have a more important role than line and drawing belongs to the current of Impressionism which developed in the last quarter of the 19th century. Morisot was part of this artistic current, alongside artists like Édouard Manet, Edgar Degas and Pierre-Auguste Renoir, with whom she maintained an important artistic relationship.
|
[
"Impressionism",
"Édouard Manet",
"Edgar Degas",
"Berthe Morisot",
"Pierre-Auguste Renoir"
] |
|
13865_T
|
Female Portrait (Cranach)
|
Explore the abstract of this artwork, Female Portrait (Cranach).
|
The Female Portrait is a painting by German Renaissance master Lucas Cranach the Elder, dating from around 1530, now housed in the Uffizi Gallery of Florence, Italy.
The work was executed by Cranach's workshop basing on his drawing. It depicts a woman, taken from three-quarters on a dark background, who wears an Arabesqued dress and a large, plumed hat in the contemporary fashion, which appears in variants in paintings by Cranach as well as by other German artists of the time.
|
[
"Italy",
"Uffizi Gallery",
"Florence",
"Lucas Cranach the Elder",
"Uffizi"
] |
|
13865_NT
|
Female Portrait (Cranach)
|
Explore the abstract of this artwork.
|
The Female Portrait is a painting by German Renaissance master Lucas Cranach the Elder, dating from around 1530, now housed in the Uffizi Gallery of Florence, Italy.
The work was executed by Cranach's workshop basing on his drawing. It depicts a woman, taken from three-quarters on a dark background, who wears an Arabesqued dress and a large, plumed hat in the contemporary fashion, which appears in variants in paintings by Cranach as well as by other German artists of the time.
|
[
"Italy",
"Uffizi Gallery",
"Florence",
"Lucas Cranach the Elder",
"Uffizi"
] |
|
13866_T
|
Fishing (Boucher)
|
Focus on Fishing (Boucher) and discuss the abstract.
|
Fishing (French: La pêche à la ligne) is a painting by François Boucher, from 1757.
|
[
"François Boucher"
] |
|
13866_NT
|
Fishing (Boucher)
|
Focus on this artwork and discuss the abstract.
|
Fishing (French: La pêche à la ligne) is a painting by François Boucher, from 1757.
|
[
"François Boucher"
] |
|
13867_T
|
Fishing (Boucher)
|
How does Fishing (Boucher) elucidate its Description?
|
The painting is an oil on canvas with dimensions of 150 x 188 centimeters. It is in the collection of the Grand Trianon, in Versailles.
|
[
"Versailles",
"Grand Trianon"
] |
|
13867_NT
|
Fishing (Boucher)
|
How does this artwork elucidate its Description?
|
The painting is an oil on canvas with dimensions of 150 x 188 centimeters. It is in the collection of the Grand Trianon, in Versailles.
|
[
"Versailles",
"Grand Trianon"
] |
|
13868_T
|
The Pantheon, from the Terrace of the Luxembourg Gardens
|
Focus on The Pantheon, from the Terrace of the Luxembourg Gardens and analyze the abstract.
|
The Pantheon, from the Terrace of the Luxembourg Gardens is a lithograph by the American artist James Abbott McNeill Whistler, created in 1893.Whistler's friend and printer, Thomas R. Way, wrote the definitive catalogue of Whistler's lithographs. In it, The Pantheon, from the Terrace of the Luxembourg Gardens is listed as catalogue number 45, and he describes it as such: "In the distance the dark dome rises above trees, and the roofs of buildings. In the front, the terrace with stone balustrade crosses the picture ; two vases are raised on the stonework, and in front on the right, two ladies, one seated, the other standing, and on the left, two nurses and a child ; a cloudy sky above."Whistler and Way pulled a total of only 15 lifetime impressions, and most are found in museums. The one known to be in private hands belonged to singer and actress Doris Day.
|
[
"Doris Day",
"lithograph",
"American",
"James Abbott McNeill Whistler"
] |
|
13868_NT
|
The Pantheon, from the Terrace of the Luxembourg Gardens
|
Focus on this artwork and analyze the abstract.
|
The Pantheon, from the Terrace of the Luxembourg Gardens is a lithograph by the American artist James Abbott McNeill Whistler, created in 1893.Whistler's friend and printer, Thomas R. Way, wrote the definitive catalogue of Whistler's lithographs. In it, The Pantheon, from the Terrace of the Luxembourg Gardens is listed as catalogue number 45, and he describes it as such: "In the distance the dark dome rises above trees, and the roofs of buildings. In the front, the terrace with stone balustrade crosses the picture ; two vases are raised on the stonework, and in front on the right, two ladies, one seated, the other standing, and on the left, two nurses and a child ; a cloudy sky above."Whistler and Way pulled a total of only 15 lifetime impressions, and most are found in museums. The one known to be in private hands belonged to singer and actress Doris Day.
|
[
"Doris Day",
"lithograph",
"American",
"James Abbott McNeill Whistler"
] |
|
13869_T
|
Pedro Albizu Campos (statue)
|
In Pedro Albizu Campos (statue), how is the abstract discussed?
|
Pedro Albizu Campos is a statue to the memory of the Puerto Rican attorney and politician, and the leading figure in the Puerto Rican independence movement, Pedro Albizu Campos. It is at Parque Pedro Albizu Campos in Ponce, Puerto Rico, where Albizu Campos's residence used to be in the community of Tenerias, Barrio Machuelo Abajo. The statue is in bronze.
|
[
"Barrio Machuelo Abajo",
"Puerto Rican",
"bronze",
"Ponce, Puerto Rico",
"Pedro Albizu Campos",
"Machuelo Abajo",
"Puerto Rican independence movement",
"politician",
"Ponce",
"Parque Pedro Albizu Campos",
"attorney"
] |
|
13869_NT
|
Pedro Albizu Campos (statue)
|
In this artwork, how is the abstract discussed?
|
Pedro Albizu Campos is a statue to the memory of the Puerto Rican attorney and politician, and the leading figure in the Puerto Rican independence movement, Pedro Albizu Campos. It is at Parque Pedro Albizu Campos in Ponce, Puerto Rico, where Albizu Campos's residence used to be in the community of Tenerias, Barrio Machuelo Abajo. The statue is in bronze.
|
[
"Barrio Machuelo Abajo",
"Puerto Rican",
"bronze",
"Ponce, Puerto Rico",
"Pedro Albizu Campos",
"Machuelo Abajo",
"Puerto Rican independence movement",
"politician",
"Ponce",
"Parque Pedro Albizu Campos",
"attorney"
] |
|
13870_T
|
Pedro Albizu Campos (statue)
|
Focus on Pedro Albizu Campos (statue) and explore the Background.
|
Pedro Albizu Campos (1891 – 1965) was a Puerto Rican attorney and politician. He was the main figure in the Puerto Rico independence movement. He was born and lived in the house that was located at the spot where his statue currently stands until 1912 when he received a scholarship to study at the University of Vermont. He subsequently graduated from the Harvard Law School and returned to Puerto Rico where he led the struggle for Puerto Rican independence from the United States.
|
[
"Puerto Rican",
"Pedro Albizu Campos",
"politician",
"Harvard Law School",
"attorney",
"University of Vermont"
] |
|
13870_NT
|
Pedro Albizu Campos (statue)
|
Focus on this artwork and explore the Background.
|
Pedro Albizu Campos (1891 – 1965) was a Puerto Rican attorney and politician. He was the main figure in the Puerto Rico independence movement. He was born and lived in the house that was located at the spot where his statue currently stands until 1912 when he received a scholarship to study at the University of Vermont. He subsequently graduated from the Harvard Law School and returned to Puerto Rico where he led the struggle for Puerto Rican independence from the United States.
|
[
"Puerto Rican",
"Pedro Albizu Campos",
"politician",
"Harvard Law School",
"attorney",
"University of Vermont"
] |
|
13871_T
|
Pedro Albizu Campos (statue)
|
Focus on Pedro Albizu Campos (statue) and explain the Description.
|
The statue was sculptured by Rafael Lopez del Campo. The nine feet high statue is the product of the foundry of Puerto Rican sculptor Severo Romero. It was unveiled in 1992. It sits atop a six foot high concrete and marble pedestal. Rafael Cordero Santiago, mayor of Ponce at the time, was one of the main supporters of the monument. The statue was made possible through the Union de Tronquistas de Puerto Rico, who was in charge of collecting donations to cover its cost.
|
[
"Rafael Cordero Santiago",
"Puerto Rican",
"marble",
"Ponce",
"pedestal"
] |
|
13871_NT
|
Pedro Albizu Campos (statue)
|
Focus on this artwork and explain the Description.
|
The statue was sculptured by Rafael Lopez del Campo. The nine feet high statue is the product of the foundry of Puerto Rican sculptor Severo Romero. It was unveiled in 1992. It sits atop a six foot high concrete and marble pedestal. Rafael Cordero Santiago, mayor of Ponce at the time, was one of the main supporters of the monument. The statue was made possible through the Union de Tronquistas de Puerto Rico, who was in charge of collecting donations to cover its cost.
|
[
"Rafael Cordero Santiago",
"Puerto Rican",
"marble",
"Ponce",
"pedestal"
] |
|
13872_T
|
L'Amour et Psyché, enfants
|
Explore the abstract of this artwork, L'Amour et Psyché, enfants.
|
L'Amour et Psyché, enfants is an oil painting by William Adolphe Bouguereau in 1890. It is currently in a private collection. It was displayed in the Salon of Paris in 1890, the year Bouguereau was President of the Société des Artistes Français. The painting features Greek mythological figures Eros and Psyché, sharing an embrace and kiss. Bouguereau was a classical-style painter in the Neoclassical era of art. The painting is characterized by the frothy background the figures delicately stand on. It depicts the beginning of the forbidden romance of Cupid and Psyche, a popular subject at the time of execution.
|
[
"Eros",
"Cupid and Psyche",
"Cupid",
"Salon",
"Société des Artistes Français",
"William Adolphe Bouguereau"
] |
|
13872_NT
|
L'Amour et Psyché, enfants
|
Explore the abstract of this artwork.
|
L'Amour et Psyché, enfants is an oil painting by William Adolphe Bouguereau in 1890. It is currently in a private collection. It was displayed in the Salon of Paris in 1890, the year Bouguereau was President of the Société des Artistes Français. The painting features Greek mythological figures Eros and Psyché, sharing an embrace and kiss. Bouguereau was a classical-style painter in the Neoclassical era of art. The painting is characterized by the frothy background the figures delicately stand on. It depicts the beginning of the forbidden romance of Cupid and Psyche, a popular subject at the time of execution.
|
[
"Eros",
"Cupid and Psyche",
"Cupid",
"Salon",
"Société des Artistes Français",
"William Adolphe Bouguereau"
] |
|
13873_T
|
L'Amour et Psyché, enfants
|
Focus on L'Amour et Psyché, enfants and discuss the Composition.
|
The characters of Cupid and Psyche are fixed onto a long, vertical canvas. They appear long and larger than life. Cupid places a leg on a cloud for balance, and similarly balances the frame. Limbs interconnect in soft embraces. Bouguereau catches Cupid and Psyche in an inhale of breath, placing a light peck on Psyche's cheek. Her hand almost pushes Cupid away, and she looks down and away from him. The blue cloth floats behind them and onto the surrounding clouds. The focus is on the subjects, who are above the earthly realm and gracefully play in the sky.
The style in which Bouguereau chooses to paint the children is articulated and meaningful. Their white flesh is luminous and rosy- a symbol of their purity. Wings sprout delicately from their shoulders. Bouguereau invokes whimsical elements of childhood and young love through the use of pastels and soft, velvety brushstrokes. The painting is mostly blue, an uncommon color for the portrayal of a love story. By not using pinks and reds, the painter steers away from the theme of forbidden love and towards the idea of young love. The colors are cool and crisp. Bouguereau takes care to accurately portray the pudginess of Cupid and Psyche. The painting is full of texture from the light fabrics, wispy golden hair, and smoothness of their skin.
|
[
"Cupid and Psyche",
"Cupid"
] |
|
13873_NT
|
L'Amour et Psyché, enfants
|
Focus on this artwork and discuss the Composition.
|
The characters of Cupid and Psyche are fixed onto a long, vertical canvas. They appear long and larger than life. Cupid places a leg on a cloud for balance, and similarly balances the frame. Limbs interconnect in soft embraces. Bouguereau catches Cupid and Psyche in an inhale of breath, placing a light peck on Psyche's cheek. Her hand almost pushes Cupid away, and she looks down and away from him. The blue cloth floats behind them and onto the surrounding clouds. The focus is on the subjects, who are above the earthly realm and gracefully play in the sky.
The style in which Bouguereau chooses to paint the children is articulated and meaningful. Their white flesh is luminous and rosy- a symbol of their purity. Wings sprout delicately from their shoulders. Bouguereau invokes whimsical elements of childhood and young love through the use of pastels and soft, velvety brushstrokes. The painting is mostly blue, an uncommon color for the portrayal of a love story. By not using pinks and reds, the painter steers away from the theme of forbidden love and towards the idea of young love. The colors are cool and crisp. Bouguereau takes care to accurately portray the pudginess of Cupid and Psyche. The painting is full of texture from the light fabrics, wispy golden hair, and smoothness of their skin.
|
[
"Cupid and Psyche",
"Cupid"
] |
|
13874_T
|
L'Amour et Psyché, enfants
|
How does L'Amour et Psyché, enfants elucidate its Other paintings by Bouguereau on Cupid and Psyche?
|
Bouguereau was inspired by the story of Cupid and Psyche several times:Psyché et l'Amour (Psyche and Cupid, Salon of 1889, No. 260; Exposition Universelle of 1900, No. 242)
Psyché (1892)
Le ravissement de Psyché (The Abduction of Psyche or The Rapture of Psyche, Salon of 1895, No. 258)
|
[
"Cupid and Psyche",
"Exposition Universelle of 1900",
"Cupid",
"Salon"
] |
|
13874_NT
|
L'Amour et Psyché, enfants
|
How does this artwork elucidate its Other paintings by Bouguereau on Cupid and Psyche?
|
Bouguereau was inspired by the story of Cupid and Psyche several times:Psyché et l'Amour (Psyche and Cupid, Salon of 1889, No. 260; Exposition Universelle of 1900, No. 242)
Psyché (1892)
Le ravissement de Psyché (The Abduction of Psyche or The Rapture of Psyche, Salon of 1895, No. 258)
|
[
"Cupid and Psyche",
"Exposition Universelle of 1900",
"Cupid",
"Salon"
] |
|
13875_T
|
Winged Lion Memorial
|
Focus on Winged Lion Memorial and analyze the Description.
|
The two metre high Winged Lion is the work of the contemporary British sculptor Colin Spofforth. The Lion was cast in bronze at the artistic foundry in Horní Kalná, Hradec Králové Region. The Lion is placed on a concrete plinth covered by Czech granite. When viewed from above, the circular pedestal resembles the insignia of the Czech Air Force. The plinth riveted side coverings replicate the fuselage surface of aircraft of the day and since 2018 bear the names of all the Czechoslovaks who served with the Royal Air Force during the second world war. In 2019 the site was extended with benches, information panels and paving around the plinth.Inscribed on the monument in both Czech and English is: This monument is an expression of the British Community’s lasting gratitude to the 2,500 Czechoslovak airmen who served with the Royal Air Force between 1940 and 1945 for the freedom of Europe.
Also there is a quotation from British poet William Kean Seymour (1887-1975): "He fights for freedom, one of freedom's sons, lone in his aery sphere of blue and bronze."
It was unveiled by the right honourable Sir Nicholas Soames MP on 17 June 2014 as a gift to the Czech and Slovak peoples from the British community living and working in Czechia and Slovakia.
|
[
"Nicholas Soames",
"English",
"bronze",
"granite",
"Horní Kalná",
"Royal Air Force",
"British",
"Hradec Králové Region",
"Czechia",
"Slovakia",
"Czech"
] |
|
13875_NT
|
Winged Lion Memorial
|
Focus on this artwork and analyze the Description.
|
The two metre high Winged Lion is the work of the contemporary British sculptor Colin Spofforth. The Lion was cast in bronze at the artistic foundry in Horní Kalná, Hradec Králové Region. The Lion is placed on a concrete plinth covered by Czech granite. When viewed from above, the circular pedestal resembles the insignia of the Czech Air Force. The plinth riveted side coverings replicate the fuselage surface of aircraft of the day and since 2018 bear the names of all the Czechoslovaks who served with the Royal Air Force during the second world war. In 2019 the site was extended with benches, information panels and paving around the plinth.Inscribed on the monument in both Czech and English is: This monument is an expression of the British Community’s lasting gratitude to the 2,500 Czechoslovak airmen who served with the Royal Air Force between 1940 and 1945 for the freedom of Europe.
Also there is a quotation from British poet William Kean Seymour (1887-1975): "He fights for freedom, one of freedom's sons, lone in his aery sphere of blue and bronze."
It was unveiled by the right honourable Sir Nicholas Soames MP on 17 June 2014 as a gift to the Czech and Slovak peoples from the British community living and working in Czechia and Slovakia.
|
[
"Nicholas Soames",
"English",
"bronze",
"granite",
"Horní Kalná",
"Royal Air Force",
"British",
"Hradec Králové Region",
"Czechia",
"Slovakia",
"Czech"
] |
|
13876_T
|
Winged Lion Memorial
|
In Winged Lion Memorial, how is the History discussed?
|
During World War II, some 2507 Czech and Slovak men and women served in the British Royal Air Force. About a fifth of them did not survive the war. Not all of them were pilots. In addition to the well-known men in blue, there was the ground crew. Other men worked in administrative positions such as liaison officers in the Royal Air Force or in the training units. Among the RAF pilots there were also airmen from many other countries. Czechoslovaks, like their Polish comrades, earned a great reputation in the RAF.
After February 1948, the Czechoslovaks who had served in the RAF and had repatriated to Czechoslovakia after 15 August 1945, often with wives and children, were subsequently persecuted by the communist regime.The installation of the monument met with the criticism of Prague's conservationists, who protested against its location. The protest was not upheld.
|
[
"Royal Air Force",
"conservationists",
"British",
"Prague",
"World War II",
"Czech"
] |
|
13876_NT
|
Winged Lion Memorial
|
In this artwork, how is the History discussed?
|
During World War II, some 2507 Czech and Slovak men and women served in the British Royal Air Force. About a fifth of them did not survive the war. Not all of them were pilots. In addition to the well-known men in blue, there was the ground crew. Other men worked in administrative positions such as liaison officers in the Royal Air Force or in the training units. Among the RAF pilots there were also airmen from many other countries. Czechoslovaks, like their Polish comrades, earned a great reputation in the RAF.
After February 1948, the Czechoslovaks who had served in the RAF and had repatriated to Czechoslovakia after 15 August 1945, often with wives and children, were subsequently persecuted by the communist regime.The installation of the monument met with the criticism of Prague's conservationists, who protested against its location. The protest was not upheld.
|
[
"Royal Air Force",
"conservationists",
"British",
"Prague",
"World War II",
"Czech"
] |
|
13877_T
|
Winged Lion Memorial
|
Focus on Winged Lion Memorial and explore the Funding and unveiling.
|
About 99% of the funds raised (about three million Czech crowns) was donated by the British community in Czechia and Slovakia. Donations from Czech citizens, businesses and individuals were also received. The origins of the monument are credited to Mr. Euan Edworthy, who has lived in the Czech Republic for many years and whose father served in the Royal Air Force and Colonel Andrew Shepherd, UK Defence Attache.The unveiling ceremony at Klárov was accompanied by music performed by the Royal Air Force College band and by the Pipes and Drums of the Queen's Royal Hussars. The event was attended by nine former Czechoslovak RAF members. Before the unveiling, Sir Nicholas Soames (the grandson of Sir Winston Churchill) gave a speech; he referred to the memorial as a symbol of the courage of the 2,500 Czechoslovak airmen and reminded the famous phrase of his grandfather, Churchill, who, speaking of the pilots who took part in the Battle of Britain, proclaimed that "never was so much owed by so many to so few." Immediately following unveiling of the memorial a legendary aircraft Spitfire, in the livery of Squadron Leader Otto Smik DFC, made a flypast over Prague.
|
[
"Spitfire",
"Nicholas Soames",
"Winston Churchill",
"Euan Edworthy",
"Klárov",
"Otto Smik",
"Royal Air Force",
"Czech Republic",
"Battle of Britain",
"British",
"DFC",
"Prague",
"Czechia",
"Slovakia",
"Czech"
] |
|
13877_NT
|
Winged Lion Memorial
|
Focus on this artwork and explore the Funding and unveiling.
|
About 99% of the funds raised (about three million Czech crowns) was donated by the British community in Czechia and Slovakia. Donations from Czech citizens, businesses and individuals were also received. The origins of the monument are credited to Mr. Euan Edworthy, who has lived in the Czech Republic for many years and whose father served in the Royal Air Force and Colonel Andrew Shepherd, UK Defence Attache.The unveiling ceremony at Klárov was accompanied by music performed by the Royal Air Force College band and by the Pipes and Drums of the Queen's Royal Hussars. The event was attended by nine former Czechoslovak RAF members. Before the unveiling, Sir Nicholas Soames (the grandson of Sir Winston Churchill) gave a speech; he referred to the memorial as a symbol of the courage of the 2,500 Czechoslovak airmen and reminded the famous phrase of his grandfather, Churchill, who, speaking of the pilots who took part in the Battle of Britain, proclaimed that "never was so much owed by so many to so few." Immediately following unveiling of the memorial a legendary aircraft Spitfire, in the livery of Squadron Leader Otto Smik DFC, made a flypast over Prague.
|
[
"Spitfire",
"Nicholas Soames",
"Winston Churchill",
"Euan Edworthy",
"Klárov",
"Otto Smik",
"Royal Air Force",
"Czech Republic",
"Battle of Britain",
"British",
"DFC",
"Prague",
"Czechia",
"Slovakia",
"Czech"
] |
|
13878_T
|
Court Square Fountain
|
Focus on Court Square Fountain and explain the abstract.
|
The Court Square Fountain, in the Court Square-Dexter Avenue Historic District of Montgomery, Alabama, was established in 1885 on top of an artesian well, which native Alabamians used long before the area was settled. The fountain contains statues based on Greek mythology. The surrounding area, once the location for Montgomery's bustling slave trade, has seen most of its historical buildings torn down; the fountain's statues were replaced with aluminum ones in the 1980s.
|
[
"Montgomery, Alabama",
"Court Square-Dexter Avenue Historic District",
"artesian well"
] |
|
13878_NT
|
Court Square Fountain
|
Focus on this artwork and explain the abstract.
|
The Court Square Fountain, in the Court Square-Dexter Avenue Historic District of Montgomery, Alabama, was established in 1885 on top of an artesian well, which native Alabamians used long before the area was settled. The fountain contains statues based on Greek mythology. The surrounding area, once the location for Montgomery's bustling slave trade, has seen most of its historical buildings torn down; the fountain's statues were replaced with aluminum ones in the 1980s.
|
[
"Montgomery, Alabama",
"Court Square-Dexter Avenue Historic District",
"artesian well"
] |
|
13879_T
|
Court Square Fountain
|
Explore the Location, history of this artwork, Court Square Fountain.
|
The fountain was built on top of an artesian well, a watering hole already for the native Alabamians long before the coming of whites. By June 1853 the well was 475 feet deep and flowed at two gallons per minute. The location is also the place where two communities, Alabama Town and New Philadelphia, had grown together to form what would be called Montgomery. Later, the area was the central location of the Montgomery slave trade.
|
[
"artesian well"
] |
|
13879_NT
|
Court Square Fountain
|
Explore the Location, history of this artwork.
|
The fountain was built on top of an artesian well, a watering hole already for the native Alabamians long before the coming of whites. By June 1853 the well was 475 feet deep and flowed at two gallons per minute. The location is also the place where two communities, Alabama Town and New Philadelphia, had grown together to form what would be called Montgomery. Later, the area was the central location of the Montgomery slave trade.
|
[
"artesian well"
] |
|
13880_T
|
Court Square Fountain
|
Focus on Court Square Fountain and discuss the Description.
|
The fountain was long believed to have been the work of Frederick MacMonnies; the director of the Alabama Archives and History in 1935 asked him if it was his design, and he denied.On top of the fountain is a statue of Hebe, the Greek goddess of eternal youth. The fountain itself is made of cast iron. The statues came from a catalog of zinc iron statues: on top, a "Canova's Hebe", one layer down four "Seated Boys" holding towels, one layer down four "Narcissus" figures, and at the bottom a "Stem Bitterns", "a group of three free-standing birds around the base stem of a cast-iron fountain". All these statues were replaced in 1984 by aluminum versions; those, however, were corroded by chlorine in the water only twenty years later.The historical buildings around the fountain, which was known as the "romantic center" of the city, have mostly been demolished, one entire block of them in the 1960s to make way for a Pizitz department store, which opened in 1972. Across from the fountain on Court Square is the Winter Building, whence the telegram giving the order to fire on Fort Sumter was given.
Also across from the fountain, is the bus stop that Rosa Parks famously refused to give up her seat thus starting the Montgomery Bus Boycott, a crucial part in the early Civil Right Movement. Rosa Parks refused her seat not at Court Sq. but further up the street where the Empire Theater was.
Section 486 of the Montgomery City Ordinance (1888 version) forbids the interfering with fish and fowl in the basin of the statue, or the disposing of liquids or solids in it; violators could be fined $100.The sculpture of Hebe at the top of the fountain was likely modeled on a sculpture by Antonio Canova. Nearly identical fountains can be found at Fountain Square in Bowling Green, Kentucky, and Court Square in Memphis, Tennessee, all cast by J.L. Mott Ironworks of New York.
|
[
"Memphis, Tennessee",
"Frederick MacMonnies",
"Bowling Green, Kentucky",
"Fort Sumter",
"Winter Building",
"Canova's Hebe",
"Antonio Canova",
"J.L. Mott Ironworks",
"Hebe"
] |
|
13880_NT
|
Court Square Fountain
|
Focus on this artwork and discuss the Description.
|
The fountain was long believed to have been the work of Frederick MacMonnies; the director of the Alabama Archives and History in 1935 asked him if it was his design, and he denied.On top of the fountain is a statue of Hebe, the Greek goddess of eternal youth. The fountain itself is made of cast iron. The statues came from a catalog of zinc iron statues: on top, a "Canova's Hebe", one layer down four "Seated Boys" holding towels, one layer down four "Narcissus" figures, and at the bottom a "Stem Bitterns", "a group of three free-standing birds around the base stem of a cast-iron fountain". All these statues were replaced in 1984 by aluminum versions; those, however, were corroded by chlorine in the water only twenty years later.The historical buildings around the fountain, which was known as the "romantic center" of the city, have mostly been demolished, one entire block of them in the 1960s to make way for a Pizitz department store, which opened in 1972. Across from the fountain on Court Square is the Winter Building, whence the telegram giving the order to fire on Fort Sumter was given.
Also across from the fountain, is the bus stop that Rosa Parks famously refused to give up her seat thus starting the Montgomery Bus Boycott, a crucial part in the early Civil Right Movement. Rosa Parks refused her seat not at Court Sq. but further up the street where the Empire Theater was.
Section 486 of the Montgomery City Ordinance (1888 version) forbids the interfering with fish and fowl in the basin of the statue, or the disposing of liquids or solids in it; violators could be fined $100.The sculpture of Hebe at the top of the fountain was likely modeled on a sculpture by Antonio Canova. Nearly identical fountains can be found at Fountain Square in Bowling Green, Kentucky, and Court Square in Memphis, Tennessee, all cast by J.L. Mott Ironworks of New York.
|
[
"Memphis, Tennessee",
"Frederick MacMonnies",
"Bowling Green, Kentucky",
"Fort Sumter",
"Winter Building",
"Canova's Hebe",
"Antonio Canova",
"J.L. Mott Ironworks",
"Hebe"
] |
|
13881_T
|
Court Square Fountain
|
How does Court Square Fountain elucidate its In art?
|
Montgomery-born painter Anne Goldthwaite depicted the fountain with a cotton wagon running along in front of it in her painting Bringing Cotton Bails to Market. Zelda Fitzgerald played here as a child, and poet Andrew Hudgins located one of the poems in A Clown at Midnight (2013) at the fountain.
|
[
"Andrew Hudgins",
"Zelda Fitzgerald",
"Anne Goldthwaite"
] |
|
13881_NT
|
Court Square Fountain
|
How does this artwork elucidate its In art?
|
Montgomery-born painter Anne Goldthwaite depicted the fountain with a cotton wagon running along in front of it in her painting Bringing Cotton Bails to Market. Zelda Fitzgerald played here as a child, and poet Andrew Hudgins located one of the poems in A Clown at Midnight (2013) at the fountain.
|
[
"Andrew Hudgins",
"Zelda Fitzgerald",
"Anne Goldthwaite"
] |
|
13882_T
|
Jezreel Valley Railway monument
|
Focus on Jezreel Valley Railway monument and analyze the abstract.
|
The Jezreel Valley Railway monument, located in Haifa, Israel, is a commemorative monument celebrating the opening of the Jezreel Valley Railway by the Ottoman Empire in 1905. It was designed in Istanbul and transported by sea to Haifa for the official opening of the railway.
|
[
"Israel",
"Jezreel Valley Railway",
"Ottoman Empire",
"Istanbul",
"Haifa"
] |
|
13882_NT
|
Jezreel Valley Railway monument
|
Focus on this artwork and analyze the abstract.
|
The Jezreel Valley Railway monument, located in Haifa, Israel, is a commemorative monument celebrating the opening of the Jezreel Valley Railway by the Ottoman Empire in 1905. It was designed in Istanbul and transported by sea to Haifa for the official opening of the railway.
|
[
"Israel",
"Jezreel Valley Railway",
"Ottoman Empire",
"Istanbul",
"Haifa"
] |
|
13883_T
|
Jezreel Valley Railway monument
|
In Jezreel Valley Railway monument, how is the History discussed?
|
The monument was designed by Italian sculptor Raimondo D'Aronco in Istanbul in 1903 and shipped to Haifa for the opening of the railway on 15 October 1905 (which was also the sultan’s birthday). It was presented in a ceremony in front of a large crowd at the new Haifa railway station. It stands as a "reminder of the railway’s importance as a projection of the imperial authority, as well as its material value to Ottoman trade and communications". It has relief carvings depicting a steam locomotive and Ottoman insignia. It also contains an inscription in Turkish (see below).Monuments such as this and the Telegraph Column in Damascus were designed to commemorate the "charitable works" of Abdul Hamid II for his people; the railway would be used to carry pilgrims to the Hajj
|
[
"Damascus",
"Raimondo D'Aronco",
"Haifa railway station",
"sultan",
"Abdul Hamid II",
"Hajj",
"Italian",
"Istanbul",
"Telegraph Column",
"Haifa"
] |
|
13883_NT
|
Jezreel Valley Railway monument
|
In this artwork, how is the History discussed?
|
The monument was designed by Italian sculptor Raimondo D'Aronco in Istanbul in 1903 and shipped to Haifa for the opening of the railway on 15 October 1905 (which was also the sultan’s birthday). It was presented in a ceremony in front of a large crowd at the new Haifa railway station. It stands as a "reminder of the railway’s importance as a projection of the imperial authority, as well as its material value to Ottoman trade and communications". It has relief carvings depicting a steam locomotive and Ottoman insignia. It also contains an inscription in Turkish (see below).Monuments such as this and the Telegraph Column in Damascus were designed to commemorate the "charitable works" of Abdul Hamid II for his people; the railway would be used to carry pilgrims to the Hajj
|
[
"Damascus",
"Raimondo D'Aronco",
"Haifa railway station",
"sultan",
"Abdul Hamid II",
"Hajj",
"Italian",
"Istanbul",
"Telegraph Column",
"Haifa"
] |
|
13884_T
|
Lady Standing at a Virginal
|
Focus on Lady Standing at a Virginal and explore the abstract.
|
Lady Standing at a Virginal is a genre painting created by the Dutch artist Johannes Vermeer in about 1670–1672, now in the National Gallery, London.
|
[
"National Gallery, London",
"genre painting",
"Johannes Vermeer",
"National Gallery",
"London"
] |
|
13884_NT
|
Lady Standing at a Virginal
|
Focus on this artwork and explore the abstract.
|
Lady Standing at a Virginal is a genre painting created by the Dutch artist Johannes Vermeer in about 1670–1672, now in the National Gallery, London.
|
[
"National Gallery, London",
"genre painting",
"Johannes Vermeer",
"National Gallery",
"London"
] |
|
13885_T
|
Lady Standing at a Virginal
|
Focus on Lady Standing at a Virginal and explain the Description.
|
The oil painting depicts a richly dressed woman playing a virginal in a home with a tiled floor, paintings on the wall and some of the locally manufactured Delftware blue and white tiles of a type that appear in other Vermeer works.The identities of the paintings on the wall are not certain, according to the National Gallery, but the landscape on the left may be by either Jan Wijnants or Allart van Everdingen. The second painting, showing Cupid holding a card, is attributed to Caesar van Everdingen, Allart's brother. This motif originated in a contemporary emblem and may either represent the idea of faithfulness to a single lover or perhaps, reflecting the presence of the virginal, the traditional association of music and love.The painting has been dated on stylistic grounds and on the evidence of the costume. This work can be related to another Vermeer in the collection, Lady Seated at a Virginal, on a canvas of almost exactly the same size, with which it may form a pair. A recent study has shown that the canvas for the two paintings came from the same bolt. In addition, the ground applied to the canvas of each painting appears to be identical and also to be shared with the New York Young Woman Seated at the Virginals.The painting is depicted in David Hockney's 1977 oil painting Looking at Pictures on a Screen.
|
[
"David Hockney",
"canvas",
"Virginals",
"Allart van Everdingen",
"Cupid",
"virginal",
"Caesar van Everdingen",
"Delftware",
"bolt",
"David Hockney's",
"National Gallery",
"Young Woman Seated at the Virginals",
"Jan Wijnants",
"emblem",
"Lady Seated at a Virginal"
] |
|
13885_NT
|
Lady Standing at a Virginal
|
Focus on this artwork and explain the Description.
|
The oil painting depicts a richly dressed woman playing a virginal in a home with a tiled floor, paintings on the wall and some of the locally manufactured Delftware blue and white tiles of a type that appear in other Vermeer works.The identities of the paintings on the wall are not certain, according to the National Gallery, but the landscape on the left may be by either Jan Wijnants or Allart van Everdingen. The second painting, showing Cupid holding a card, is attributed to Caesar van Everdingen, Allart's brother. This motif originated in a contemporary emblem and may either represent the idea of faithfulness to a single lover or perhaps, reflecting the presence of the virginal, the traditional association of music and love.The painting has been dated on stylistic grounds and on the evidence of the costume. This work can be related to another Vermeer in the collection, Lady Seated at a Virginal, on a canvas of almost exactly the same size, with which it may form a pair. A recent study has shown that the canvas for the two paintings came from the same bolt. In addition, the ground applied to the canvas of each painting appears to be identical and also to be shared with the New York Young Woman Seated at the Virginals.The painting is depicted in David Hockney's 1977 oil painting Looking at Pictures on a Screen.
|
[
"David Hockney",
"canvas",
"Virginals",
"Allart van Everdingen",
"Cupid",
"virginal",
"Caesar van Everdingen",
"Delftware",
"bolt",
"David Hockney's",
"National Gallery",
"Young Woman Seated at the Virginals",
"Jan Wijnants",
"emblem",
"Lady Seated at a Virginal"
] |
|
13886_T
|
Revson Fountain
|
Explore the abstract of this artwork, Revson Fountain.
|
Revson Fountain is a fountain installed in the Lincoln Center for the Performing Arts, a complex of buildings in the Lincoln Square neighborhood of the borough of Manhattan in New York City. The fountain was dedicated in 1964 and a redesign was completed in 2009.
|
[
"New York City",
"borough",
"Lincoln Square",
"Manhattan",
"Lincoln Center",
"Lincoln Center for the Performing Arts"
] |
|
13886_NT
|
Revson Fountain
|
Explore the abstract of this artwork.
|
Revson Fountain is a fountain installed in the Lincoln Center for the Performing Arts, a complex of buildings in the Lincoln Square neighborhood of the borough of Manhattan in New York City. The fountain was dedicated in 1964 and a redesign was completed in 2009.
|
[
"New York City",
"borough",
"Lincoln Square",
"Manhattan",
"Lincoln Center",
"Lincoln Center for the Performing Arts"
] |
|
13887_T
|
Revson Fountain
|
Focus on Revson Fountain and discuss the History.
|
Designed by Philip Johnson Associates, the fountain was dedicated on April 7, 1964. It was originally called the Lincoln Center fountain; its namesake is Charles Revson. The fountain was funded by the Revlon Foundation in 1962.Diller Scofidio + Renfro, the lead architects of the 2006 renovation of Lincoln Center, made several proposals to redesign the fountain, eventually changing the perimeter bench to a floating granite disk; the fountain itself was rebuilt by WET Design from 2007 to 2009. Andrew Dolkart objected to the redesign: "It’s the thing that upsets me most of all about what's happened at Lincoln Center. They thought that they needed to spend a lot of money ripping out Philip Johnson's fountain and putting in something new instead of restoring something that worked well." The rebuilt fountain debuted on September 30, 2009, at a ceremony attended by members of Charles Revson's family.
|
[
"WET Design",
"Revlon Foundation",
"Diller Scofidio + Renfro",
"Revlon",
"Lincoln Center",
"Charles Revson",
"Andrew Dolkart",
"Philip Johnson"
] |
|
13887_NT
|
Revson Fountain
|
Focus on this artwork and discuss the History.
|
Designed by Philip Johnson Associates, the fountain was dedicated on April 7, 1964. It was originally called the Lincoln Center fountain; its namesake is Charles Revson. The fountain was funded by the Revlon Foundation in 1962.Diller Scofidio + Renfro, the lead architects of the 2006 renovation of Lincoln Center, made several proposals to redesign the fountain, eventually changing the perimeter bench to a floating granite disk; the fountain itself was rebuilt by WET Design from 2007 to 2009. Andrew Dolkart objected to the redesign: "It’s the thing that upsets me most of all about what's happened at Lincoln Center. They thought that they needed to spend a lot of money ripping out Philip Johnson's fountain and putting in something new instead of restoring something that worked well." The rebuilt fountain debuted on September 30, 2009, at a ceremony attended by members of Charles Revson's family.
|
[
"WET Design",
"Revlon Foundation",
"Diller Scofidio + Renfro",
"Revlon",
"Lincoln Center",
"Charles Revson",
"Andrew Dolkart",
"Philip Johnson"
] |
|
13888_T
|
Revson Fountain
|
How does Revson Fountain elucidate its Design?
|
As originally designed, the fountain employed 568 jets and 88 lights with a combined illumination power of 26 kW. It was 38 feet (12 m) in diameter and was computer controlled, capable of shooting water 150 feet (46 m) in the air. J. S. Hamel of Hamel and Lancer was credited with engineering the fountain. The core of the fountain was an array of 40 jets arranged in a 6-foot (1.8 m) diameter circle around 16 lights capable of throwing water 30 ft (9.1 m) in the air; there were two larger concentric rings with smaller jets outside the core. The total combined flowrate of all the nozzles was 9,000 US gal/min (570 L/s).The water level of the fountain was elevated from the plaza level in the original design, which used a curb and bench around the perimeter of the retaining pool; during the redesign, the water level was lowered to the level of the plaza and the bench was reduced to a circular rim floating on slim supports. The redesigned fountain contains 353 jets arrayed in three concentric rings and 272 lights with a total illumination power of 27.2 kW. After the redesign, the fountain is capable of shooting water as high as 60 feet (18 m) in the air; 24 pumps move up to 16,500 US gal/min (1,040 L/s).
|
[
"Hamel and Lancer"
] |
|
13888_NT
|
Revson Fountain
|
How does this artwork elucidate its Design?
|
As originally designed, the fountain employed 568 jets and 88 lights with a combined illumination power of 26 kW. It was 38 feet (12 m) in diameter and was computer controlled, capable of shooting water 150 feet (46 m) in the air. J. S. Hamel of Hamel and Lancer was credited with engineering the fountain. The core of the fountain was an array of 40 jets arranged in a 6-foot (1.8 m) diameter circle around 16 lights capable of throwing water 30 ft (9.1 m) in the air; there were two larger concentric rings with smaller jets outside the core. The total combined flowrate of all the nozzles was 9,000 US gal/min (570 L/s).The water level of the fountain was elevated from the plaza level in the original design, which used a curb and bench around the perimeter of the retaining pool; during the redesign, the water level was lowered to the level of the plaza and the bench was reduced to a circular rim floating on slim supports. The redesigned fountain contains 353 jets arrayed in three concentric rings and 272 lights with a total illumination power of 27.2 kW. After the redesign, the fountain is capable of shooting water as high as 60 feet (18 m) in the air; 24 pumps move up to 16,500 US gal/min (1,040 L/s).
|
[
"Hamel and Lancer"
] |
|
13889_T
|
Revson Fountain
|
Focus on Revson Fountain and analyze the In popular media.
|
Revson Fountain has been featured in several notable films set in New York City, including:The Producers (1967)
Sweet Charity (1969)
On a Clear Day You Can See Forever (1970)
Godspell (1973)
Manhattan (1979)
Ghostbusters (1984)
Moonstruck (1987)
Sweet Home Alabama (2002)In 2017, the water in Revson Fountain was dyed bright yellow during a prank.
|
[
"New York City",
"Moonstruck",
"Ghostbusters",
"Manhattan"
] |
|
13889_NT
|
Revson Fountain
|
Focus on this artwork and analyze the In popular media.
|
Revson Fountain has been featured in several notable films set in New York City, including:The Producers (1967)
Sweet Charity (1969)
On a Clear Day You Can See Forever (1970)
Godspell (1973)
Manhattan (1979)
Ghostbusters (1984)
Moonstruck (1987)
Sweet Home Alabama (2002)In 2017, the water in Revson Fountain was dyed bright yellow during a prank.
|
[
"New York City",
"Moonstruck",
"Ghostbusters",
"Manhattan"
] |
|
13890_T
|
Voices of Remembrance
|
In Voices of Remembrance, how is the abstract discussed?
|
Voices of Remembrance is an outdoor 2004 art installation by Valerie Otani, installed in north Portland, Oregon's Kenton neighborhood. The work is installed at TriMet's Expo Center station along the MAX Yellow Line, which was previously the site of the 1942 Portland Assembly Center.
|
[
"Valerie Otani",
"TriMet",
"Kenton",
"Expo Center station",
"Portland, Oregon",
"MAX Yellow Line"
] |
|
13890_NT
|
Voices of Remembrance
|
In this artwork, how is the abstract discussed?
|
Voices of Remembrance is an outdoor 2004 art installation by Valerie Otani, installed in north Portland, Oregon's Kenton neighborhood. The work is installed at TriMet's Expo Center station along the MAX Yellow Line, which was previously the site of the 1942 Portland Assembly Center.
|
[
"Valerie Otani",
"TriMet",
"Kenton",
"Expo Center station",
"Portland, Oregon",
"MAX Yellow Line"
] |
|
13891_T
|
Du Pen Fountain
|
Focus on Du Pen Fountain and explore the abstract.
|
The Du Pen Fountain is a water fountain at the former Washington State Library building on the Washington State Capitol campus in Olympia, Washington, in the United States. The sculptor, Everett Du Pen (1912–2005), was well known in the Northwest, and chairman of the Sculpture Department at the University of Washington when he was commissioned for the piece in 1955. The fountain is made of 900 pounds (410 kg) of copper-enriched bronze, green terrazzo, and cement. An element of the fountain is a pair of salmon spitting water. The fountain, along with the nearby and much larger Tivoli Fountain replica, is shut down by the state property administration agency during summer droughts. The artist also created the Fountain of Creation at the Seattle Center for the 1962 World's Fair. The Seattle fountain is also nicknamed Du Pen (or DuPen) Fountain.
|
[
"Washington State Capitol",
"1962 World's Fair",
"terrazzo",
"Everett Du Pen",
"salmon",
"University of Washington",
"water fountain",
"Fountain of Creation",
"Olympia, Washington",
"Washington State Library",
"Tivoli Fountain replica",
"Seattle Center"
] |
|
13891_NT
|
Du Pen Fountain
|
Focus on this artwork and explore the abstract.
|
The Du Pen Fountain is a water fountain at the former Washington State Library building on the Washington State Capitol campus in Olympia, Washington, in the United States. The sculptor, Everett Du Pen (1912–2005), was well known in the Northwest, and chairman of the Sculpture Department at the University of Washington when he was commissioned for the piece in 1955. The fountain is made of 900 pounds (410 kg) of copper-enriched bronze, green terrazzo, and cement. An element of the fountain is a pair of salmon spitting water. The fountain, along with the nearby and much larger Tivoli Fountain replica, is shut down by the state property administration agency during summer droughts. The artist also created the Fountain of Creation at the Seattle Center for the 1962 World's Fair. The Seattle fountain is also nicknamed Du Pen (or DuPen) Fountain.
|
[
"Washington State Capitol",
"1962 World's Fair",
"terrazzo",
"Everett Du Pen",
"salmon",
"University of Washington",
"water fountain",
"Fountain of Creation",
"Olympia, Washington",
"Washington State Library",
"Tivoli Fountain replica",
"Seattle Center"
] |
|
13892_T
|
The Boating Party
|
Focus on The Boating Party and explain the Background.
|
Cassatt painted The Boating Party during the winter of 1893–1894 in Antibes, on the French Riviera. Cassatt spent January and February 1894 at the Villa "La Cigaronne," in Cap d'Antibes with her mother. The previous year had been a successful one: Cassatt had completed the mural Modern Woman for the Woman's Building at Chicago's 1893 World's Columbian Exposition, her exhibition in 1893 at Durand-Ruel's gallery had been well received, and the French state had decided to purchase one of her paintings for the Musée du Luxembourg.
|
[
"French Riviera",
"Antibes",
"World's Columbian Exposition",
"Musée du Luxembourg",
"Durand-Ruel"
] |
|
13892_NT
|
The Boating Party
|
Focus on this artwork and explain the Background.
|
Cassatt painted The Boating Party during the winter of 1893–1894 in Antibes, on the French Riviera. Cassatt spent January and February 1894 at the Villa "La Cigaronne," in Cap d'Antibes with her mother. The previous year had been a successful one: Cassatt had completed the mural Modern Woman for the Woman's Building at Chicago's 1893 World's Columbian Exposition, her exhibition in 1893 at Durand-Ruel's gallery had been well received, and the French state had decided to purchase one of her paintings for the Musée du Luxembourg.
|
[
"French Riviera",
"Antibes",
"World's Columbian Exposition",
"Musée du Luxembourg",
"Durand-Ruel"
] |
|
13893_T
|
The Boating Party
|
Explore the Description of this artwork, The Boating Party.
|
The Boating Party depicts an unknown woman, baby, and man in a sailboat. The boat has a canoe stern, is boomless, and has three thwarts. Cassatt uses bold, dark colors to depict the boatman and bright yellow to contrast the boat and its passengers. The child is held in the woman’s lap with the man facing them and his back to the audience. Griselda Pollock notes that the man in the painting is dressed in a refined version of the local fisherman’s clothing which is shown through the sash around his waist and the floppy beret atop his head.It is an unusual painting in Cassatt's œuvre. While it does show her familiar theme of a mother and child, most of her other paintings are set in interiors or in gardens. It is also one of her largest oil paintings.
|
[] |
|
13893_NT
|
The Boating Party
|
Explore the Description of this artwork.
|
The Boating Party depicts an unknown woman, baby, and man in a sailboat. The boat has a canoe stern, is boomless, and has three thwarts. Cassatt uses bold, dark colors to depict the boatman and bright yellow to contrast the boat and its passengers. The child is held in the woman’s lap with the man facing them and his back to the audience. Griselda Pollock notes that the man in the painting is dressed in a refined version of the local fisherman’s clothing which is shown through the sash around his waist and the floppy beret atop his head.It is an unusual painting in Cassatt's œuvre. While it does show her familiar theme of a mother and child, most of her other paintings are set in interiors or in gardens. It is also one of her largest oil paintings.
|
[] |
|
13894_T
|
The Boating Party
|
Focus on The Boating Party and discuss the Influences.
|
Cassatt conceived the painting while looking out at the Mediterranean landscape from La Cigaronne, where she noted that “the country is too beautiful, it grows wearisome” and that the people of Antibes were not beautiful enough for her to draw inspiration from. The art historian Adelyn Breeskin notes that Impressionism, Japanese printmaking, and Correggio’s Madonna and Child all shaped the style of The Boating Party. The vibrancy of the woman and child, as well as the boat and sea, are indicative of this Impressionist emphasis on bright colors based on plein air observation. The cropped view of the boat and the asymmetrical composition also suggest the influence of Ukiyo-e prints, which interested Cassatt. In 1890, Cassatt had visited the great Japanese Print exhibition at the École de Beaux-arts in Paris. Mary Cassatt owned Japanese prints by Kitagawa Utamaro (1753–1806). The exhibition at Durand-Ruel of Japanese art proved the most important influence on Cassatt. Cassatt's depiction of the woman and child was also inspired by Antonio da Correggio, who used a soft, natural style to depict his Madonna and Child paintings.
Frederick A. Sweet suggests that Cassatt may have been inspired by Édouard Manet's Boating from 1874.Boating was exhibited at the Impressionist Exhibition of 1879, where it was not well received. Cassatt however, convinced her friend Louisine Havemeyer to buy it.
|
[
"Antibes",
"Louisine Havemeyer",
"Mary Cassatt",
"Édouard Manet",
"Durand-Ruel"
] |
|
13894_NT
|
The Boating Party
|
Focus on this artwork and discuss the Influences.
|
Cassatt conceived the painting while looking out at the Mediterranean landscape from La Cigaronne, where she noted that “the country is too beautiful, it grows wearisome” and that the people of Antibes were not beautiful enough for her to draw inspiration from. The art historian Adelyn Breeskin notes that Impressionism, Japanese printmaking, and Correggio’s Madonna and Child all shaped the style of The Boating Party. The vibrancy of the woman and child, as well as the boat and sea, are indicative of this Impressionist emphasis on bright colors based on plein air observation. The cropped view of the boat and the asymmetrical composition also suggest the influence of Ukiyo-e prints, which interested Cassatt. In 1890, Cassatt had visited the great Japanese Print exhibition at the École de Beaux-arts in Paris. Mary Cassatt owned Japanese prints by Kitagawa Utamaro (1753–1806). The exhibition at Durand-Ruel of Japanese art proved the most important influence on Cassatt. Cassatt's depiction of the woman and child was also inspired by Antonio da Correggio, who used a soft, natural style to depict his Madonna and Child paintings.
Frederick A. Sweet suggests that Cassatt may have been inspired by Édouard Manet's Boating from 1874.Boating was exhibited at the Impressionist Exhibition of 1879, where it was not well received. Cassatt however, convinced her friend Louisine Havemeyer to buy it.
|
[
"Antibes",
"Louisine Havemeyer",
"Mary Cassatt",
"Édouard Manet",
"Durand-Ruel"
] |
|
13895_T
|
The Boating Party
|
How does The Boating Party elucidate its Analysis?
|
The Boating Party was one of the rare instances in which Cassatt depicted a man. Though the roles of each figure in the painting are unclear, Griselda Pollock believes that Cassatt is referencing the family dynamic of the late 1800s. Cassatt, according to Pollock, may have been attempting to show that while the man focuses on his work (i.e. rowing), the woman watches over the child. This dynamic is further emphasized by the use of the oar which Pollock claims may be being used to separate the male and female realms. Cassatt, who was known for associating women with nature, creativity, and renewal, may have placed the woman and child as the focal point of the painting because she wanted to show the importance of the mother role in society. Though there is no definitive relationship between the members of the painting, Pollock assumed that the woman is the mother of the child based on Cassatt’s previous works which highlighted the mother-child relationship.Pollock also states that the relationship between the man, woman, and child is suggested by their hands all meeting in the middle, while only the child and woman make direct contact. This fact, Pollock indicates, was meant to show the physical and psychological distance of the man from the other occupants of the boat.Several scholars have suggested that Cassatt wished to make the mother and child the focal point of the painting by positioning them at the intersection of the diagonal lines formed by the oar, the sail, and the man's arm. Cassatt also uses these elements to bring the spectator into the painting itself.Nancy Mathews regards the painting as an exploration of themes from different phases of Cassatt's career. Mathews claims that The Boating Party attempts to bring Cassatt’s past and present into the same work. The boatsman, who is depicted in dark colors in the foreground, represents Cassatt’s earlier artwork; the brightly lit mother and child highlight Cassatt’s current artistic subject.
|
[] |
|
13895_NT
|
The Boating Party
|
How does this artwork elucidate its Analysis?
|
The Boating Party was one of the rare instances in which Cassatt depicted a man. Though the roles of each figure in the painting are unclear, Griselda Pollock believes that Cassatt is referencing the family dynamic of the late 1800s. Cassatt, according to Pollock, may have been attempting to show that while the man focuses on his work (i.e. rowing), the woman watches over the child. This dynamic is further emphasized by the use of the oar which Pollock claims may be being used to separate the male and female realms. Cassatt, who was known for associating women with nature, creativity, and renewal, may have placed the woman and child as the focal point of the painting because she wanted to show the importance of the mother role in society. Though there is no definitive relationship between the members of the painting, Pollock assumed that the woman is the mother of the child based on Cassatt’s previous works which highlighted the mother-child relationship.Pollock also states that the relationship between the man, woman, and child is suggested by their hands all meeting in the middle, while only the child and woman make direct contact. This fact, Pollock indicates, was meant to show the physical and psychological distance of the man from the other occupants of the boat.Several scholars have suggested that Cassatt wished to make the mother and child the focal point of the painting by positioning them at the intersection of the diagonal lines formed by the oar, the sail, and the man's arm. Cassatt also uses these elements to bring the spectator into the painting itself.Nancy Mathews regards the painting as an exploration of themes from different phases of Cassatt's career. Mathews claims that The Boating Party attempts to bring Cassatt’s past and present into the same work. The boatsman, who is depicted in dark colors in the foreground, represents Cassatt’s earlier artwork; the brightly lit mother and child highlight Cassatt’s current artistic subject.
|
[] |
|
13896_T
|
The Boating Party
|
Focus on The Boating Party and analyze the Legacy.
|
Though the Boating Party was considered one of Cassatt’s largest and best works, Cassatt did not want to sell the painting because it held sentimental value for her. In 1914, Cassatt wrote “About the painting, La Barque, I do not want to sell it; I have already promised it to my family. It was done at Antibes 20 years ago—the year my niece came into the world." However, later in life, she would place the painting on the market for sale as she did not believe her family held the painting in the same esteem as she did.Art historian Frederick A. Sweet calls The Boating Party "One of the most ambitious paintings [Cassatt] ever attempted." According to Breeskin, no female painter has yet surpassed Mary Cassatt’s work. Cassatt’s unique artistic style in The Boating Party, which combined American and French Impressionism, Japanese woodblock painting styles, and her own innovations, would later become a well-known model from which many future female artists would learn.In 1966, the painting appeared on a US postage stamp.
|
[
"Antibes",
"Mary Cassatt"
] |
|
13896_NT
|
The Boating Party
|
Focus on this artwork and analyze the Legacy.
|
Though the Boating Party was considered one of Cassatt’s largest and best works, Cassatt did not want to sell the painting because it held sentimental value for her. In 1914, Cassatt wrote “About the painting, La Barque, I do not want to sell it; I have already promised it to my family. It was done at Antibes 20 years ago—the year my niece came into the world." However, later in life, she would place the painting on the market for sale as she did not believe her family held the painting in the same esteem as she did.Art historian Frederick A. Sweet calls The Boating Party "One of the most ambitious paintings [Cassatt] ever attempted." According to Breeskin, no female painter has yet surpassed Mary Cassatt’s work. Cassatt’s unique artistic style in The Boating Party, which combined American and French Impressionism, Japanese woodblock painting styles, and her own innovations, would later become a well-known model from which many future female artists would learn.In 1966, the painting appeared on a US postage stamp.
|
[
"Antibes",
"Mary Cassatt"
] |
|
13897_T
|
The Boating Party
|
In The Boating Party, how is the Provenance discussed?
|
1918 Durand-Ruel, New York
October 1, 1929 sold to Chester Dale.
1963 National Gallery of Art.colorplate 75 35 7/16x46 1/8 in. (90 x117 cm) The Chester Dale Collection.
|
[
"National Gallery of Art",
"Chester Dale",
"Durand-Ruel"
] |
|
13897_NT
|
The Boating Party
|
In this artwork, how is the Provenance discussed?
|
1918 Durand-Ruel, New York
October 1, 1929 sold to Chester Dale.
1963 National Gallery of Art.colorplate 75 35 7/16x46 1/8 in. (90 x117 cm) The Chester Dale Collection.
|
[
"National Gallery of Art",
"Chester Dale",
"Durand-Ruel"
] |
|
13898_T
|
Opening of the Fifth Seal
|
Focus on Opening of the Fifth Seal and explore the abstract.
|
The Opening of the Fifth Seal (or The Fifth Seal of the Apocalypse or The Vision of Saint John) was painted in the last years of El Greco's life for a side-altar of the church of Saint John the Baptist outside the walls of Toledo. Before 1908, El Greco's painting had been referred to as Profane Love. The scholar Manuel B. Cossio had doubts about the title and suggested the Opening of the Fifth Seal. The Metropolitan Museum, where the painting is kept, comments: "the picture is unfinished and much damaged and abraded."
|
[
"altar",
"El Greco",
"John the Baptist",
"in",
"Saint John the Baptist",
"El Greco's",
"Toledo"
] |
|
13898_NT
|
Opening of the Fifth Seal
|
Focus on this artwork and explore the abstract.
|
The Opening of the Fifth Seal (or The Fifth Seal of the Apocalypse or The Vision of Saint John) was painted in the last years of El Greco's life for a side-altar of the church of Saint John the Baptist outside the walls of Toledo. Before 1908, El Greco's painting had been referred to as Profane Love. The scholar Manuel B. Cossio had doubts about the title and suggested the Opening of the Fifth Seal. The Metropolitan Museum, where the painting is kept, comments: "the picture is unfinished and much damaged and abraded."
|
[
"altar",
"El Greco",
"John the Baptist",
"in",
"Saint John the Baptist",
"El Greco's",
"Toledo"
] |
|
13899_T
|
Opening of the Fifth Seal
|
Focus on Opening of the Fifth Seal and explain the Subject of the painting.
|
The painting's subject is taken from the Book of Revelation 6:9–11, where the souls of martyrs cry out to God for justice upon their persecutors on Earth. The ecstatic figure of St. John dominates the canvas, while behind him naked souls writhe in a chaotic storm of emotion as they receive white robes of salvation.
The upper portion of the painting was destroyed in 1880. It is believed that the lost portion may have depicted the sacrificial lamb opening the Fifth Seal. The lost upper painting may have also resembled another piece by El Greco, Concert of Angels. Many believe that the surviving portion depicts profane love, while the missing upper portion depicts divine love.
|
[
"salvation",
"El Greco",
"martyr",
"sacrificial lamb",
"canvas",
"in",
"Book of Revelation",
"Concert of Angels"
] |
|
13899_NT
|
Opening of the Fifth Seal
|
Focus on this artwork and explain the Subject of the painting.
|
The painting's subject is taken from the Book of Revelation 6:9–11, where the souls of martyrs cry out to God for justice upon their persecutors on Earth. The ecstatic figure of St. John dominates the canvas, while behind him naked souls writhe in a chaotic storm of emotion as they receive white robes of salvation.
The upper portion of the painting was destroyed in 1880. It is believed that the lost portion may have depicted the sacrificial lamb opening the Fifth Seal. The lost upper painting may have also resembled another piece by El Greco, Concert of Angels. Many believe that the surviving portion depicts profane love, while the missing upper portion depicts divine love.
|
[
"salvation",
"El Greco",
"martyr",
"sacrificial lamb",
"canvas",
"in",
"Book of Revelation",
"Concert of Angels"
] |
|
13900_T
|
Opening of the Fifth Seal
|
Explore the Ownership of this artwork, Opening of the Fifth Seal.
|
Upon El Greco's death in 1614, the work passed to his son, Jorge Manuel Theotocópuli. During the 19th century, it was owned by Antonio Cánovas del Castillo, Prime Minister of Spain. Dissatisfied with the condition of the piece, he attempted to have it restored in 1880. The attempted restoration removed at least 175 centimetres (69 inches) from the top of the canvas, leaving John the Evangelist emphatically pointing nowhere.
After Cánovas' death in 1897, the painting was sold for 1,000 pesetas (US$200) to Ignacio Zuloaga, a painter who was instrumental in reviving European interest in El Greco. The painting may be seen in the background of his work Mis amigos, representing several notable members of the Generation of '98. Zuloaga is known to have shown the painting to Pablo Picasso and Rainer Maria Rilke. He declared it as possessing a "visionary power" that made it a "precursor of modernism". In 1956, the Zuloaga Museum sold this artwork to the Metropolitan Museum of Art in New York City, where it is on exhibit today.
|
[
"New York City",
"El Greco",
"Ignacio Zuloaga",
"canvas",
"Rainer Maria Rilke",
"x",
"pesetas",
"in",
"Generation of '98",
"Prime Minister of Spain",
"Mis amigos",
"Jorge Manuel Theotocópuli",
"El Greco's",
"Metropolitan Museum of Art",
"Antonio Cánovas del Castillo",
"Pablo Picasso"
] |
|
13900_NT
|
Opening of the Fifth Seal
|
Explore the Ownership of this artwork.
|
Upon El Greco's death in 1614, the work passed to his son, Jorge Manuel Theotocópuli. During the 19th century, it was owned by Antonio Cánovas del Castillo, Prime Minister of Spain. Dissatisfied with the condition of the piece, he attempted to have it restored in 1880. The attempted restoration removed at least 175 centimetres (69 inches) from the top of the canvas, leaving John the Evangelist emphatically pointing nowhere.
After Cánovas' death in 1897, the painting was sold for 1,000 pesetas (US$200) to Ignacio Zuloaga, a painter who was instrumental in reviving European interest in El Greco. The painting may be seen in the background of his work Mis amigos, representing several notable members of the Generation of '98. Zuloaga is known to have shown the painting to Pablo Picasso and Rainer Maria Rilke. He declared it as possessing a "visionary power" that made it a "precursor of modernism". In 1956, the Zuloaga Museum sold this artwork to the Metropolitan Museum of Art in New York City, where it is on exhibit today.
|
[
"New York City",
"El Greco",
"Ignacio Zuloaga",
"canvas",
"Rainer Maria Rilke",
"x",
"pesetas",
"in",
"Generation of '98",
"Prime Minister of Spain",
"Mis amigos",
"Jorge Manuel Theotocópuli",
"El Greco's",
"Metropolitan Museum of Art",
"Antonio Cánovas del Castillo",
"Pablo Picasso"
] |
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