ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
list |
|---|---|---|---|---|---|
13901_T
|
Opening of the Fifth Seal
|
Focus on Opening of the Fifth Seal and discuss the Comparison with Les Demoiselles d'Avignon.
|
It has been suggested that the Opening of the Fifth Seal served as an inspiration for the early Cubist works of Pablo Picasso, especially Les Demoiselles d'Avignon, which mirrors the expressionistic angularity of the painting. When Picasso was working on Les Demoiselles d'Avignon, he visited his friend Zuloaga in his studio in Paris and studied El Greco's Opening of the Fifth Seal. The relation between Les Demoiselles d'Avignon and the Opening of the Fifth Seal was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed. Art historian Ron Johnson was the first to focus on the relationship between the two paintings. According to John Richardson, a British art historian, Les Demoiselles d'Avignon "turns out to have a few more answers to give once we realize that the painting owes at least as much to El Greco as Cézanne".Efi Foundoulaki insists on the "activity of the triangle Picasso-Cézanne-El Greco, which is established in Les Demoiselles d'Avignon". Foundoulaki analyzes the Opening of the Fifth Seal and states that the clothed figure in the left part of the painting and the naked figures to the right showed the contradiction between profane and divine love. According to Rolf Laesse, this may have been the original inspiration of Picasso who in a preliminary drawing of the Demoiselles depicted a medical student holding a skull or a book and entering a room where there is a sailor among nude women. Richardson, however, conjectures that Picasso knew the interpretation by Cossio concerning the Opening of the Fifth Seal and based his theory extensively on this conjecture.Richardson and Foundoulaki emphasize on the morphological parallels between the Opening of the Fifth Seal and Les Demoiselles d'Avignon, and explore the Picasso–Cézanne–El Greco relationship. Foundoulaki asserts that there is a similarity of shape and that Picasso ingeniously repeated the game with the |V and the inverted triangles of El Greco, something he had already begun in The Villagers. According to Foundoulaki, "the dialogue Picasso inaugurated with El Greco in Les Demoiselles d'Avignon, by means of Cézanne, is carried on in Cubism". Richardson sees the Apocalypse in El Greco's Opening of the Fifth Seal as the catalyst which showed Picasso how to harness the spiritual energy of a great religious artist to his own demonic ends. According to Richardson, Picasso followed this apocalyptic vision his whole life.
|
[
"El Greco",
"Cubist",
"x",
"in",
"Cubism",
"triangle",
"left",
"John Richardson",
"British",
"El Greco's",
"Cézanne",
"Paris",
"Les Demoiselles d'Avignon",
"Pablo Picasso"
] |
|
13901_NT
|
Opening of the Fifth Seal
|
Focus on this artwork and discuss the Comparison with Les Demoiselles d'Avignon.
|
It has been suggested that the Opening of the Fifth Seal served as an inspiration for the early Cubist works of Pablo Picasso, especially Les Demoiselles d'Avignon, which mirrors the expressionistic angularity of the painting. When Picasso was working on Les Demoiselles d'Avignon, he visited his friend Zuloaga in his studio in Paris and studied El Greco's Opening of the Fifth Seal. The relation between Les Demoiselles d'Avignon and the Opening of the Fifth Seal was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed. Art historian Ron Johnson was the first to focus on the relationship between the two paintings. According to John Richardson, a British art historian, Les Demoiselles d'Avignon "turns out to have a few more answers to give once we realize that the painting owes at least as much to El Greco as Cézanne".Efi Foundoulaki insists on the "activity of the triangle Picasso-Cézanne-El Greco, which is established in Les Demoiselles d'Avignon". Foundoulaki analyzes the Opening of the Fifth Seal and states that the clothed figure in the left part of the painting and the naked figures to the right showed the contradiction between profane and divine love. According to Rolf Laesse, this may have been the original inspiration of Picasso who in a preliminary drawing of the Demoiselles depicted a medical student holding a skull or a book and entering a room where there is a sailor among nude women. Richardson, however, conjectures that Picasso knew the interpretation by Cossio concerning the Opening of the Fifth Seal and based his theory extensively on this conjecture.Richardson and Foundoulaki emphasize on the morphological parallels between the Opening of the Fifth Seal and Les Demoiselles d'Avignon, and explore the Picasso–Cézanne–El Greco relationship. Foundoulaki asserts that there is a similarity of shape and that Picasso ingeniously repeated the game with the |V and the inverted triangles of El Greco, something he had already begun in The Villagers. According to Foundoulaki, "the dialogue Picasso inaugurated with El Greco in Les Demoiselles d'Avignon, by means of Cézanne, is carried on in Cubism". Richardson sees the Apocalypse in El Greco's Opening of the Fifth Seal as the catalyst which showed Picasso how to harness the spiritual energy of a great religious artist to his own demonic ends. According to Richardson, Picasso followed this apocalyptic vision his whole life.
|
[
"El Greco",
"Cubist",
"x",
"in",
"Cubism",
"triangle",
"left",
"John Richardson",
"British",
"El Greco's",
"Cézanne",
"Paris",
"Les Demoiselles d'Avignon",
"Pablo Picasso"
] |
|
13902_T
|
Typewriter Eraser, Scale X
|
How does Typewriter Eraser, Scale X elucidate its abstract?
|
Typewriter Eraser, Scale X is a sculpture of a large-scale typewriter eraser by Claes Oldenburg and Coosje van Bruggen.Constructed in 1999, this model is located at the National Gallery of Art Sculpture Garden.
Other models are also located at Seattle Center near the Museum of Pop Culture, and CityCenter, Paradise. Typewriter Eraser, Scale X is on view at the Norton Museum of Art.
|
[
"Museum of Pop Culture",
"Seattle",
"Claes Oldenburg",
"typewriter eraser",
"CityCenter",
"Norton Museum of Art",
"Paradise",
"Coosje van Bruggen",
"Seattle Center",
"National Gallery of Art Sculpture Garden"
] |
|
13902_NT
|
Typewriter Eraser, Scale X
|
How does this artwork elucidate its abstract?
|
Typewriter Eraser, Scale X is a sculpture of a large-scale typewriter eraser by Claes Oldenburg and Coosje van Bruggen.Constructed in 1999, this model is located at the National Gallery of Art Sculpture Garden.
Other models are also located at Seattle Center near the Museum of Pop Culture, and CityCenter, Paradise. Typewriter Eraser, Scale X is on view at the Norton Museum of Art.
|
[
"Museum of Pop Culture",
"Seattle",
"Claes Oldenburg",
"typewriter eraser",
"CityCenter",
"Norton Museum of Art",
"Paradise",
"Coosje van Bruggen",
"Seattle Center",
"National Gallery of Art Sculpture Garden"
] |
|
13903_T
|
Infinite Wave Memorial
|
Focus on Infinite Wave Memorial and analyze the abstract.
|
The Infinite Wave Memorial is a permanent memorial located in Cannon Hill Park, Birmingham dedicated to the 31 British victims of the 2015 Sousse and Bardo terrorist attacks. Commissioned by the Foreign and Commonwealth Office, it was designed by George King Architects and opened in March 2019 by the Duke of Sussex.The memorial is formed of 31 separate metal streams, representing each of the victims of the attacks, which loop back on one another, forming one single wave. The sculpture took four months to complete and was fabricated from 316 stainless steel tubes. The names of the victims are inscribed on the streams and placed inside each stream are written messages to the victims from their friends and families.
|
[
"Sousse",
"Duke of Sussex",
"Foreign and Commonwealth Office",
"Bardo",
"George King Architects",
"Cannon Hill Park",
"Birmingham"
] |
|
13903_NT
|
Infinite Wave Memorial
|
Focus on this artwork and analyze the abstract.
|
The Infinite Wave Memorial is a permanent memorial located in Cannon Hill Park, Birmingham dedicated to the 31 British victims of the 2015 Sousse and Bardo terrorist attacks. Commissioned by the Foreign and Commonwealth Office, it was designed by George King Architects and opened in March 2019 by the Duke of Sussex.The memorial is formed of 31 separate metal streams, representing each of the victims of the attacks, which loop back on one another, forming one single wave. The sculpture took four months to complete and was fabricated from 316 stainless steel tubes. The names of the victims are inscribed on the streams and placed inside each stream are written messages to the victims from their friends and families.
|
[
"Sousse",
"Duke of Sussex",
"Foreign and Commonwealth Office",
"Bardo",
"George King Architects",
"Cannon Hill Park",
"Birmingham"
] |
|
13904_T
|
Holy Family with Christ as Imperator mundi
|
In Holy Family with Christ as Imperator mundi, how is the abstract discussed?
|
The Holy Family with Christ as Imperator mundi is a 71 by 50.5 cm tempera on canvas painting dated to around 1490-1500. It is attributed to Andrea Mantegna (though its poor conservation prevents a definitive attribution to him) and now held in the Petit Palais in Paris.The Virgin and Child are identical to those in Holy Family with the Infant Saint John the Baptist (London), whilst the Christ Child is reminiscent of several small-format works from the same period, of which the best is perhaps Holy Family with Saints Anne and John the Baptist (Dresden). It may be the earliest in the series and takes a more traditional approach, with the infant Christ and John the Baptist standing on a simple parapet and a black background, rather than the curved parapet and more nuanced background in the London example. John holds a scroll bearing Ecce Agnus Dei and points to Christ, who is shown as 'imperator mundi' or 'emperor of the world', holding a cross and an orb. There are gold highlights on the Virgin's veil, whilst behind her is a female saint, most probably her mother saint Anne or perhaps John's mother saint Elisabeth. Unusually, saint Joseph is absent.
|
[
"Holy Family with the Infant Saint John the Baptist",
"Ecce Agnus Dei",
"Petit Palais",
"saint Anne",
"Agnus Dei",
"Paris",
"Andrea Mantegna",
"saint Elisabeth",
"Holy Family with Saints Anne and John the Baptist",
"saint Joseph"
] |
|
13904_NT
|
Holy Family with Christ as Imperator mundi
|
In this artwork, how is the abstract discussed?
|
The Holy Family with Christ as Imperator mundi is a 71 by 50.5 cm tempera on canvas painting dated to around 1490-1500. It is attributed to Andrea Mantegna (though its poor conservation prevents a definitive attribution to him) and now held in the Petit Palais in Paris.The Virgin and Child are identical to those in Holy Family with the Infant Saint John the Baptist (London), whilst the Christ Child is reminiscent of several small-format works from the same period, of which the best is perhaps Holy Family with Saints Anne and John the Baptist (Dresden). It may be the earliest in the series and takes a more traditional approach, with the infant Christ and John the Baptist standing on a simple parapet and a black background, rather than the curved parapet and more nuanced background in the London example. John holds a scroll bearing Ecce Agnus Dei and points to Christ, who is shown as 'imperator mundi' or 'emperor of the world', holding a cross and an orb. There are gold highlights on the Virgin's veil, whilst behind her is a female saint, most probably her mother saint Anne or perhaps John's mother saint Elisabeth. Unusually, saint Joseph is absent.
|
[
"Holy Family with the Infant Saint John the Baptist",
"Ecce Agnus Dei",
"Petit Palais",
"saint Anne",
"Agnus Dei",
"Paris",
"Andrea Mantegna",
"saint Elisabeth",
"Holy Family with Saints Anne and John the Baptist",
"saint Joseph"
] |
|
13905_T
|
Walking to Church
|
Focus on Walking to Church and explore the abstract.
|
Walking to Church is a 1952 painting by the American painter Norman Rockwell, painted for the cover of The Saturday Evening Post's April 4, 1953, issue.The painting depicts a husband and wife with their three children walking to church through a city street. Walking to Church had been on a long-term loan at the Norman Rockwell Museum before its 2013 sale.
|
[
"Norman Rockwell Museum",
"church",
"The Saturday Evening Post",
"Norman Rockwell"
] |
|
13905_NT
|
Walking to Church
|
Focus on this artwork and explore the abstract.
|
Walking to Church is a 1952 painting by the American painter Norman Rockwell, painted for the cover of The Saturday Evening Post's April 4, 1953, issue.The painting depicts a husband and wife with their three children walking to church through a city street. Walking to Church had been on a long-term loan at the Norman Rockwell Museum before its 2013 sale.
|
[
"Norman Rockwell Museum",
"church",
"The Saturday Evening Post",
"Norman Rockwell"
] |
|
13906_T
|
Walking to Church
|
Focus on Walking to Church and explain the 2013 sale.
|
Walking to Church sold for $3.2 million (including a buyer's premium) at the auctioneers Sotheby's in New York in December 2013.Two other Rockwell paintings that had been loaned to the Norman Rockwell Museum were sold alongside Walking to Church; Saying Grace and The Gossips. The three paintings, along with four other art works by Rockwell, were sold by the descendants of Kenneth J. Stuart, the art director of The Saturday Evening Post. The sale of the art works was initiated after the conclusion of a legal disagreement between Stuart's sons. A long term colleague of Rockwell's, Stuart had been given the paintings by Rockwell as a gift. Walking to Church had hung in the bedroom of Stuart's wife, Katherine. Stuart's sons could no longer afford the insurance and upkeep of the paintings by the time of their 2013 sale.Upon Stuart's death in 1993 his estate was divided equally between his three sons, Ken Jr., William and Jonathan. The oldest brother, Ken Jr., was subsequently sued by William and Jonathan, who claimed that he had forced their father to sign papers so could gain control of his fortune. They additionally claimed that Ken Jr. had used the assets of his father's estate for his own expenses. The three brothers settled out of court before the sale. The owner of The Saturday Evening Post, Curtis Publishing, who retain reproduction rights to Rockwell's artworks, also unsuccessfully attempted to claim ownership of the paintings.The director of the Norman Rockwell Museum, Laurie Norton Moffatt, has expressed her hope that the paintings will eventually be reunited with the museum. Moffatt said of the paintings that "We cared for them like children ... We hope they come back some day. We believe that's where they belong." Moffatt said that the loss of the paintings left an "irreplaceable hole in the museum's collection."
|
[
"Norman Rockwell Museum",
"The Saturday Evening Post",
"Sotheby's",
"Saying Grace",
"art director",
"Curtis Publishing",
"Norman Rockwell"
] |
|
13906_NT
|
Walking to Church
|
Focus on this artwork and explain the 2013 sale.
|
Walking to Church sold for $3.2 million (including a buyer's premium) at the auctioneers Sotheby's in New York in December 2013.Two other Rockwell paintings that had been loaned to the Norman Rockwell Museum were sold alongside Walking to Church; Saying Grace and The Gossips. The three paintings, along with four other art works by Rockwell, were sold by the descendants of Kenneth J. Stuart, the art director of The Saturday Evening Post. The sale of the art works was initiated after the conclusion of a legal disagreement between Stuart's sons. A long term colleague of Rockwell's, Stuart had been given the paintings by Rockwell as a gift. Walking to Church had hung in the bedroom of Stuart's wife, Katherine. Stuart's sons could no longer afford the insurance and upkeep of the paintings by the time of their 2013 sale.Upon Stuart's death in 1993 his estate was divided equally between his three sons, Ken Jr., William and Jonathan. The oldest brother, Ken Jr., was subsequently sued by William and Jonathan, who claimed that he had forced their father to sign papers so could gain control of his fortune. They additionally claimed that Ken Jr. had used the assets of his father's estate for his own expenses. The three brothers settled out of court before the sale. The owner of The Saturday Evening Post, Curtis Publishing, who retain reproduction rights to Rockwell's artworks, also unsuccessfully attempted to claim ownership of the paintings.The director of the Norman Rockwell Museum, Laurie Norton Moffatt, has expressed her hope that the paintings will eventually be reunited with the museum. Moffatt said of the paintings that "We cared for them like children ... We hope they come back some day. We believe that's where they belong." Moffatt said that the loss of the paintings left an "irreplaceable hole in the museum's collection."
|
[
"Norman Rockwell Museum",
"The Saturday Evening Post",
"Sotheby's",
"Saying Grace",
"art director",
"Curtis Publishing",
"Norman Rockwell"
] |
|
13907_T
|
Statue of Christopher Columbus (Ohio Statehouse)
|
Explore the abstract of this artwork, Statue of Christopher Columbus (Ohio Statehouse).
|
Christopher Columbus, also known as the Christopher Columbus Discovery Monument, is a c. 1890–1892 copper sculpture depicting Christopher Columbus by Alfonso Pelzer, installed on the Ohio Statehouse grounds, in Columbus, Ohio, United States.
|
[
"Ohio Statehouse",
"Alfonso Pelzer",
"Christopher Columbus",
"Columbus, Ohio"
] |
|
13907_NT
|
Statue of Christopher Columbus (Ohio Statehouse)
|
Explore the abstract of this artwork.
|
Christopher Columbus, also known as the Christopher Columbus Discovery Monument, is a c. 1890–1892 copper sculpture depicting Christopher Columbus by Alfonso Pelzer, installed on the Ohio Statehouse grounds, in Columbus, Ohio, United States.
|
[
"Ohio Statehouse",
"Alfonso Pelzer",
"Christopher Columbus",
"Columbus, Ohio"
] |
|
13908_T
|
Statue of Christopher Columbus (Ohio Statehouse)
|
Focus on Statue of Christopher Columbus (Ohio Statehouse) and discuss the Description.
|
The sheet copper statue was cast by W. H. Mullins Company and depicts Columbus holding a globe. Next to Columbus is a granite pedestal with a dove on top of a globe. The statue is approximately 9 feet (2.7 m) tall and weighs 150 lbs.
|
[] |
|
13908_NT
|
Statue of Christopher Columbus (Ohio Statehouse)
|
Focus on this artwork and discuss the Description.
|
The sheet copper statue was cast by W. H. Mullins Company and depicts Columbus holding a globe. Next to Columbus is a granite pedestal with a dove on top of a globe. The statue is approximately 9 feet (2.7 m) tall and weighs 150 lbs.
|
[] |
|
13909_T
|
Statue of Christopher Columbus (Ohio Statehouse)
|
In Statue of Christopher Columbus (Ohio Statehouse), how is the Inscriptions of the Description elucidated?
|
There are several inscriptions on the base. One on the south side reads, "The Pontifical College Josephinum commissioned this statue from the W. H. Mullins studio". Another on the east side reads, "Donated by the Josephinum to the State of Ohio / The statue was relocated to Capitol Square." An inscription on the north side reads, "The fountain honors Ohio's sister state bond with Liguria, Italy, the navigator's home." The west side has: "Christopher Columbus, an Italian navigator, launched four voyages of discovery to the new world."Similarly, the fountain has multiple inscriptions. One on the south side reads, "1892 A dream shared / by later generations / who explored a vast continent / where freedom and opportunity / beckoned to those with / the courage and imagination to venture westward". Another on the east side reads, "1932 Westward into Ohio / came the successors / to the spirit of Columbus, / naming the capital city / of the new state / after the man who symbolized / the spirit of the frontier". The inscription on the north side reads, "1992 Frontiers explored / by later generations of Ohioans / extend beyond land and water / to a new world / whose potential / remains to be unlocked / by the spirit of discovery". The west side has: "1492 The spirit of discovery has the power to change / the course of human history, / as demonstrated by / the voyages of / Christopher Columbus / whose imagination shattered the boundaries / of the western world. / Modern history has been shaped by / one man's courage to pursue a dream."
|
[
"Pontifical College Josephinum",
"Christopher Columbus"
] |
|
13909_NT
|
Statue of Christopher Columbus (Ohio Statehouse)
|
In this artwork, how is the Inscriptions of the Description elucidated?
|
There are several inscriptions on the base. One on the south side reads, "The Pontifical College Josephinum commissioned this statue from the W. H. Mullins studio". Another on the east side reads, "Donated by the Josephinum to the State of Ohio / The statue was relocated to Capitol Square." An inscription on the north side reads, "The fountain honors Ohio's sister state bond with Liguria, Italy, the navigator's home." The west side has: "Christopher Columbus, an Italian navigator, launched four voyages of discovery to the new world."Similarly, the fountain has multiple inscriptions. One on the south side reads, "1892 A dream shared / by later generations / who explored a vast continent / where freedom and opportunity / beckoned to those with / the courage and imagination to venture westward". Another on the east side reads, "1932 Westward into Ohio / came the successors / to the spirit of Columbus, / naming the capital city / of the new state / after the man who symbolized / the spirit of the frontier". The inscription on the north side reads, "1992 Frontiers explored / by later generations of Ohioans / extend beyond land and water / to a new world / whose potential / remains to be unlocked / by the spirit of discovery". The west side has: "1492 The spirit of discovery has the power to change / the course of human history, / as demonstrated by / the voyages of / Christopher Columbus / whose imagination shattered the boundaries / of the western world. / Modern history has been shaped by / one man's courage to pursue a dream."
|
[
"Pontifical College Josephinum",
"Christopher Columbus"
] |
|
13910_T
|
Statue of Christopher Columbus (Ohio Statehouse)
|
Focus on Statue of Christopher Columbus (Ohio Statehouse) and analyze the History.
|
The memorial was commissioned by Joseph Jessing of the Pontifical College Josephinum to commemorate the 400th anniversary of his voyage, and was purchased by Jessing in 1892 for $400–500. From 1892 to 1932, the work was installed at the college's original campus in Columbus, along 18th Street between Main and Mound. It was gifted to Ohio in 1932.The monument has been vandalized multiple times. The dove, which had been removed and found, was rededicated on October 12, 1953. The memorial was relocated while the Statehouse underwent restoration in 1991. During 1991–1992, a new granite base and fountain was designed by E. G. & G., Inc., and unveiled for the 500th anniversary of Columbus's voyage. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.Amid news of the city's other two statues of Christopher Columbus being removed, the legislators in the Capitol Square Review & Advisory Board discussed the Statehouse statue during their July 16 meeting. The review board, which maintains the Statehouse grounds and its statues, is mostly made up of Republicans. Its chair and vice chair, Republicans Larry Householder (then-Speaker of the Ohio House) and Larry Obhof (also Ohio Senate President), opposed the statue's removal. Janine Boyd and Hearcel Craig, both African-American and Democratic members of the board and Ohio legislature, stated their support of its removal.
|
[
"Joseph Jessing",
"Hearcel Craig",
"Smithsonian Institution",
"Pontifical College Josephinum",
"Save Outdoor Sculpture!",
"Speaker of the Ohio House",
"Larry Obhof",
"Christopher Columbus",
"Janine Boyd",
"Ohio Senate",
"Larry Householder"
] |
|
13910_NT
|
Statue of Christopher Columbus (Ohio Statehouse)
|
Focus on this artwork and analyze the History.
|
The memorial was commissioned by Joseph Jessing of the Pontifical College Josephinum to commemorate the 400th anniversary of his voyage, and was purchased by Jessing in 1892 for $400–500. From 1892 to 1932, the work was installed at the college's original campus in Columbus, along 18th Street between Main and Mound. It was gifted to Ohio in 1932.The monument has been vandalized multiple times. The dove, which had been removed and found, was rededicated on October 12, 1953. The memorial was relocated while the Statehouse underwent restoration in 1991. During 1991–1992, a new granite base and fountain was designed by E. G. & G., Inc., and unveiled for the 500th anniversary of Columbus's voyage. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.Amid news of the city's other two statues of Christopher Columbus being removed, the legislators in the Capitol Square Review & Advisory Board discussed the Statehouse statue during their July 16 meeting. The review board, which maintains the Statehouse grounds and its statues, is mostly made up of Republicans. Its chair and vice chair, Republicans Larry Householder (then-Speaker of the Ohio House) and Larry Obhof (also Ohio Senate President), opposed the statue's removal. Janine Boyd and Hearcel Craig, both African-American and Democratic members of the board and Ohio legislature, stated their support of its removal.
|
[
"Joseph Jessing",
"Hearcel Craig",
"Smithsonian Institution",
"Pontifical College Josephinum",
"Save Outdoor Sculpture!",
"Speaker of the Ohio House",
"Larry Obhof",
"Christopher Columbus",
"Janine Boyd",
"Ohio Senate",
"Larry Householder"
] |
|
13911_T
|
Statue of Lord Nelson, Bridgetown
|
In Statue of Lord Nelson, Bridgetown, how is the History discussed?
|
In 1805, Nelson and the British fleet had visited Barbados while pursuing the Franco-Spanish fleet in the lead-up to the Battle of Trafalgar. A bronze statue sculpted by Richard Westmacott was erected in his honour on 22 March 1813 in what became known as Trafalgar Square, and Barbados' Parliament Buildings were constructed nearby in the late 19th century. The statue was a prominent landmark, and it was depicted on several Barbadian postage stamps issued between 1906 and 1964.Trafalgar Square was renamed National Heroes Square in 1999. As colonial symbol, the statue became increasingly controversial and wreath-laying ceremonies on the anniversary of the Battle of Trafalgar ceased. The monument was vandalised in November 2017 on the eve of Independence Day celebrations, when blue and yellow paint was daubed on the statue and its plinth. A message describing Nelson as a "racist and white supremacist" was placed along the base.On 24 July 2020, John King, the Minister with responsibility for Culture, announced that the statue would be removed during the national Season of Emancipation, which came to an end on 23 August. The removal was postponed in order to concentrate available funds on completing and opening a park in Saint Thomas, and eventually occurred on the International Day for Tolerance. The statue was rehoused in the Barbados Museum.
|
[
"Battle of Trafalgar",
"postage stamps",
"International Day for Tolerance",
"Saint Thomas",
"Barbados Museum",
"National Heroes Square",
"Independence Day",
"Barbados",
"Richard Westmacott",
"Season of Emancipation",
"Parliament Buildings"
] |
|
13911_NT
|
Statue of Lord Nelson, Bridgetown
|
In this artwork, how is the History discussed?
|
In 1805, Nelson and the British fleet had visited Barbados while pursuing the Franco-Spanish fleet in the lead-up to the Battle of Trafalgar. A bronze statue sculpted by Richard Westmacott was erected in his honour on 22 March 1813 in what became known as Trafalgar Square, and Barbados' Parliament Buildings were constructed nearby in the late 19th century. The statue was a prominent landmark, and it was depicted on several Barbadian postage stamps issued between 1906 and 1964.Trafalgar Square was renamed National Heroes Square in 1999. As colonial symbol, the statue became increasingly controversial and wreath-laying ceremonies on the anniversary of the Battle of Trafalgar ceased. The monument was vandalised in November 2017 on the eve of Independence Day celebrations, when blue and yellow paint was daubed on the statue and its plinth. A message describing Nelson as a "racist and white supremacist" was placed along the base.On 24 July 2020, John King, the Minister with responsibility for Culture, announced that the statue would be removed during the national Season of Emancipation, which came to an end on 23 August. The removal was postponed in order to concentrate available funds on completing and opening a park in Saint Thomas, and eventually occurred on the International Day for Tolerance. The statue was rehoused in the Barbados Museum.
|
[
"Battle of Trafalgar",
"postage stamps",
"International Day for Tolerance",
"Saint Thomas",
"Barbados Museum",
"National Heroes Square",
"Independence Day",
"Barbados",
"Richard Westmacott",
"Season of Emancipation",
"Parliament Buildings"
] |
|
13912_T
|
Wandering Rocks (sculpture)
|
Focus on Wandering Rocks (sculpture) and explore the abstract.
|
Wandering Rocks is a 1967 steel sculpture by Tony Smith, made in an edition of five plus one artist's proof. The Minimalist work comprises five different polyhedral elements painted black.
|
[
"Tony Smith",
"Minimalist",
"artist's proof"
] |
|
13912_NT
|
Wandering Rocks (sculpture)
|
Focus on this artwork and explore the abstract.
|
Wandering Rocks is a 1967 steel sculpture by Tony Smith, made in an edition of five plus one artist's proof. The Minimalist work comprises five different polyhedral elements painted black.
|
[
"Tony Smith",
"Minimalist",
"artist's proof"
] |
|
13913_T
|
Wandering Rocks (sculpture)
|
Focus on Wandering Rocks (sculpture) and explain the Description.
|
The five elements of the sculpture have different size and shapes, based on tetrahedrons and octahedrons, with faceted surfaces painted with a semi-gloss black, and are individually named "Crocus", "Dud", "Shaft", "Slide", and "Smomhawk". They measure from 23 in (58 cm) to 45.5 in (116 cm) in height and weigh from 361 lb (164 kg) to 742 lb (337 kg). Several of the editions are exhibited in public, typically installed outdoors on a grassed area. The elements have no fixed positions, and their relative positions and orientations may vary according to the requirements of the specific location, so each installation is different.
The work was first created as a full-size plywood mock-up and then replicated in painted metal. The sculpture may allude to the structure of molecules and crystals, or the Japanese rock garden of Ryōan-ji in Kyoto. As Smith described it: "The Rocks were really conceived as one piece, although I didn't think of them as having a fixed spatial relationship to one another. They did, however, have a temporal sequence. I thought of each piece as having an identity but also as a constituting part of a group. In this group, positions were thought of as changing."
|
[
"octahedron",
"Ryōan-ji",
"Japanese rock garden",
"tetrahedron",
"semi-gloss"
] |
|
13913_NT
|
Wandering Rocks (sculpture)
|
Focus on this artwork and explain the Description.
|
The five elements of the sculpture have different size and shapes, based on tetrahedrons and octahedrons, with faceted surfaces painted with a semi-gloss black, and are individually named "Crocus", "Dud", "Shaft", "Slide", and "Smomhawk". They measure from 23 in (58 cm) to 45.5 in (116 cm) in height and weigh from 361 lb (164 kg) to 742 lb (337 kg). Several of the editions are exhibited in public, typically installed outdoors on a grassed area. The elements have no fixed positions, and their relative positions and orientations may vary according to the requirements of the specific location, so each installation is different.
The work was first created as a full-size plywood mock-up and then replicated in painted metal. The sculpture may allude to the structure of molecules and crystals, or the Japanese rock garden of Ryōan-ji in Kyoto. As Smith described it: "The Rocks were really conceived as one piece, although I didn't think of them as having a fixed spatial relationship to one another. They did, however, have a temporal sequence. I thought of each piece as having an identity but also as a constituting part of a group. In this group, positions were thought of as changing."
|
[
"octahedron",
"Ryōan-ji",
"Japanese rock garden",
"tetrahedron",
"semi-gloss"
] |
|
13914_T
|
Wandering Rocks (sculpture)
|
Explore the Editions about the Description of this artwork, Wandering Rocks (sculpture).
|
The work was created in an edition of five, plus one artist's proof: Wandering Rocks (AP) has been displayed in Seattle, Washington, since 2007, and is now at the Olympic Sculpture Park, donated to the Seattle Art Museum by the Virginia and Bagley Wright Collection in 2016 for the museum's 75th anniversary
Wandering Rocks (1/5) is at Kykuit - the John D. Rockefeller Estate - in Pocantico Hills, New York
Wandering Rocks (2/5) is at Lynden Sculpture Garden, in Milwaukee, Wisconsin, donated by the Bradley Family Foundation in 2012
Wandering Rocks (3/5) is in a private collection, in Cleveland, Ohio
Wandering Rocks (4/5) is at the National Gallery of Art Sculpture Garden, Washington, D.C., having been bought by the National Gallery of Art in 1981
Wandering Rocks (5/5) is at the Kröller-Müller Museum, at Otterlo, in the Netherlands.
|
[
"Bagley Wright",
"Olympic Sculpture Park",
"National Gallery of Art",
"Seattle Art Museum",
"Seattle",
"Cleveland",
"Kykuit",
"Cleveland, Ohio",
"Virginia",
"Pocantico Hills, New York",
"Lynden Sculpture Garden",
"John D. Rockefeller",
"Milwaukee",
"Kröller-Müller Museum",
"National Gallery of Art Sculpture Garden",
"Otterlo",
"artist's proof"
] |
|
13914_NT
|
Wandering Rocks (sculpture)
|
Explore the Editions about the Description of this artwork.
|
The work was created in an edition of five, plus one artist's proof: Wandering Rocks (AP) has been displayed in Seattle, Washington, since 2007, and is now at the Olympic Sculpture Park, donated to the Seattle Art Museum by the Virginia and Bagley Wright Collection in 2016 for the museum's 75th anniversary
Wandering Rocks (1/5) is at Kykuit - the John D. Rockefeller Estate - in Pocantico Hills, New York
Wandering Rocks (2/5) is at Lynden Sculpture Garden, in Milwaukee, Wisconsin, donated by the Bradley Family Foundation in 2012
Wandering Rocks (3/5) is in a private collection, in Cleveland, Ohio
Wandering Rocks (4/5) is at the National Gallery of Art Sculpture Garden, Washington, D.C., having been bought by the National Gallery of Art in 1981
Wandering Rocks (5/5) is at the Kröller-Müller Museum, at Otterlo, in the Netherlands.
|
[
"Bagley Wright",
"Olympic Sculpture Park",
"National Gallery of Art",
"Seattle Art Museum",
"Seattle",
"Cleveland",
"Kykuit",
"Cleveland, Ohio",
"Virginia",
"Pocantico Hills, New York",
"Lynden Sculpture Garden",
"John D. Rockefeller",
"Milwaukee",
"Kröller-Müller Museum",
"National Gallery of Art Sculpture Garden",
"Otterlo",
"artist's proof"
] |
|
13915_T
|
Forgotten Songs
|
Focus on Forgotten Songs and discuss the abstract.
|
Forgotten Songs is a public artwork by Michael Thomas Hill located in Angel Place, Sydney. The installation was part of the 2009 Sydney Laneway Temporary art scheme, afterwards, due to the popularity of the installation, in 2011, the project was turned into a part of the 9 million dollar permanent laneway installations.The Laneway temporary art program ran between 2008 and 2013 with the main goal of laneways activation, innovation stimulation in the city and, in general, injecting new energy into the urban life. The program consisted of two stages. Forgotten Songs artwork was a part of the second Laneways program titled By George! Hidden Networks. The principal aim was to address two key issues of urban renewal in city's lanes and climate change. Other than Forgotten Songs installation, seven other artworks participated in this stage.
|
[
"Michael Thomas Hill",
"Angel Place",
"public art",
"Sydney",
"Angel Place, Sydney",
"laneway"
] |
|
13915_NT
|
Forgotten Songs
|
Focus on this artwork and discuss the abstract.
|
Forgotten Songs is a public artwork by Michael Thomas Hill located in Angel Place, Sydney. The installation was part of the 2009 Sydney Laneway Temporary art scheme, afterwards, due to the popularity of the installation, in 2011, the project was turned into a part of the 9 million dollar permanent laneway installations.The Laneway temporary art program ran between 2008 and 2013 with the main goal of laneways activation, innovation stimulation in the city and, in general, injecting new energy into the urban life. The program consisted of two stages. Forgotten Songs artwork was a part of the second Laneways program titled By George! Hidden Networks. The principal aim was to address two key issues of urban renewal in city's lanes and climate change. Other than Forgotten Songs installation, seven other artworks participated in this stage.
|
[
"Michael Thomas Hill",
"Angel Place",
"public art",
"Sydney",
"Angel Place, Sydney",
"laneway"
] |
|
13916_T
|
Forgotten Songs
|
How does Forgotten Songs elucidate its Artwork concept?
|
The artwork concept could be comprehended by the artist's words: "The installation explores how Sydney’s fauna has evolved and adapted to co-exist with increased urbanisation – inviting contemplation of the city’s past, its underlying landscape, and the sustainability issues associated with increased urban development."
|
[
"Sydney"
] |
|
13916_NT
|
Forgotten Songs
|
How does this artwork elucidate its Artwork concept?
|
The artwork concept could be comprehended by the artist's words: "The installation explores how Sydney’s fauna has evolved and adapted to co-exist with increased urbanisation – inviting contemplation of the city’s past, its underlying landscape, and the sustainability issues associated with increased urban development."
|
[
"Sydney"
] |
|
13917_T
|
Forgotten Songs
|
In the context of Forgotten Songs, analyze the Title of the Artwork concept.
|
As a result, the artwork's title was selected to celebrate those birds which were living in central Sydney "before they were gradually forced out of the city by European settlement". The artist's intention was to return the birds' sounds to the city and make them an important part of city life.
|
[
"Sydney"
] |
|
13917_NT
|
Forgotten Songs
|
In the context of this artwork, analyze the Title of the Artwork concept.
|
As a result, the artwork's title was selected to celebrate those birds which were living in central Sydney "before they were gradually forced out of the city by European settlement". The artist's intention was to return the birds' sounds to the city and make them an important part of city life.
|
[
"Sydney"
] |
|
13918_T
|
Forgotten Songs
|
In the context of Forgotten Songs, explore the Birdcages of the Installation.
|
The artist has used 120 suspended bird cages in the laneway above the Angel Place accompanied by the sound recordings of extinct or threatened bird species of the central Sydney.
|
[
"Angel Place",
"Sydney",
"laneway"
] |
|
13918_NT
|
Forgotten Songs
|
In the context of this artwork, explore the Birdcages of the Installation.
|
The artist has used 120 suspended bird cages in the laneway above the Angel Place accompanied by the sound recordings of extinct or threatened bird species of the central Sydney.
|
[
"Angel Place",
"Sydney",
"laneway"
] |
|
13919_T
|
Forgotten Songs
|
In the context of Forgotten Songs, explain the Bird songs of the Installation.
|
Recordings are played of the songs of fifty bird species which used to live in the central Sydney area on two audio tracks - day birds and night birds - with "a calendared sequence of triggers that progressively allows for longer days in summer and longer nights in winter". Some of these birds songs can still be heard on the city margins but not in central Sydney. Based on investigations of doctor Richard Major in regards to the city soil types and examining Australian Museum collection of bird skins, a list of 50 species of both diurnal and nocturnal birds was provided. Consequently, the sound files of those 50 species were gathered by the wildlife recordist, Fred van Gessel.
|
[
"nocturnal",
"Australian Museum",
"Australia",
"Sydney",
"diurnal"
] |
|
13919_NT
|
Forgotten Songs
|
In the context of this artwork, explain the Bird songs of the Installation.
|
Recordings are played of the songs of fifty bird species which used to live in the central Sydney area on two audio tracks - day birds and night birds - with "a calendared sequence of triggers that progressively allows for longer days in summer and longer nights in winter". Some of these birds songs can still be heard on the city margins but not in central Sydney. Based on investigations of doctor Richard Major in regards to the city soil types and examining Australian Museum collection of bird skins, a list of 50 species of both diurnal and nocturnal birds was provided. Consequently, the sound files of those 50 species were gathered by the wildlife recordist, Fred van Gessel.
|
[
"nocturnal",
"Australian Museum",
"Australia",
"Sydney",
"diurnal"
] |
|
13920_T
|
Forgotten Songs
|
Explore the Practical development of the project of this artwork, Forgotten Songs.
|
In terms of the practical aspect of the project, about 120 birdcages sources from various places, from eBay to second-hand stores. And the artist claims that in order to get all those birdcages, his mother, sister and his relatives have been involved in collecting and picking those cages. Sound installations have been done by putting all-weather speakers in some of the birdcages, which they continually play birdsongs.
|
[] |
|
13920_NT
|
Forgotten Songs
|
Explore the Practical development of the project of this artwork.
|
In terms of the practical aspect of the project, about 120 birdcages sources from various places, from eBay to second-hand stores. And the artist claims that in order to get all those birdcages, his mother, sister and his relatives have been involved in collecting and picking those cages. Sound installations have been done by putting all-weather speakers in some of the birdcages, which they continually play birdsongs.
|
[] |
|
13921_T
|
Forgotten Songs
|
Focus on Forgotten Songs and discuss the Birds species.
|
In addition to hearing the fifty birds' songs as you walk on the Angel Place, names of these fifty bird species can be read as well, since they have been installed into the ground as the part of the installation. The following list represents the bird species which sang in central Sydney. Some of these songs still can be heard in city margins, if these birds can find food to survive.Based on the bird species, some of them used to sing during the daytime, while some others during the nighttime. Therefore, song recordings change from day to night. At night, Powerful owl, Southern boobook, Tawny frogmouth, Barn owl, Owlet-nightjar and White-throated nightjar songs might be heard.
|
[
"Powerful owl",
"Barn owl",
"Angel Place",
"Southern boobook",
"Sydney",
"White-throated nightjar",
"Tawny frogmouth",
"Owlet-nightjar"
] |
|
13921_NT
|
Forgotten Songs
|
Focus on this artwork and discuss the Birds species.
|
In addition to hearing the fifty birds' songs as you walk on the Angel Place, names of these fifty bird species can be read as well, since they have been installed into the ground as the part of the installation. The following list represents the bird species which sang in central Sydney. Some of these songs still can be heard in city margins, if these birds can find food to survive.Based on the bird species, some of them used to sing during the daytime, while some others during the nighttime. Therefore, song recordings change from day to night. At night, Powerful owl, Southern boobook, Tawny frogmouth, Barn owl, Owlet-nightjar and White-throated nightjar songs might be heard.
|
[
"Powerful owl",
"Barn owl",
"Angel Place",
"Southern boobook",
"Sydney",
"White-throated nightjar",
"Tawny frogmouth",
"Owlet-nightjar"
] |
|
13922_T
|
Forgotten Songs
|
How does Forgotten Songs elucidate its Design team?
|
Forgotten Songs was the outcome of an interdisciplinary project, including Michael Thomas Hill as the artist, Dr Richard Major as the senior research scientist, Fred Van Gessel as the wildlife recordist, Lightwell as the audio system designer and programmer, Freeman Ryan Design as Graphic Design office and Aspect Studio as Landscape Architecture company. all those groups and individuals have been involved in delivering this artwork installation.
|
[
"Michael Thomas Hill",
"interdisciplinary"
] |
|
13922_NT
|
Forgotten Songs
|
How does this artwork elucidate its Design team?
|
Forgotten Songs was the outcome of an interdisciplinary project, including Michael Thomas Hill as the artist, Dr Richard Major as the senior research scientist, Fred Van Gessel as the wildlife recordist, Lightwell as the audio system designer and programmer, Freeman Ryan Design as Graphic Design office and Aspect Studio as Landscape Architecture company. all those groups and individuals have been involved in delivering this artwork installation.
|
[
"Michael Thomas Hill",
"interdisciplinary"
] |
|
13923_T
|
Declaration of Independence Tablet
|
Focus on Declaration of Independence Tablet and analyze the abstract.
|
Declaration of Independence Tablet is a 1925 sculpture by John Francis Paramino, installed at Boston Common, in Boston, Massachusetts, United States.
|
[
"John Francis Paramino",
"Boston Common",
"Declaration of Independence",
"Boston",
"Massachusetts"
] |
|
13923_NT
|
Declaration of Independence Tablet
|
Focus on this artwork and analyze the abstract.
|
Declaration of Independence Tablet is a 1925 sculpture by John Francis Paramino, installed at Boston Common, in Boston, Massachusetts, United States.
|
[
"John Francis Paramino",
"Boston Common",
"Declaration of Independence",
"Boston",
"Massachusetts"
] |
|
13924_T
|
Declaration of Independence Tablet
|
In Declaration of Independence Tablet, how is the Description and history discussed?
|
The bronze tablet is a copy of John Trumbull's 1818 Declaration of Independence painting, set into a granite block with an eagle carved at the top. The work was cleaned, colored, and recoated in 1988, and was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.
|
[
"John Trumbull",
"Declaration of Independence",
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
13924_NT
|
Declaration of Independence Tablet
|
In this artwork, how is the Description and history discussed?
|
The bronze tablet is a copy of John Trumbull's 1818 Declaration of Independence painting, set into a granite block with an eagle carved at the top. The work was cleaned, colored, and recoated in 1988, and was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.
|
[
"John Trumbull",
"Declaration of Independence",
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
13925_T
|
The Princesse de Broglie
|
Focus on The Princesse de Broglie and explore the abstract.
|
The Princesse de Broglie (French: La Princesse de Broglie [la pʁɛ̃.sɛs də bʁɔj]) is an oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It was painted between 1851 and 1853, and shows Pauline de Broglie, who adopted the courtesy title 'Princesse'. Born Pauline de Galard de Brassac de Béarn, she married Albert de Broglie, the future 28th Prime Minister of France, in 1845. Pauline was 28 at the time of the painting's completion. She was highly intelligent and widely known for her beauty, but she suffered from profound shyness and the painting captures her melancholia. Pauline contracted tuberculosis in her early 30s and died in 1860 aged 35. Although Albert lived until 1901, he was heartbroken and did not remarry.
Ingres undertook a number of preparatory pencil sketches for the commission, each of which captures her personality and taste. They show her in various poses, including standing, and in differently styled dresses. The final painting is considered one of Ingres's finest later-period portraits of women, along with the Portraits of Comtesse d'Haussonville, Baronne de Rothschild and Madame Moitessier. As with many of Ingres's portraits of women, details of the costume and setting are rendered with precision while the body seems to lack a solid bone structure. The painting is held in the collection of the Metropolitan Museum of Art, New York, and is signed and dated 1853.
|
[
"tuberculosis",
"Jean-Auguste-Dominique Ingres",
"courtesy title",
"de Broglie",
"Neoclassical",
"melancholia",
"Albert de Broglie",
"Madame Moitessier",
"fr",
"Comtesse d'Haussonville",
"Prime Minister of France",
"Metropolitan Museum of Art",
"Baronne de Rothschild"
] |
|
13925_NT
|
The Princesse de Broglie
|
Focus on this artwork and explore the abstract.
|
The Princesse de Broglie (French: La Princesse de Broglie [la pʁɛ̃.sɛs də bʁɔj]) is an oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It was painted between 1851 and 1853, and shows Pauline de Broglie, who adopted the courtesy title 'Princesse'. Born Pauline de Galard de Brassac de Béarn, she married Albert de Broglie, the future 28th Prime Minister of France, in 1845. Pauline was 28 at the time of the painting's completion. She was highly intelligent and widely known for her beauty, but she suffered from profound shyness and the painting captures her melancholia. Pauline contracted tuberculosis in her early 30s and died in 1860 aged 35. Although Albert lived until 1901, he was heartbroken and did not remarry.
Ingres undertook a number of preparatory pencil sketches for the commission, each of which captures her personality and taste. They show her in various poses, including standing, and in differently styled dresses. The final painting is considered one of Ingres's finest later-period portraits of women, along with the Portraits of Comtesse d'Haussonville, Baronne de Rothschild and Madame Moitessier. As with many of Ingres's portraits of women, details of the costume and setting are rendered with precision while the body seems to lack a solid bone structure. The painting is held in the collection of the Metropolitan Museum of Art, New York, and is signed and dated 1853.
|
[
"tuberculosis",
"Jean-Auguste-Dominique Ingres",
"courtesy title",
"de Broglie",
"Neoclassical",
"melancholia",
"Albert de Broglie",
"Madame Moitessier",
"fr",
"Comtesse d'Haussonville",
"Prime Minister of France",
"Metropolitan Museum of Art",
"Baronne de Rothschild"
] |
|
13926_T
|
The Princesse de Broglie
|
Focus on The Princesse de Broglie and explain the Commission.
|
Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860) married Albert, 4th Duke de Broglie on 18 June 1845, and they had five sons together. On the occasion of their marriage, they styled themselves 'Princesse' and 'Prince' respectively, due the former title of 'Prince of the Holy Roman Empire' granted to the House of Broglie (1759). Pauline was a highly intelligent and religious woman, who was well read and wrote a number of texts over her lifetime. Her shyness was well known; she was widely considered strikingly beautiful and charming, but those around her would often avoid eye contact so as not to embarrass her. Albert was devoted to his wife, and commissioned the painting after being impressed by Ingres's 1845 portrait of his sister, the Comtesse d'Haussonville.Albert approached Ingres around 1850 to undertake the portrait. Ingres dined with the de Broglie family in January 1850, and according to one eyewitness, "seemed to be very happy with his model".
Although Ingres's chief source of income came from portraiture, it distracted from his main interest in history painting, which early in his career, was far less lucrative. He found acclaim in the 1840s, when he became successful enough to no longer depend on commissions. This painting was Ingres's second-last female portrait, and final society portrait. Influenced by the working methods of Jacques-Louis David, Ingres began with a number of nude preparatory sketches, for which he employed professional models. He built up a picture of the sitter's underlying anatomical structure, as seen in the Musée Bonnat study, before deciding how to build the lavish costume and accessories. Although there is no surviving record of the commission, and the exact sequence of events is uncertain, the sketches can be dated from 1850, the year the style of her evening dress came into fashion. Ingres signed and dated the final picture at the left center "J. INGRES. pit 1853".Pauline died in 1860 aged 35 from tuberculosis. After her death, Albert published three volumes of her essays on religious history. Albert (who, in 1873, became the 28th Prime Minister of France) lived until 1901, but was heartbroken and did not remarry. He kept her portrait for the remainder of his life draped in fabric and hidden behind a velvet curtain, lending it only to select exhibitions. After his death, the painting passed within the family until 1958 when it was sold to the Metropolitan Museum of Art via the banker and art collector Robert Lehman, and is today held in the Lehman Wing. The family kept most of the jewelry and accessories seen in the painting, although the marabou feathers were sold to the Costume Institute of the Metropolitan Museum.
|
[
"tuberculosis",
"Jacques-Louis David",
"Albert, 4th Duke de Broglie",
"Prince of the Holy Roman Empire",
"de Broglie",
"Roman",
"history painting",
"Musée Bonnat",
"House of Broglie",
"fr",
"Comtesse d'Haussonville",
"marabou",
"left",
"Robert Lehman",
"Prime Minister of France",
"Metropolitan Museum of Art"
] |
|
13926_NT
|
The Princesse de Broglie
|
Focus on this artwork and explain the Commission.
|
Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860) married Albert, 4th Duke de Broglie on 18 June 1845, and they had five sons together. On the occasion of their marriage, they styled themselves 'Princesse' and 'Prince' respectively, due the former title of 'Prince of the Holy Roman Empire' granted to the House of Broglie (1759). Pauline was a highly intelligent and religious woman, who was well read and wrote a number of texts over her lifetime. Her shyness was well known; she was widely considered strikingly beautiful and charming, but those around her would often avoid eye contact so as not to embarrass her. Albert was devoted to his wife, and commissioned the painting after being impressed by Ingres's 1845 portrait of his sister, the Comtesse d'Haussonville.Albert approached Ingres around 1850 to undertake the portrait. Ingres dined with the de Broglie family in January 1850, and according to one eyewitness, "seemed to be very happy with his model".
Although Ingres's chief source of income came from portraiture, it distracted from his main interest in history painting, which early in his career, was far less lucrative. He found acclaim in the 1840s, when he became successful enough to no longer depend on commissions. This painting was Ingres's second-last female portrait, and final society portrait. Influenced by the working methods of Jacques-Louis David, Ingres began with a number of nude preparatory sketches, for which he employed professional models. He built up a picture of the sitter's underlying anatomical structure, as seen in the Musée Bonnat study, before deciding how to build the lavish costume and accessories. Although there is no surviving record of the commission, and the exact sequence of events is uncertain, the sketches can be dated from 1850, the year the style of her evening dress came into fashion. Ingres signed and dated the final picture at the left center "J. INGRES. pit 1853".Pauline died in 1860 aged 35 from tuberculosis. After her death, Albert published three volumes of her essays on religious history. Albert (who, in 1873, became the 28th Prime Minister of France) lived until 1901, but was heartbroken and did not remarry. He kept her portrait for the remainder of his life draped in fabric and hidden behind a velvet curtain, lending it only to select exhibitions. After his death, the painting passed within the family until 1958 when it was sold to the Metropolitan Museum of Art via the banker and art collector Robert Lehman, and is today held in the Lehman Wing. The family kept most of the jewelry and accessories seen in the painting, although the marabou feathers were sold to the Costume Institute of the Metropolitan Museum.
|
[
"tuberculosis",
"Jacques-Louis David",
"Albert, 4th Duke de Broglie",
"Prince of the Holy Roman Empire",
"de Broglie",
"Roman",
"history painting",
"Musée Bonnat",
"House of Broglie",
"fr",
"Comtesse d'Haussonville",
"marabou",
"left",
"Robert Lehman",
"Prime Minister of France",
"Metropolitan Museum of Art"
] |
|
13927_T
|
The Princesse de Broglie
|
Explore the Preparatory studies of this artwork, The Princesse de Broglie.
|
There are comparatively few extant preparatory sketches for the de Broglie painting compared to other of his later period portraits. Ingres's usual technique was to use sketches both to plot the final work and to provide guidance for assistants on whom he relied to paint in the less important passages. Some others have been lost or destroyed.The extant sketches date from 1850 to 1853 and are drawn with graphite on paper or tracing paper. They vary in elaboration and detail, but show Ingres thinking through the eventual form and pose of the sitter. The earliest consists of a brief sketch of the princess in a seated pose. There is a full-length study of a nude standing in essentially the final pose, in which Ingres experimented with two different positions of the crossed arms. A second full-length study shows a clothed figure. Two others are focused on her hands. A highly finished drawing of the princess standing with her left hand at the neck and dressed in a simpler costume than in the painting, may be a study for the painting or an independent work. Besides these five or six extant sketches, about the same number are known to be lost.
The painting's central motifs were already established in the earliest studies, in which her oval face, arched eyebrows, and habit of folding her arms with one stuffed into the opposing sleeve appear. Ingres found the sittings difficult and agonised over every detail. He wrote to his friend and patron Charles Marcotte that he was "killing [his] eyes on the background of the Princesse de Broglie, which I am painting at her house, and that helps me advance a great deal; but, alas, how these portraits make me suffer, and this will surely be the last one, excepting, however, the portrait of [his second wife] Delphine."
|
[
"de Broglie",
"graphite",
"Delphine",
"Charles Marcotte",
"fr",
"left"
] |
|
13927_NT
|
The Princesse de Broglie
|
Explore the Preparatory studies of this artwork.
|
There are comparatively few extant preparatory sketches for the de Broglie painting compared to other of his later period portraits. Ingres's usual technique was to use sketches both to plot the final work and to provide guidance for assistants on whom he relied to paint in the less important passages. Some others have been lost or destroyed.The extant sketches date from 1850 to 1853 and are drawn with graphite on paper or tracing paper. They vary in elaboration and detail, but show Ingres thinking through the eventual form and pose of the sitter. The earliest consists of a brief sketch of the princess in a seated pose. There is a full-length study of a nude standing in essentially the final pose, in which Ingres experimented with two different positions of the crossed arms. A second full-length study shows a clothed figure. Two others are focused on her hands. A highly finished drawing of the princess standing with her left hand at the neck and dressed in a simpler costume than in the painting, may be a study for the painting or an independent work. Besides these five or six extant sketches, about the same number are known to be lost.
The painting's central motifs were already established in the earliest studies, in which her oval face, arched eyebrows, and habit of folding her arms with one stuffed into the opposing sleeve appear. Ingres found the sittings difficult and agonised over every detail. He wrote to his friend and patron Charles Marcotte that he was "killing [his] eyes on the background of the Princesse de Broglie, which I am painting at her house, and that helps me advance a great deal; but, alas, how these portraits make me suffer, and this will surely be the last one, excepting, however, the portrait of [his second wife] Delphine."
|
[
"de Broglie",
"graphite",
"Delphine",
"Charles Marcotte",
"fr",
"left"
] |
|
13928_T
|
The Princesse de Broglie
|
Focus on The Princesse de Broglie and discuss the Description.
|
The Princesse de Broglie is shown in three-quarters view, her arms resting on a lavishly upholstered, pale gold damask easy chair. Her head is tilted to the viewer's left, and her black hair tightly pulled back and bound by blue satin ribbons. She is pictured in the family home at 90 rue de l'Université in Paris, in an evening dress that implies she is about to go out for the evening. She is dressed in the height of contemporary Parisian fashion, in particular the opulent Second Empire fashions then current in clothing, jewelry and furniture. She wears a gold embroidered evening shawl, and an off-the-shoulder, pale blue satin hoop skirt gown, with short sleeves and a lace and ribbon trim, highly emblematic of 1850s evening dress. Her hair is covered with a sheer frill trimmed with matching blue ribbon knots, and is swept back with a centre parting.
Her adornments include a necklace, tasseled earrings and bracelets on each wrist. Her pendant with cross pattée signifies her piety, and was perhaps designed by Fortunato Pio Castellani or Mellerio dits Meller. Her earrings are made from cascades of small natural pearls. Her left wrist has a bracelet of roped pearls; the one on her right is made of enameled red and diamond set gold links. The necklace is held by a double looped chain holding a gold pendant, which appears to be an original Roman bulla.
As with all of Ingres's portraits of women, her body seems to lack a solid bone structure. Her neck is unusually elongated, and her arms seem boneless or dislocated, while her left forearm appears to be under modeled and lacking in musculature. Her oval face and her expression are idealised, lacking the level of detail given to other foreground elements, although she was widely known as a great beauty.The painting is composed of gray, white, blue, yellow and gold hues. The costume and decor are painted with a supreme precision, crispness and realism that art historians have compared to the work of Jan van Eyck. In many ways the painting is austere; art historian Robert Rosenblum describes a "glassy chill", and "astonishing chromatic harmonies that, for exquisite, silvery coolness, are perhaps only rivaled by Vermeer". Her facial features are statuesque and in places display the quality of porcelain. The painting contains a number of pentimenti, including around the contours of her hair, and the yellow chair. There are horizontal bands about 2.5 cm wide in yellow paint on either side of her head near the earrings. They seem to have been used to plot the positioning of the moldings. The black hat on the chair seems to have been a late addition. There are visible passages of underdrawing where the artist seems to trace out shapes and positions, established in the preparatory sketches, onto the grounded canvas. These include squared lines around the left shoulder and chest areas. There are lines mapping out the throat and top edge of the bodice.
Compared to the Portrait of Comtesse d'Haussonville, or most of Ingres's later portraits, the background is flat and featureless, probably to place emphasis on the coat of arms. It comprises a neutral soft pale gray and evenly textured wall, with a linear structured gilded wood mouldings, and a fictitious coat of arms combining the heraldics of the de Broglie and de Bearn families. The grey wall is underlined with a barely discernible deep blue pigment. This minimalist approach reflects the "ascetic elegance" of his early female portraits, where the sitter was often set against featureless backdrops. The precisely rendered details and geometric background create an impression of immobility, though subtle movement is implied by the tilt of her head and the shimmering folds of her dress.The current frame measures 157 × 125.6 cm at the exterior and is made of pink-orange pine, lined with a garland of gilt-plastered ornament flowers. Its ornaments lie on ovolo molding. It was produced in the United States between 1950 and 1960 (around the time the Metropolitan acquired the work) in the French Louis XIII style fashionable in Ingres's period. It is similar to, and probably modeled on, the frame used for Madame Moitessier, which is most likely an original and is dated 1856. The original de Broglie plaster frame was made in 1860 at the latest, and is thought to have been similar to the current one.
|
[
"pentimenti",
"hoop skirt",
"de Bearn",
"molding",
"rue de l'Université",
"gown",
"coat of arms",
"de Broglie",
"hoop",
"Portrait of Comtesse d'Haussonville",
"mouldings",
"Mellerio dits Meller",
"Jan van Eyck",
"Roman",
"Fortunato Pio Castellani",
"porcelain",
"Vermeer",
"bodice",
"pendant",
"Second Empire fashions",
"bulla",
"Louis XIII style",
"Madame Moitessier",
"Robert Rosenblum",
"fr",
"Comtesse d'Haussonville",
"pine",
"left",
"cross pattée",
"underdrawing",
"damask"
] |
|
13928_NT
|
The Princesse de Broglie
|
Focus on this artwork and discuss the Description.
|
The Princesse de Broglie is shown in three-quarters view, her arms resting on a lavishly upholstered, pale gold damask easy chair. Her head is tilted to the viewer's left, and her black hair tightly pulled back and bound by blue satin ribbons. She is pictured in the family home at 90 rue de l'Université in Paris, in an evening dress that implies she is about to go out for the evening. She is dressed in the height of contemporary Parisian fashion, in particular the opulent Second Empire fashions then current in clothing, jewelry and furniture. She wears a gold embroidered evening shawl, and an off-the-shoulder, pale blue satin hoop skirt gown, with short sleeves and a lace and ribbon trim, highly emblematic of 1850s evening dress. Her hair is covered with a sheer frill trimmed with matching blue ribbon knots, and is swept back with a centre parting.
Her adornments include a necklace, tasseled earrings and bracelets on each wrist. Her pendant with cross pattée signifies her piety, and was perhaps designed by Fortunato Pio Castellani or Mellerio dits Meller. Her earrings are made from cascades of small natural pearls. Her left wrist has a bracelet of roped pearls; the one on her right is made of enameled red and diamond set gold links. The necklace is held by a double looped chain holding a gold pendant, which appears to be an original Roman bulla.
As with all of Ingres's portraits of women, her body seems to lack a solid bone structure. Her neck is unusually elongated, and her arms seem boneless or dislocated, while her left forearm appears to be under modeled and lacking in musculature. Her oval face and her expression are idealised, lacking the level of detail given to other foreground elements, although she was widely known as a great beauty.The painting is composed of gray, white, blue, yellow and gold hues. The costume and decor are painted with a supreme precision, crispness and realism that art historians have compared to the work of Jan van Eyck. In many ways the painting is austere; art historian Robert Rosenblum describes a "glassy chill", and "astonishing chromatic harmonies that, for exquisite, silvery coolness, are perhaps only rivaled by Vermeer". Her facial features are statuesque and in places display the quality of porcelain. The painting contains a number of pentimenti, including around the contours of her hair, and the yellow chair. There are horizontal bands about 2.5 cm wide in yellow paint on either side of her head near the earrings. They seem to have been used to plot the positioning of the moldings. The black hat on the chair seems to have been a late addition. There are visible passages of underdrawing where the artist seems to trace out shapes and positions, established in the preparatory sketches, onto the grounded canvas. These include squared lines around the left shoulder and chest areas. There are lines mapping out the throat and top edge of the bodice.
Compared to the Portrait of Comtesse d'Haussonville, or most of Ingres's later portraits, the background is flat and featureless, probably to place emphasis on the coat of arms. It comprises a neutral soft pale gray and evenly textured wall, with a linear structured gilded wood mouldings, and a fictitious coat of arms combining the heraldics of the de Broglie and de Bearn families. The grey wall is underlined with a barely discernible deep blue pigment. This minimalist approach reflects the "ascetic elegance" of his early female portraits, where the sitter was often set against featureless backdrops. The precisely rendered details and geometric background create an impression of immobility, though subtle movement is implied by the tilt of her head and the shimmering folds of her dress.The current frame measures 157 × 125.6 cm at the exterior and is made of pink-orange pine, lined with a garland of gilt-plastered ornament flowers. Its ornaments lie on ovolo molding. It was produced in the United States between 1950 and 1960 (around the time the Metropolitan acquired the work) in the French Louis XIII style fashionable in Ingres's period. It is similar to, and probably modeled on, the frame used for Madame Moitessier, which is most likely an original and is dated 1856. The original de Broglie plaster frame was made in 1860 at the latest, and is thought to have been similar to the current one.
|
[
"pentimenti",
"hoop skirt",
"de Bearn",
"molding",
"rue de l'Université",
"gown",
"coat of arms",
"de Broglie",
"hoop",
"Portrait of Comtesse d'Haussonville",
"mouldings",
"Mellerio dits Meller",
"Jan van Eyck",
"Roman",
"Fortunato Pio Castellani",
"porcelain",
"Vermeer",
"bodice",
"pendant",
"Second Empire fashions",
"bulla",
"Louis XIII style",
"Madame Moitessier",
"Robert Rosenblum",
"fr",
"Comtesse d'Haussonville",
"pine",
"left",
"cross pattée",
"underdrawing",
"damask"
] |
|
13929_T
|
Madonna della Seggiola
|
How does Madonna della Seggiola elucidate its abstract?
|
The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
|
[
"Madonna",
"Raphael",
"Mary",
"Renaissance",
"Christ",
"painting",
"Florence",
"John the Baptist",
"Italy",
"Italian",
"Florence, Italy",
"child",
"tondo",
"Medici",
"Palazzo Pitti"
] |
|
13929_NT
|
Madonna della Seggiola
|
How does this artwork elucidate its abstract?
|
The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
|
[
"Madonna",
"Raphael",
"Mary",
"Renaissance",
"Christ",
"painting",
"Florence",
"John the Baptist",
"Italy",
"Italian",
"Florence, Italy",
"child",
"tondo",
"Medici",
"Palazzo Pitti"
] |
|
13930_T
|
Madonna della Seggiola
|
Focus on Madonna della Seggiola and analyze the Description.
|
The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.
|
[
"Madonna",
"Raphael",
"Mary",
"Titian",
"Christ",
"Sebastiano del Piombo",
"painting",
"Florentine",
"Roman",
"Italian",
"child"
] |
|
13930_NT
|
Madonna della Seggiola
|
Focus on this artwork and analyze the Description.
|
The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.
|
[
"Madonna",
"Raphael",
"Mary",
"Titian",
"Christ",
"Sebastiano del Piombo",
"painting",
"Florentine",
"Roman",
"Italian",
"child"
] |
|
13931_T
|
Madonna della Seggiola
|
In Madonna della Seggiola, how is the Provenance discussed?
|
Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
|
[
"Madonna",
"Raphael",
"Uffizi",
"Renaissance",
"Rome",
"Stanze",
"Napoleonic looting",
"painting",
"Florence",
"Grand Prince Ferdinando",
"Pope Leo X",
"Vatican",
"Gallerie Degli Uffizi",
"Pope Julius II",
"Medici"
] |
|
13931_NT
|
Madonna della Seggiola
|
In this artwork, how is the Provenance discussed?
|
Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
|
[
"Madonna",
"Raphael",
"Uffizi",
"Renaissance",
"Rome",
"Stanze",
"Napoleonic looting",
"painting",
"Florence",
"Grand Prince Ferdinando",
"Pope Leo X",
"Vatican",
"Gallerie Degli Uffizi",
"Pope Julius II",
"Medici"
] |
|
13932_T
|
Madonna della Seggiola
|
Focus on Madonna della Seggiola and explore the Techniques.
|
The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.
|
[
"Madonna",
"Raphael",
"Renaissance",
"Christ",
"Pietro Perugino",
"The Portrait of Baldassare Castiglione",
"Leonardo da Vinci",
"painting",
"Florentine",
"John the Baptist",
"Alba Madonna",
"child",
"Portrait of Baldassare Castiglione",
"different key",
"tondo",
"Saint John the Baptist"
] |
|
13932_NT
|
Madonna della Seggiola
|
Focus on this artwork and explore the Techniques.
|
The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.
|
[
"Madonna",
"Raphael",
"Renaissance",
"Christ",
"Pietro Perugino",
"The Portrait of Baldassare Castiglione",
"Leonardo da Vinci",
"painting",
"Florentine",
"John the Baptist",
"Alba Madonna",
"child",
"Portrait of Baldassare Castiglione",
"different key",
"tondo",
"Saint John the Baptist"
] |
|
13933_T
|
Madonna della Seggiola
|
Focus on Madonna della Seggiola and explain the Influences on Other Artists.
|
The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.
In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.
|
[
"Madonna",
"Raphael",
"Raphael and La Fornarina",
"Uffizi",
"Christ",
"Royal Collection Trust",
"painting",
"Johann Michael Wittmer",
"Royal Collection",
"Ingres",
"painting of the Tribuna of the Uffizi",
"Prince Consort",
"child",
"La Fornarina",
"Johann Zoffany",
"Nathaniel Hawthorne",
"Urbino",
"Napoleon I on his Imperial Throne"
] |
|
13933_NT
|
Madonna della Seggiola
|
Focus on this artwork and explain the Influences on Other Artists.
|
The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.
In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.
|
[
"Madonna",
"Raphael",
"Raphael and La Fornarina",
"Uffizi",
"Christ",
"Royal Collection Trust",
"painting",
"Johann Michael Wittmer",
"Royal Collection",
"Ingres",
"painting of the Tribuna of the Uffizi",
"Prince Consort",
"child",
"La Fornarina",
"Johann Zoffany",
"Nathaniel Hawthorne",
"Urbino",
"Napoleon I on his Imperial Throne"
] |
|
13934_T
|
Battle of the Pyramids, July 21, 1798 (study)
|
Explore the abstract of this artwork, Battle of the Pyramids, July 21, 1798 (study).
|
Battle of the Pyramids, July 21, 1798 is an early 19th century drawing by French painter François-André Vincent. Done in black ink and graphite on washed paper, the study depicts the Battle of the Pyramids. The work is currently on display at the Metropolitan Museum of Art.
|
[
"study",
"Battle of the Pyramids",
"François-André Vincent",
"Metropolitan Museum of Art"
] |
|
13934_NT
|
Battle of the Pyramids, July 21, 1798 (study)
|
Explore the abstract of this artwork.
|
Battle of the Pyramids, July 21, 1798 is an early 19th century drawing by French painter François-André Vincent. Done in black ink and graphite on washed paper, the study depicts the Battle of the Pyramids. The work is currently on display at the Metropolitan Museum of Art.
|
[
"study",
"Battle of the Pyramids",
"François-André Vincent",
"Metropolitan Museum of Art"
] |
|
13935_T
|
Battle of the Pyramids, July 21, 1798 (study)
|
Focus on Battle of the Pyramids, July 21, 1798 (study) and discuss the Background.
|
The painting depicts the pivotal Battle of the Pyramids, fought between the French Armée d'Orient under Napoleon Bonaparte and an army of Mamluk-controlled Egypt. The battle, fought on 21 July 1798, resulted in the near-destruction of the Mamluk army and the surrender of Cairo to the French. The victory caused elation in France, compounding the interest in Egypt (often referred to as first wave of "Egyptomania") that Napoleon's campaign in Egypt had already generated. This interest was in turn reflected in the art of turn of the century France, producing a number of works of art centered around Napoleon's military triumphs. The outbreak of the Napoleonic Wars ensured that this focus continued, as Napoleon's continued military success into the early 19th century ensured that French artists maintained their interest in depicting French martial glory.The drawing was produced by François-André Vincent at the turn of the 18th century. The piece was a study, intended to allow for Vincent to form a general idea of an oil painting he planned to paint. At the time, Vincent was one of a group of artists commissioned by the French ministry of the interior to produce a series of six battlefield paintings. Vincent ultimately never produced a painting for the project.
|
[
"Napoleon",
"Armée d'Orient",
"Egyptomania",
"Cairo",
"military success",
"study",
"campaign in Egypt",
"Napoleonic Wars",
"Battle of the Pyramids",
"turn of the century France",
"Napoleon Bonaparte",
"Mamluk",
"François-André Vincent"
] |
|
13935_NT
|
Battle of the Pyramids, July 21, 1798 (study)
|
Focus on this artwork and discuss the Background.
|
The painting depicts the pivotal Battle of the Pyramids, fought between the French Armée d'Orient under Napoleon Bonaparte and an army of Mamluk-controlled Egypt. The battle, fought on 21 July 1798, resulted in the near-destruction of the Mamluk army and the surrender of Cairo to the French. The victory caused elation in France, compounding the interest in Egypt (often referred to as first wave of "Egyptomania") that Napoleon's campaign in Egypt had already generated. This interest was in turn reflected in the art of turn of the century France, producing a number of works of art centered around Napoleon's military triumphs. The outbreak of the Napoleonic Wars ensured that this focus continued, as Napoleon's continued military success into the early 19th century ensured that French artists maintained their interest in depicting French martial glory.The drawing was produced by François-André Vincent at the turn of the 18th century. The piece was a study, intended to allow for Vincent to form a general idea of an oil painting he planned to paint. At the time, Vincent was one of a group of artists commissioned by the French ministry of the interior to produce a series of six battlefield paintings. Vincent ultimately never produced a painting for the project.
|
[
"Napoleon",
"Armée d'Orient",
"Egyptomania",
"Cairo",
"military success",
"study",
"campaign in Egypt",
"Napoleonic Wars",
"Battle of the Pyramids",
"turn of the century France",
"Napoleon Bonaparte",
"Mamluk",
"François-André Vincent"
] |
|
13936_T
|
Hiawatha, Minneapolis
|
How does Hiawatha, Minneapolis elucidate its Hiawatha Avenue Mural?
|
The Hiawatha Avenue Mural is public art in the Hiawatha neighborhood of Minneapolis. Dedicated on June 7, 1992, the mural was sponsored in 1990 by the Minneapolis Arts Commission through the city's Art in Public Places Program. Sara Rotholz Weiner created the mural to cover 29,000 feet of the Harvest State grain elevator next to Hiawatha Avenue on the city's south side. The work was painted by Dale Hanson and John Keltgen, who worked for the Naegele Outdoor Advertising Company as billboard artists.The Hiawatha Avenue Mural sits at the corner of Hiawatha Avenue to its west and East 41st Street to its north. It is next to a rail line that serves mills along Hiawatha Avenue, and a McDonald's franchise and car wash now exist next to the mural.The mural's subject matter includes images from space and early 20th century life. Eight images in a vertical set along one elevator highlight a grain elevator, the Earth from its Moon, a tree-lined road, three images of planets, a paddleboat and its passengers, and an automobile and streetcar from the 1940s. Weiner designed lines leading from the eight images to the edges of the grain elevator; they represent power lines and building shadows. The artist said she envisioned the mural to be "a perpetual time piece, registering moments and change throughout the year."From Weiner's design, Keltgen and Hanson created a line drawing and projected it onto paper which was perforated along those lines. Held against the grain elevator, the painters drew a line of charcoal through the perforations as a base tracing. On top of the charcoal, they draw full lines with a lumber crayon and finally oil paint. An article in the local newspaper further notes that the painters "used a flat rendering of the design to allow for an exact imitation of the original brush strokes created by the design artist."
|
[
"planet",
"streetcar",
"State",
"Minneapolis",
"McDonald's",
"Minneapolis Arts Commission",
"Hiawatha Avenue",
"space",
"automobile",
"public art",
"Moon",
"grain elevator",
"Sara Rotholz Weiner",
"Mural",
"mural",
"Earth",
"paddleboat"
] |
|
13936_NT
|
Hiawatha, Minneapolis
|
How does this artwork elucidate its Hiawatha Avenue Mural?
|
The Hiawatha Avenue Mural is public art in the Hiawatha neighborhood of Minneapolis. Dedicated on June 7, 1992, the mural was sponsored in 1990 by the Minneapolis Arts Commission through the city's Art in Public Places Program. Sara Rotholz Weiner created the mural to cover 29,000 feet of the Harvest State grain elevator next to Hiawatha Avenue on the city's south side. The work was painted by Dale Hanson and John Keltgen, who worked for the Naegele Outdoor Advertising Company as billboard artists.The Hiawatha Avenue Mural sits at the corner of Hiawatha Avenue to its west and East 41st Street to its north. It is next to a rail line that serves mills along Hiawatha Avenue, and a McDonald's franchise and car wash now exist next to the mural.The mural's subject matter includes images from space and early 20th century life. Eight images in a vertical set along one elevator highlight a grain elevator, the Earth from its Moon, a tree-lined road, three images of planets, a paddleboat and its passengers, and an automobile and streetcar from the 1940s. Weiner designed lines leading from the eight images to the edges of the grain elevator; they represent power lines and building shadows. The artist said she envisioned the mural to be "a perpetual time piece, registering moments and change throughout the year."From Weiner's design, Keltgen and Hanson created a line drawing and projected it onto paper which was perforated along those lines. Held against the grain elevator, the painters drew a line of charcoal through the perforations as a base tracing. On top of the charcoal, they draw full lines with a lumber crayon and finally oil paint. An article in the local newspaper further notes that the painters "used a flat rendering of the design to allow for an exact imitation of the original brush strokes created by the design artist."
|
[
"planet",
"streetcar",
"State",
"Minneapolis",
"McDonald's",
"Minneapolis Arts Commission",
"Hiawatha Avenue",
"space",
"automobile",
"public art",
"Moon",
"grain elevator",
"Sara Rotholz Weiner",
"Mural",
"mural",
"Earth",
"paddleboat"
] |
|
13937_T
|
The Falconer (Simonds)
|
Focus on The Falconer (Simonds) and analyze the abstract.
|
The Falconer is a bronze sculpture in Central Park, New York City by English sculptor George Blackall Simonds. It depicts a man in a theatrical version of Elizabethan dress standing on a high granite pedestal, releasing a hunting falcon.The Falconer, cast in 1871 in Florence, was erected in 1875 on a prominent rock overlooking the confluence of Terrace Drive and another carriage drive near the West 72nd Street drive entrance. The growth of surrounding trees has partly obscured the site. The sculpture has a history of being vandalized. The original falcon was stolen, and in the 1960s the New York City Parks Department commissioned their employee and sculptor, Joel Rudnick, to mold a new falcon which now sits on The Falconer's arm. This new falcon is substantially different from the original falcon. The arm itself was also re-fashioned by Parks' employee Domenico Facci.
|
[
"New York City",
"English",
"sculpture",
"Joel Rudnick",
"Falcon",
"falcon",
"sculptor",
"Elizabethan",
"Central Park",
"George Blackall Simonds"
] |
|
13937_NT
|
The Falconer (Simonds)
|
Focus on this artwork and analyze the abstract.
|
The Falconer is a bronze sculpture in Central Park, New York City by English sculptor George Blackall Simonds. It depicts a man in a theatrical version of Elizabethan dress standing on a high granite pedestal, releasing a hunting falcon.The Falconer, cast in 1871 in Florence, was erected in 1875 on a prominent rock overlooking the confluence of Terrace Drive and another carriage drive near the West 72nd Street drive entrance. The growth of surrounding trees has partly obscured the site. The sculpture has a history of being vandalized. The original falcon was stolen, and in the 1960s the New York City Parks Department commissioned their employee and sculptor, Joel Rudnick, to mold a new falcon which now sits on The Falconer's arm. This new falcon is substantially different from the original falcon. The arm itself was also re-fashioned by Parks' employee Domenico Facci.
|
[
"New York City",
"English",
"sculpture",
"Joel Rudnick",
"Falcon",
"falcon",
"sculptor",
"Elizabethan",
"Central Park",
"George Blackall Simonds"
] |
|
13938_T
|
Passy, Bridges of Paris
|
In Passy, Bridges of Paris, how is the abstract discussed?
|
Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 (titled Passy); the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 (titled Passy); Manes Moderni Umeni, Vystava, Prague, 1914 (titled Paysage à Passy); and Galerie Der Sturm, Berlin, July, 1914.
Passy was one of a small group of works chosen to be reproduced in the seminal treatise Du "Cubisme", written by Albert Gleizes and Jean Metzinger in 1912 and published by Eugène Figuière the same year. Executed in a highly personal Cubist style with multiple viewpoints and planar faceting, this is one of a number of paintings from 1912-13 involving the theme of the bridge in an urban landscape.
In opposition to classical perspective as a mode of representation, Gleizes employed a new spatial model based in part on the pictorial space of the mathematician Henri Poincaré.
This painting, in the collection of the Museum Moderner Kunst (mumok), Vienna, probably refers to the spirit of solidarity among the newly formed "Artists of Passy", during a time when factions had begun to develop within Cubism.
|
[
"Société Normande de Peinture Moderne",
"Albert Gleizes",
"Der Sturm",
"Cubist",
"Cubism",
"perspective",
"Du \"Cubisme\"",
"mumok",
"Jean Metzinger",
"Henri Poincaré",
"Section d'Or",
"Vienna"
] |
|
13938_NT
|
Passy, Bridges of Paris
|
In this artwork, how is the abstract discussed?
|
Passy, Bridges of Paris, also called Les ponts de Paris (Passy), or Paysage à Passy, is a painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the Salon de la Société Normande de Peinture Moderne, Rouen, 1912 (titled Passy); the Salon de la Section d'Or, Galerie La Boétie, Paris, 1912 (titled Passy); Manes Moderni Umeni, Vystava, Prague, 1914 (titled Paysage à Passy); and Galerie Der Sturm, Berlin, July, 1914.
Passy was one of a small group of works chosen to be reproduced in the seminal treatise Du "Cubisme", written by Albert Gleizes and Jean Metzinger in 1912 and published by Eugène Figuière the same year. Executed in a highly personal Cubist style with multiple viewpoints and planar faceting, this is one of a number of paintings from 1912-13 involving the theme of the bridge in an urban landscape.
In opposition to classical perspective as a mode of representation, Gleizes employed a new spatial model based in part on the pictorial space of the mathematician Henri Poincaré.
This painting, in the collection of the Museum Moderner Kunst (mumok), Vienna, probably refers to the spirit of solidarity among the newly formed "Artists of Passy", during a time when factions had begun to develop within Cubism.
|
[
"Société Normande de Peinture Moderne",
"Albert Gleizes",
"Der Sturm",
"Cubist",
"Cubism",
"perspective",
"Du \"Cubisme\"",
"mumok",
"Jean Metzinger",
"Henri Poincaré",
"Section d'Or",
"Vienna"
] |
|
13939_T
|
Passy, Bridges of Paris
|
Focus on Passy, Bridges of Paris and explore the Description.
|
Passy (Bridges of Paris) is an oil painting on canvas with dimensions 60.5 x 73.2 cm (23.8 by 28.8 inches), signed and dated Alb Gleizes, 1914, lower left.The works represents an upscale cartier de Paris known as Passy located in the 16th arrondissement of Paris, one of the most wealthy districts of the French capital, and traditionally the home of well-known personalities, including Honoré de Balzac, Benjamin Franklin during the nine years that he lived in France, William Kissam Vanderbilt, and the artist Jacques-Emile Blanche.
Les Artistes de Passy was a diverse grouping of avant-garde artistes (painters, sculptors and poets), including several who previously held meetings in 1910 at the rue Visconti studio of Henri Le Fauconnier. Their first diner (Premier dîner des Artistes de Passy) presided over by Paul Fort was held at the house of Balzac, rue Raynouard, in the presence of Guillaume Apollinaire, Jean Metzinger, Albert Gleizes, Raymond Duchamp-Villon, Marie Laurencin, Henri Le Fauconnier, Fernand Léger, André Mare, Francis Picabia, Henry Valensi, and Jacques Villon. Albert Gleizes chose to Passy as the subject of this painting.
Instead of depicting a bowl of fruit or a man playing a guitar under the influence of African art, Gleizes turns toward a non-Euclidean model of geometry as a source of inspiration for Passy. This work signified the rejection of Euclidean geometry and its correlate; the quantitative measurement of spatial depth governing perspective invented during the Renaissance, an unquestioned principle of academic painting that had persisted to date.
Vanishing points have been abolished. A perspectival grid is gone. Forms are not clearly delineated. Colors are synthetic and limited, not overpowering. Light and reflected light do not come from a consistent unidirectional source. There is no precisely clear relationship between structures (e.g., buildings, bridges) based on overlapping or on diminished scale with distance to show depth of field as objects recede from the foreground. Here Gleizes brakes all the rules. Perhaps for this reason Passy was chosen as an example of new painting for publication in their manifesto; Du "Cubisme".
|
[
"Euclidean geometry",
"Jacques Villon",
"André Mare",
"Benjamin Franklin",
"16th arrondissement of Paris",
"Honoré de Balzac",
"Guillaume Apollinaire",
"Albert Gleizes",
"Henry Valensi",
"avant-garde",
"Jacques-Emile Blanche",
"Marie Laurencin",
"Cubism",
"William Kissam Vanderbilt",
"perspective",
"depth of field",
"Du \"Cubisme\"",
"non-Euclidean",
"Jean Metzinger",
"Francis Picabia",
"Fernand Léger",
"Henri Le Fauconnier",
"house of Balzac",
"Raymond Duchamp-Villon",
"Paul Fort"
] |
|
13939_NT
|
Passy, Bridges of Paris
|
Focus on this artwork and explore the Description.
|
Passy (Bridges of Paris) is an oil painting on canvas with dimensions 60.5 x 73.2 cm (23.8 by 28.8 inches), signed and dated Alb Gleizes, 1914, lower left.The works represents an upscale cartier de Paris known as Passy located in the 16th arrondissement of Paris, one of the most wealthy districts of the French capital, and traditionally the home of well-known personalities, including Honoré de Balzac, Benjamin Franklin during the nine years that he lived in France, William Kissam Vanderbilt, and the artist Jacques-Emile Blanche.
Les Artistes de Passy was a diverse grouping of avant-garde artistes (painters, sculptors and poets), including several who previously held meetings in 1910 at the rue Visconti studio of Henri Le Fauconnier. Their first diner (Premier dîner des Artistes de Passy) presided over by Paul Fort was held at the house of Balzac, rue Raynouard, in the presence of Guillaume Apollinaire, Jean Metzinger, Albert Gleizes, Raymond Duchamp-Villon, Marie Laurencin, Henri Le Fauconnier, Fernand Léger, André Mare, Francis Picabia, Henry Valensi, and Jacques Villon. Albert Gleizes chose to Passy as the subject of this painting.
Instead of depicting a bowl of fruit or a man playing a guitar under the influence of African art, Gleizes turns toward a non-Euclidean model of geometry as a source of inspiration for Passy. This work signified the rejection of Euclidean geometry and its correlate; the quantitative measurement of spatial depth governing perspective invented during the Renaissance, an unquestioned principle of academic painting that had persisted to date.
Vanishing points have been abolished. A perspectival grid is gone. Forms are not clearly delineated. Colors are synthetic and limited, not overpowering. Light and reflected light do not come from a consistent unidirectional source. There is no precisely clear relationship between structures (e.g., buildings, bridges) based on overlapping or on diminished scale with distance to show depth of field as objects recede from the foreground. Here Gleizes brakes all the rules. Perhaps for this reason Passy was chosen as an example of new painting for publication in their manifesto; Du "Cubisme".
|
[
"Euclidean geometry",
"Jacques Villon",
"André Mare",
"Benjamin Franklin",
"16th arrondissement of Paris",
"Honoré de Balzac",
"Guillaume Apollinaire",
"Albert Gleizes",
"Henry Valensi",
"avant-garde",
"Jacques-Emile Blanche",
"Marie Laurencin",
"Cubism",
"William Kissam Vanderbilt",
"perspective",
"depth of field",
"Du \"Cubisme\"",
"non-Euclidean",
"Jean Metzinger",
"Francis Picabia",
"Fernand Léger",
"Henri Le Fauconnier",
"house of Balzac",
"Raymond Duchamp-Villon",
"Paul Fort"
] |
|
13940_T
|
Passy, Bridges of Paris
|
Focus on Passy, Bridges of Paris and explain the Cubist factions.
|
Disparate inspirations during a proto-Cubist phase had already yielded several related methods of expressing the geometric experience (what Gleizes and Metzinger would soon attribute to mobile perspective). Cubism was in the eye of the beholder; it could be seen as a process, a system, a state of mind, an inspired attitude that would develop a new symbolic structure, a reflection of the changing world.
Despite their similarities, works produced by diverse artists were neither homogeneous nor isotropic. This venture was essentially nonlinear. Cubism was omnidirectional, growing like a tree with many branches. The progression of each artist was unique. Even when paths would cross, artists would not necessarily fall under one another's influence. Despite a growing awareness, a 'collective consciousness' based on a nonacademic passion for structure and mobility, and despite the sense of group unity that would attain a maxima circa 1912, deep-seated differences arose sporadically, often fueled by critics and dealers.In Albert Gleizes, 1881-1953, A Retrospective Exhibition, Solomon R. Guggenheim Museum curator and art historian Daniel Robbins writes of Passy:A synthesis of the modern city with its smoke, river and steel bridges, this work probably refers also to the spirit of solidarity among the newly formed "Artists of Passy". In this sense it indicates an awareness of factions within Cubism. (Robbins, 1964)
The participation of many artists, in addition to Metzinger, Gleizes and the Duchamp brothers, in the formation of the association Les Artistes de Passy in October 1912 was an attempt to transform the Passy district of Paris into yet another art-centre; a further sign of a growing emphasis on communal activity that would culminate in the Section d'Or exhibition. Les Artistes de Passy was a further sign too, as Robbins points out, of the growing rift that separated the Salon Cubists (Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and others) from the Gallery Cubists (Picasso and Braque). There was a distinct difference between the Salon Cubists and Kahnweiler’s Cubists. The latter had mostly been seen by a small group of artists and connoisseurs in a small private gallery, generating only modest reviews in the press, while the impact of the Salon group in the printed press and general public was enormous. Kahnweiler had exclusivity contracts with his artists and sold only to a small circle of collectors from his small "boutique" (Gleizes' term) comparatively hidden behind La Madeleine. Works of the Salon Cubists were seen by tens of thousands of spectators during well-publicized, conspicuous and prominent events such as the Salon d'Automne and Salon des Indépendants. Picasso and Barque were kept away from the Salons by Kahnweiler for fear of ridicule and for financial reasons (exclusivity guaranteed commission).
Metzinger's Le goûter (Tea Time) "was far more famous than any painting that Picasso and Braque had made up until this time; because Picasso and Braque, by not showing at the Salons, have actually removed themselves from the public... For most people, the idea of Cubism was actually associated with an artist like Metzinger, far more than Picasso." (Michael Taylor, 2010, Curator Philadelphia Museum of Art)While financial support from Kahnweiler's gallery sales gave Picasso and Braque the freedom to experiment in relative privacy, the highly publicized Salon Cubists were free to experiment in public and sell works directly from their studios and Salons.
The immense Cubist manifestation called Salon de la Section d'Or of 1912 (an exhibition organized by Metzinger, Gleizes and the Duchamp brothers) took place at the centrally located Galerie de la Boétie in a prominent gallery district of Paris. This gallery showing by Salon Cubists may have been seen as a threat by Kahnweiler, since it marked the beginning of decades of personal attacks targeting artists not associated with his gallery.
At stake, beyond commercial speculation and financial profit, were the questions of when Cubism began, who led the way in its development, what distinguishes Cubist art, how it can be defined and who can be called Cubist. By marginalizing the contribution of the artists who exhibited at the Salon des Indépendants and Salon d'Automne, Kahnweiler's attempted to focus attention on Picasso and Braque, those who played a leading if independent role in the development of this new mode of expression. To some extent Kahnweiler had succeeded in his endeavor, prompting historians such as Douglas Cooper to coin the term ‘true’ Cubism to describe the work of Picasso and Braque. The implied value judgement was intentional.This restricted view of Cubism has since been replaced by more contemporary alternative interpretations of Cubism, more complex and heteroclite; formed to some degree in response to the more publicized Salon Cubists, whose methods were too distinct from those of the Gallery Cubists to be considered merely secondary to them.
Salon Cubists produced a different kinds of Cubism. It is not clear to what extent these Cubists depended on Picasso and Braque for their development of such techniques as faceting, ‘passage’ and multiple perspective. They could well have arrived at such practices with little knowledge of Picasso and Braque, guided by their own understanding of Cézanne. The works produced by these other Cubists exhibited at the 1911 and 1912 Salons extended beyond the conventional Cézannian range of subjects chosen by Picasso and Braque to include large-scale allegoric and modern-life subjects. "Aimed at a large Salon public", writes art historian Christopher Green, "these works made clear use of Cubist techniques of faceting and multiple perspective for expressive effect in order to preserve the eloquence of subjects that were richly endowed with literary and philosophical connotations". The Salon Cubists were attuned to the philosopher Henri Bergson's notion of ‘duration’, according to which life is subjectively experienced as a continuous forward movement in time, with the past flowing into the present and the present merging into the future. In Du "Cubisme" Gleizes and Metzinger explicitly related this sense of time to multiple perspective. "The one major innovation that one can be sure was made independently by the Salon Cubists, that of ‘simultaneity’, came of a conviction also rooted in their understanding of Bergson that the divisions of space and time should be comprehensively challenged." Green continues: "The conjunction of such subject-matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; these Italian works, though themselves made in response to early Cubism, led the way in the application of techniques of simultaneity in 1911–12".
'What is necessary', writes Gleizes, 'is to take everything up again from the foundations and to start out from the unquestionable reality of two currents which, unaware of each other, were finally enfolded under a single heading, the movement that was called 'Cubism'. You can then avoid confusion if, right from the start, you make the distinctions that must, in all honesty, be acknowledged. The history of the 'Bâteau Lavoir' belongs to those who were part of that particular grouping. Personally, I only know what has been said about this history; I do not know the details, nor did my comrades of the other group Metzinger, Delaunay, Le Fauconnier and Léger... But what I do know well, because I lived it and remember it perfectly, is the origin of our relations and their development to 1914, passing by the notorious Room 41 of the Indépendants of 1911, which provoked the 'involuntary scandal' out of which Cubism really emerged and spread in Paris, in France and through the world... (Albert Gleizes
Gleizes continues in an unpublished 1917 paper:Speculators with their own interests and the idiocy [sottise] of painters who played their game created a legend which up to now has never openly been challenged. It proclaimed that the entire movement of plastic art of our time had been thrown into confusion by the discoveries above-mentioned. Their inventor was made into the pivot of the movement which was being built. Everything came from him, he had foreseen everything and outside his genius the rest was nothing but pastiche and followers. The truth, however, is that it was the appearance of a group that gave the twist of the helm to the new aspirations. It was not the work of an isolated figure who presided over the mystery of a boutique, who surrounded himself with thick veils and acted on some sniffer dogs [flaireurs] and dupes, but rather the brutal appearance in broad daylight of a coherent group [ensemble homogène] who did not claim to be displaying masterpieces but wanted to witness a fervent discipline, a new order. [...] On one side, the talk was all of the moderns and the negroes, on the other it was of the cathedrals and the solidity [sureté] of David and Ingres. (Albert Gleizes)
|
[
"Daniel Robbins",
"Gino Severini",
"Albert Gleizes",
"La Madeleine",
"Cubist",
"Cubism",
"Salon d'Automne",
"perspective",
"Kahnweiler",
"Du \"Cubisme\"",
"Henri Bergson",
"Umberto Boccioni",
"Section d'Or",
"Le goûter (Tea Time)",
"Futurist",
"Carlo Carrà",
"proto-Cubist",
"Salon des Indépendants"
] |
|
13940_NT
|
Passy, Bridges of Paris
|
Focus on this artwork and explain the Cubist factions.
|
Disparate inspirations during a proto-Cubist phase had already yielded several related methods of expressing the geometric experience (what Gleizes and Metzinger would soon attribute to mobile perspective). Cubism was in the eye of the beholder; it could be seen as a process, a system, a state of mind, an inspired attitude that would develop a new symbolic structure, a reflection of the changing world.
Despite their similarities, works produced by diverse artists were neither homogeneous nor isotropic. This venture was essentially nonlinear. Cubism was omnidirectional, growing like a tree with many branches. The progression of each artist was unique. Even when paths would cross, artists would not necessarily fall under one another's influence. Despite a growing awareness, a 'collective consciousness' based on a nonacademic passion for structure and mobility, and despite the sense of group unity that would attain a maxima circa 1912, deep-seated differences arose sporadically, often fueled by critics and dealers.In Albert Gleizes, 1881-1953, A Retrospective Exhibition, Solomon R. Guggenheim Museum curator and art historian Daniel Robbins writes of Passy:A synthesis of the modern city with its smoke, river and steel bridges, this work probably refers also to the spirit of solidarity among the newly formed "Artists of Passy". In this sense it indicates an awareness of factions within Cubism. (Robbins, 1964)
The participation of many artists, in addition to Metzinger, Gleizes and the Duchamp brothers, in the formation of the association Les Artistes de Passy in October 1912 was an attempt to transform the Passy district of Paris into yet another art-centre; a further sign of a growing emphasis on communal activity that would culminate in the Section d'Or exhibition. Les Artistes de Passy was a further sign too, as Robbins points out, of the growing rift that separated the Salon Cubists (Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and others) from the Gallery Cubists (Picasso and Braque). There was a distinct difference between the Salon Cubists and Kahnweiler’s Cubists. The latter had mostly been seen by a small group of artists and connoisseurs in a small private gallery, generating only modest reviews in the press, while the impact of the Salon group in the printed press and general public was enormous. Kahnweiler had exclusivity contracts with his artists and sold only to a small circle of collectors from his small "boutique" (Gleizes' term) comparatively hidden behind La Madeleine. Works of the Salon Cubists were seen by tens of thousands of spectators during well-publicized, conspicuous and prominent events such as the Salon d'Automne and Salon des Indépendants. Picasso and Barque were kept away from the Salons by Kahnweiler for fear of ridicule and for financial reasons (exclusivity guaranteed commission).
Metzinger's Le goûter (Tea Time) "was far more famous than any painting that Picasso and Braque had made up until this time; because Picasso and Braque, by not showing at the Salons, have actually removed themselves from the public... For most people, the idea of Cubism was actually associated with an artist like Metzinger, far more than Picasso." (Michael Taylor, 2010, Curator Philadelphia Museum of Art)While financial support from Kahnweiler's gallery sales gave Picasso and Braque the freedom to experiment in relative privacy, the highly publicized Salon Cubists were free to experiment in public and sell works directly from their studios and Salons.
The immense Cubist manifestation called Salon de la Section d'Or of 1912 (an exhibition organized by Metzinger, Gleizes and the Duchamp brothers) took place at the centrally located Galerie de la Boétie in a prominent gallery district of Paris. This gallery showing by Salon Cubists may have been seen as a threat by Kahnweiler, since it marked the beginning of decades of personal attacks targeting artists not associated with his gallery.
At stake, beyond commercial speculation and financial profit, were the questions of when Cubism began, who led the way in its development, what distinguishes Cubist art, how it can be defined and who can be called Cubist. By marginalizing the contribution of the artists who exhibited at the Salon des Indépendants and Salon d'Automne, Kahnweiler's attempted to focus attention on Picasso and Braque, those who played a leading if independent role in the development of this new mode of expression. To some extent Kahnweiler had succeeded in his endeavor, prompting historians such as Douglas Cooper to coin the term ‘true’ Cubism to describe the work of Picasso and Braque. The implied value judgement was intentional.This restricted view of Cubism has since been replaced by more contemporary alternative interpretations of Cubism, more complex and heteroclite; formed to some degree in response to the more publicized Salon Cubists, whose methods were too distinct from those of the Gallery Cubists to be considered merely secondary to them.
Salon Cubists produced a different kinds of Cubism. It is not clear to what extent these Cubists depended on Picasso and Braque for their development of such techniques as faceting, ‘passage’ and multiple perspective. They could well have arrived at such practices with little knowledge of Picasso and Braque, guided by their own understanding of Cézanne. The works produced by these other Cubists exhibited at the 1911 and 1912 Salons extended beyond the conventional Cézannian range of subjects chosen by Picasso and Braque to include large-scale allegoric and modern-life subjects. "Aimed at a large Salon public", writes art historian Christopher Green, "these works made clear use of Cubist techniques of faceting and multiple perspective for expressive effect in order to preserve the eloquence of subjects that were richly endowed with literary and philosophical connotations". The Salon Cubists were attuned to the philosopher Henri Bergson's notion of ‘duration’, according to which life is subjectively experienced as a continuous forward movement in time, with the past flowing into the present and the present merging into the future. In Du "Cubisme" Gleizes and Metzinger explicitly related this sense of time to multiple perspective. "The one major innovation that one can be sure was made independently by the Salon Cubists, that of ‘simultaneity’, came of a conviction also rooted in their understanding of Bergson that the divisions of space and time should be comprehensively challenged." Green continues: "The conjunction of such subject-matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; these Italian works, though themselves made in response to early Cubism, led the way in the application of techniques of simultaneity in 1911–12".
'What is necessary', writes Gleizes, 'is to take everything up again from the foundations and to start out from the unquestionable reality of two currents which, unaware of each other, were finally enfolded under a single heading, the movement that was called 'Cubism'. You can then avoid confusion if, right from the start, you make the distinctions that must, in all honesty, be acknowledged. The history of the 'Bâteau Lavoir' belongs to those who were part of that particular grouping. Personally, I only know what has been said about this history; I do not know the details, nor did my comrades of the other group Metzinger, Delaunay, Le Fauconnier and Léger... But what I do know well, because I lived it and remember it perfectly, is the origin of our relations and their development to 1914, passing by the notorious Room 41 of the Indépendants of 1911, which provoked the 'involuntary scandal' out of which Cubism really emerged and spread in Paris, in France and through the world... (Albert Gleizes
Gleizes continues in an unpublished 1917 paper:Speculators with their own interests and the idiocy [sottise] of painters who played their game created a legend which up to now has never openly been challenged. It proclaimed that the entire movement of plastic art of our time had been thrown into confusion by the discoveries above-mentioned. Their inventor was made into the pivot of the movement which was being built. Everything came from him, he had foreseen everything and outside his genius the rest was nothing but pastiche and followers. The truth, however, is that it was the appearance of a group that gave the twist of the helm to the new aspirations. It was not the work of an isolated figure who presided over the mystery of a boutique, who surrounded himself with thick veils and acted on some sniffer dogs [flaireurs] and dupes, but rather the brutal appearance in broad daylight of a coherent group [ensemble homogène] who did not claim to be displaying masterpieces but wanted to witness a fervent discipline, a new order. [...] On one side, the talk was all of the moderns and the negroes, on the other it was of the cathedrals and the solidity [sureté] of David and Ingres. (Albert Gleizes)
|
[
"Daniel Robbins",
"Gino Severini",
"Albert Gleizes",
"La Madeleine",
"Cubist",
"Cubism",
"Salon d'Automne",
"perspective",
"Kahnweiler",
"Du \"Cubisme\"",
"Henri Bergson",
"Umberto Boccioni",
"Section d'Or",
"Le goûter (Tea Time)",
"Futurist",
"Carlo Carrà",
"proto-Cubist",
"Salon des Indépendants"
] |
|
13941_T
|
Passy, Bridges of Paris
|
Explore the Provenance of this artwork, Passy, Bridges of Paris.
|
Sidney Janis Gallery, New York
Museum des 20. Jahrhunderts, Vienna
|
[
"Vienna"
] |
|
13941_NT
|
Passy, Bridges of Paris
|
Explore the Provenance of this artwork.
|
Sidney Janis Gallery, New York
Museum des 20. Jahrhunderts, Vienna
|
[
"Vienna"
] |
|
13942_T
|
Passy, Bridges of Paris
|
Focus on Passy, Bridges of Paris and discuss the Exhibitions.
|
Société Normande de Peinture Moderne, Rouen, 15 June - 15 July 1912 (no. 91, titled Passy)
Salon de la Section d'Or, Galerie La Boétie, Paris, 10–30 October 1912 (no. 41, titled Passy)
Manes Moderni Umeni, Vystava, Prague, February - March 1914 (no. 35, titled Paysage à Passy)
Der Sturm, Berlin, July, 1914.
Kunst von 1900 bis Heute, Museum des 20. Jahrhunderts, Vienna, 1962, no. 58.
The Solomon R. Guggenheim Museum, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York. This exhibition traveled to Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965
|
[
"Société Normande de Peinture Moderne",
"Albert Gleizes",
"Der Sturm",
"Museum am Ostwall",
"Section d'Or",
"Vienna",
"Musée National d'Art Moderne"
] |
|
13942_NT
|
Passy, Bridges of Paris
|
Focus on this artwork and discuss the Exhibitions.
|
Société Normande de Peinture Moderne, Rouen, 15 June - 15 July 1912 (no. 91, titled Passy)
Salon de la Section d'Or, Galerie La Boétie, Paris, 10–30 October 1912 (no. 41, titled Passy)
Manes Moderni Umeni, Vystava, Prague, February - March 1914 (no. 35, titled Paysage à Passy)
Der Sturm, Berlin, July, 1914.
Kunst von 1900 bis Heute, Museum des 20. Jahrhunderts, Vienna, 1962, no. 58.
The Solomon R. Guggenheim Museum, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York. This exhibition traveled to Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965
|
[
"Société Normande de Peinture Moderne",
"Albert Gleizes",
"Der Sturm",
"Museum am Ostwall",
"Section d'Or",
"Vienna",
"Musée National d'Art Moderne"
] |
|
13943_T
|
Passy, Bridges of Paris
|
How does Passy, Bridges of Paris elucidate its Literature?
|
Albert Gleizes and Jean Metzinger, Du "Cubisme", Paris, 1912, p. 105.
Apollinaire, G. Paris-Journal, 1914, (cf. Chroniques d'Art, 1960, p. 405).
Golding, J. Cubism, London, 1959, p. 158.
|
[
"Albert Gleizes",
"Cubism",
"Du \"Cubisme\"",
"Jean Metzinger"
] |
|
13943_NT
|
Passy, Bridges of Paris
|
How does this artwork elucidate its Literature?
|
Albert Gleizes and Jean Metzinger, Du "Cubisme", Paris, 1912, p. 105.
Apollinaire, G. Paris-Journal, 1914, (cf. Chroniques d'Art, 1960, p. 405).
Golding, J. Cubism, London, 1959, p. 158.
|
[
"Albert Gleizes",
"Cubism",
"Du \"Cubisme\"",
"Jean Metzinger"
] |
|
13944_T
|
Frederick Keep Monument
|
Focus on Frederick Keep Monument and analyze the abstract.
|
Frederick Keep Monument is a public artwork by American artist James Earle Fraser located in Rock Creek Cemetery in Washington, D.C. The monument was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. This sculpture rests at the site of the grave of Frederick and Florence Keep and their child.
|
[
"American",
"Washington, D.C.",
"Smithsonian's",
"Rock Creek Cemetery",
"James Earle Fraser",
"Save Outdoor Sculpture!"
] |
|
13944_NT
|
Frederick Keep Monument
|
Focus on this artwork and analyze the abstract.
|
Frederick Keep Monument is a public artwork by American artist James Earle Fraser located in Rock Creek Cemetery in Washington, D.C. The monument was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. This sculpture rests at the site of the grave of Frederick and Florence Keep and their child.
|
[
"American",
"Washington, D.C.",
"Smithsonian's",
"Rock Creek Cemetery",
"James Earle Fraser",
"Save Outdoor Sculpture!"
] |
|
13945_T
|
Frederick Keep Monument
|
In Frederick Keep Monument, how is the Description discussed?
|
The main portion of this sculpture features a bronze female and male couple standing on a low rectangular base. The female raises both of her arms with her proper right and left hands resting on their respective shoulders. The male figure stands closely on her proper left side with his proper right arm behind her. Both of the figures are bare chested and wear loosely draped Roman-style drapery that is rolled at the waist, as well as Roman sandals. The female figure has a cape on over the back of her head and she looks downward. The male figure gazes out to the distance. They stand in front of a narrow granite wall.
The lower right side of the sculpture is signed: J. E. FRASER
The lower left side of the sculpture is marked: Kunst-Foundry N.Y.
The back of the granite base is inscribed:
FREDERIC A. KEEPDIED JUNE 2, 1911
AGE 53 YEARS
FLORENCE SHEFFIELD BOARDMAN KEEP
DIED JAN 26, 1954
AGE 89 YEARS
INFANT OF F AND F. KEEP
DIED OCT. 6, 1902
|
[
"sandals"
] |
|
13945_NT
|
Frederick Keep Monument
|
In this artwork, how is the Description discussed?
|
The main portion of this sculpture features a bronze female and male couple standing on a low rectangular base. The female raises both of her arms with her proper right and left hands resting on their respective shoulders. The male figure stands closely on her proper left side with his proper right arm behind her. Both of the figures are bare chested and wear loosely draped Roman-style drapery that is rolled at the waist, as well as Roman sandals. The female figure has a cape on over the back of her head and she looks downward. The male figure gazes out to the distance. They stand in front of a narrow granite wall.
The lower right side of the sculpture is signed: J. E. FRASER
The lower left side of the sculpture is marked: Kunst-Foundry N.Y.
The back of the granite base is inscribed:
FREDERIC A. KEEPDIED JUNE 2, 1911
AGE 53 YEARS
FLORENCE SHEFFIELD BOARDMAN KEEP
DIED JAN 26, 1954
AGE 89 YEARS
INFANT OF F AND F. KEEP
DIED OCT. 6, 1902
|
[
"sandals"
] |
|
13946_T
|
Frederick Keep Monument
|
Focus on Frederick Keep Monument and explain the Acquisition.
|
The sculpture was installed just before or on October 3, 1920.
|
[] |
|
13946_NT
|
Frederick Keep Monument
|
Focus on this artwork and explain the Acquisition.
|
The sculpture was installed just before or on October 3, 1920.
|
[] |
|
13947_T
|
Frederick Keep Monument
|
Explore the Background of this artwork, Frederick Keep Monument.
|
Frederick Keep was a Washington, D.C. businessman. His wife, Florence, was the sister of Mabel Thorp Boardman, one of the founders of the American Red Cross, and American socialite Josephine Porter Boardman. Her father, William J. Boardman, a lawyer and philanthropist who died August 2, 1915, is also buried in Rock Creek Cemetery.Florence socialized with U.S. Secretary of State John Hay, Agnes Meyer, Katharine Graham, Ruth Draper, and President William Taft and his wife. A number of Keep's personal belongings were donated to the National Museum of American History by her sister Josephine, including a late 1920s evening dress that was exhibited in the Hall of American Costume from 1964-1973.
|
[
"evening dress",
"American Red Cross",
"American",
"Katharine Graham",
"Washington, D.C.",
"socialite",
"Rock Creek Cemetery",
"U.S. Secretary of State",
"John Hay",
"President William Taft",
"Agnes Meyer",
"Ruth Draper",
"National Museum of American History",
"Josephine Porter Boardman",
"Mabel Thorp Boardman"
] |
|
13947_NT
|
Frederick Keep Monument
|
Explore the Background of this artwork.
|
Frederick Keep was a Washington, D.C. businessman. His wife, Florence, was the sister of Mabel Thorp Boardman, one of the founders of the American Red Cross, and American socialite Josephine Porter Boardman. Her father, William J. Boardman, a lawyer and philanthropist who died August 2, 1915, is also buried in Rock Creek Cemetery.Florence socialized with U.S. Secretary of State John Hay, Agnes Meyer, Katharine Graham, Ruth Draper, and President William Taft and his wife. A number of Keep's personal belongings were donated to the National Museum of American History by her sister Josephine, including a late 1920s evening dress that was exhibited in the Hall of American Costume from 1964-1973.
|
[
"evening dress",
"American Red Cross",
"American",
"Katharine Graham",
"Washington, D.C.",
"socialite",
"Rock Creek Cemetery",
"U.S. Secretary of State",
"John Hay",
"President William Taft",
"Agnes Meyer",
"Ruth Draper",
"National Museum of American History",
"Josephine Porter Boardman",
"Mabel Thorp Boardman"
] |
|
13948_T
|
Frederick Keep Monument
|
Focus on Frederick Keep Monument and discuss the Condition.
|
This sculpture was surveyed in 1993 for its condition and was described as needing treatment urgently.
|
[] |
|
13948_NT
|
Frederick Keep Monument
|
Focus on this artwork and discuss the Condition.
|
This sculpture was surveyed in 1993 for its condition and was described as needing treatment urgently.
|
[] |
|
13949_T
|
No 1 (Royal Red and Blue)
|
How does No 1 (Royal Red and Blue) elucidate its abstract?
|
No 1 (Royal Red and Blue) is a 1954 Color Field painting by the Abstract expressionist artist Mark Rothko. In November 2012, the painting sold for US$75.1 million (£47.2m) at a Sotheby's auction.
|
[
"Color Field",
"Mark Rothko",
"Sotheby's",
"Abstract expressionist"
] |
|
13949_NT
|
No 1 (Royal Red and Blue)
|
How does this artwork elucidate its abstract?
|
No 1 (Royal Red and Blue) is a 1954 Color Field painting by the Abstract expressionist artist Mark Rothko. In November 2012, the painting sold for US$75.1 million (£47.2m) at a Sotheby's auction.
|
[
"Color Field",
"Mark Rothko",
"Sotheby's",
"Abstract expressionist"
] |
|
13950_T
|
Disc Installation
|
Focus on Disc Installation and analyze the abstract.
|
Robert Irwin is associated with the Modern Art movement and is best known for his Installation art. Philosophers influence Irwin’s work, such as Maurice Merleau-Ponty’s ideas of engagement and interaction between the physical world and people. Irwin reflects these ideas through his disc installations. From 1967-1969 he worked on this installation, which consists of convex discs made of metal and plastic. The discs hang on a wall and are illuminated by floodlights to create the illusion of no edges. It is a play on light, dark, shadows, and the space in which the discs lie in.
|
[
"Maurice Merleau-Ponty",
"Installation art",
"Robert Irwin"
] |
|
13950_NT
|
Disc Installation
|
Focus on this artwork and analyze the abstract.
|
Robert Irwin is associated with the Modern Art movement and is best known for his Installation art. Philosophers influence Irwin’s work, such as Maurice Merleau-Ponty’s ideas of engagement and interaction between the physical world and people. Irwin reflects these ideas through his disc installations. From 1967-1969 he worked on this installation, which consists of convex discs made of metal and plastic. The discs hang on a wall and are illuminated by floodlights to create the illusion of no edges. It is a play on light, dark, shadows, and the space in which the discs lie in.
|
[
"Maurice Merleau-Ponty",
"Installation art",
"Robert Irwin"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.