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|---|---|---|---|---|---|
13951_T
|
Disc Installation
|
In Disc Installation, how is the Inspiration discussed?
|
The disc installation was born from Robert Irwin’s previous works with lines and dots. He worked with lines (on canvas) from 1957 to 1964, but the “prepositional tendency had the effect of dribbling away the viewer’s presence before the canvas" (Robert Irwin). The lines led to the dots (many dots on a canvas ranging in colors which all met in the center creating the focal point), which he worked with from 1964 to 1967. But something about the dots didn’t sit right with Irwin. He began to question the use of the frame and edges. This led to his manipulation of light, dark, shadow, and the exhibition space, which gave the artwork the ability to “dissolve into its environment.”
|
[
"Robert Irwin"
] |
|
13951_NT
|
Disc Installation
|
In this artwork, how is the Inspiration discussed?
|
The disc installation was born from Robert Irwin’s previous works with lines and dots. He worked with lines (on canvas) from 1957 to 1964, but the “prepositional tendency had the effect of dribbling away the viewer’s presence before the canvas" (Robert Irwin). The lines led to the dots (many dots on a canvas ranging in colors which all met in the center creating the focal point), which he worked with from 1964 to 1967. But something about the dots didn’t sit right with Irwin. He began to question the use of the frame and edges. This led to his manipulation of light, dark, shadow, and the exhibition space, which gave the artwork the ability to “dissolve into its environment.”
|
[
"Robert Irwin"
] |
|
13952_T
|
Disc Installation
|
Focus on Disc Installation and explore the Composition.
|
Irwin’s intention with the discs was to create a blending between light and dark resulting in an “evenness” while escaping the traditional confinements of a frame. The first experimental discs were made out of a translucent plastic to produce the least amount of contrast between the edges of the disc and the shadow the lights gave off. But it was a trial and error because the discs were too floppy to be used. It took a while searching in California for Irwin to find the right metal shop in downtown Los Angeles that was right for the job. The discs produced by this shop were made of a lightweight aluminum that were shaped by hand with the help of a machine “that consisted of just a soft-shaped steel plate and a drop hammer.” In the later years of Irwin’s work with the discs, he was able to create a plastic disc that wasn’t too floppy. To avoid the floppy problem, he used a double crowning technique which is essentially a bulge within a bulge.The shape, three-dimensional convex circles, derived from the dot pieces. Irwin wanted them to be circular in order to avoid the corners a square or rectangle would produce. But instead of being flat it needed to be convex to deemphasize the edge. The disc was painted where the disc bulges out (point closest to the viewer) the same color as the wall (point furthest away from the viewer) to give it a floating effect. But the combination of convexity and color made it so the viewer had a difficult time determining whether the disc was convex, concave, or flat. (Originally he painted the discs with dots, but the way they turned out was unsatisfactory. He resorted to a spray painting technique, which allowed for the effect that minimized the visibility of the edge.)
The discs vary in size, but very little. (Examples of diameters: 60 3/8", 54 1/4”, 54”) They stretch out about 20 inches away from the wall.
The lighting needed for the pieces is very specific: “even, ambient, natural daylight, without any artificial supplementation.” But this lighting isn’t easy to obtain in every location, so although there are places that natural light can be used the most common light used is artificial. The artificial lighting consists of two lights on the floor and two lights on the ceiling that beam onto the disc. The shadows created by the disc are projected onto the wall to look like a “rosette of shadow.” At first, an Incandescent light bulb was used, but the yellow it produced was too warm for such a cool color of paint. Irwin moved onto Westinghouse, which was worse than the standard incandescent (in terms of yellowness). He settled on the next bulb, Sylvania, which still produced a small amount of yellow. To solve the problem, a pale blue transparent filter was attached to the bulb resulting in a cool stream of light.
Towards Irwin’s last years of working with the discs he reintroduced the line into his work. He sliced a thin three-inch wide line through the middle of the discs to add a pop of color (the gray wall) and disrupt the minimalism.
|
[
"Incandescent light bulb"
] |
|
13952_NT
|
Disc Installation
|
Focus on this artwork and explore the Composition.
|
Irwin’s intention with the discs was to create a blending between light and dark resulting in an “evenness” while escaping the traditional confinements of a frame. The first experimental discs were made out of a translucent plastic to produce the least amount of contrast between the edges of the disc and the shadow the lights gave off. But it was a trial and error because the discs were too floppy to be used. It took a while searching in California for Irwin to find the right metal shop in downtown Los Angeles that was right for the job. The discs produced by this shop were made of a lightweight aluminum that were shaped by hand with the help of a machine “that consisted of just a soft-shaped steel plate and a drop hammer.” In the later years of Irwin’s work with the discs, he was able to create a plastic disc that wasn’t too floppy. To avoid the floppy problem, he used a double crowning technique which is essentially a bulge within a bulge.The shape, three-dimensional convex circles, derived from the dot pieces. Irwin wanted them to be circular in order to avoid the corners a square or rectangle would produce. But instead of being flat it needed to be convex to deemphasize the edge. The disc was painted where the disc bulges out (point closest to the viewer) the same color as the wall (point furthest away from the viewer) to give it a floating effect. But the combination of convexity and color made it so the viewer had a difficult time determining whether the disc was convex, concave, or flat. (Originally he painted the discs with dots, but the way they turned out was unsatisfactory. He resorted to a spray painting technique, which allowed for the effect that minimized the visibility of the edge.)
The discs vary in size, but very little. (Examples of diameters: 60 3/8", 54 1/4”, 54”) They stretch out about 20 inches away from the wall.
The lighting needed for the pieces is very specific: “even, ambient, natural daylight, without any artificial supplementation.” But this lighting isn’t easy to obtain in every location, so although there are places that natural light can be used the most common light used is artificial. The artificial lighting consists of two lights on the floor and two lights on the ceiling that beam onto the disc. The shadows created by the disc are projected onto the wall to look like a “rosette of shadow.” At first, an Incandescent light bulb was used, but the yellow it produced was too warm for such a cool color of paint. Irwin moved onto Westinghouse, which was worse than the standard incandescent (in terms of yellowness). He settled on the next bulb, Sylvania, which still produced a small amount of yellow. To solve the problem, a pale blue transparent filter was attached to the bulb resulting in a cool stream of light.
Towards Irwin’s last years of working with the discs he reintroduced the line into his work. He sliced a thin three-inch wide line through the middle of the discs to add a pop of color (the gray wall) and disrupt the minimalism.
|
[
"Incandescent light bulb"
] |
|
13953_T
|
Disc Installation
|
Focus on Disc Installation and explain the Critical acclaim.
|
“Shown correctly, Irwin’s discs are otherworldly. They seem to float ambiguously. It is the disc seeming to dematerialize or the shadows taking on volume? There is an eerie, fluid sense of density, object and shadow playing in and out of co presence. White becoming color becoming shadow of white. Self possession divulging itself.” –Lawrence Weschler commenting on Irwin’s discs“Irwin emphasizes verbally that what he requires of the spectator is for him literally to ‘enact the process of the work’s conception’...There were of course serious problems arising out of the inevitable discrepancy between the artist’s stated demands and the actual uniformed confrontation with the works, which were, for one thing, exceedingly elegant and often ravishing beautiful; one was not necessarily inclined, at least consciously, to respond as searchingly as hoped.” –Jane Livingston’s essay on Irwin’s traveling exhibit of discs 1969
|
[
"Lawrence Weschler"
] |
|
13953_NT
|
Disc Installation
|
Focus on this artwork and explain the Critical acclaim.
|
“Shown correctly, Irwin’s discs are otherworldly. They seem to float ambiguously. It is the disc seeming to dematerialize or the shadows taking on volume? There is an eerie, fluid sense of density, object and shadow playing in and out of co presence. White becoming color becoming shadow of white. Self possession divulging itself.” –Lawrence Weschler commenting on Irwin’s discs“Irwin emphasizes verbally that what he requires of the spectator is for him literally to ‘enact the process of the work’s conception’...There were of course serious problems arising out of the inevitable discrepancy between the artist’s stated demands and the actual uniformed confrontation with the works, which were, for one thing, exceedingly elegant and often ravishing beautiful; one was not necessarily inclined, at least consciously, to respond as searchingly as hoped.” –Jane Livingston’s essay on Irwin’s traveling exhibit of discs 1969
|
[
"Lawrence Weschler"
] |
|
13954_T
|
Disc Installation
|
Explore the Irwin Quotes of this artwork, Disc Installation.
|
“You have to make it very clear to anyone who might read your essay, especially any young artist who might happen to pick it up, that my whole process was really an intuitive activity in which all of the time I was only putting one foot in front of the other, and that each step was not that resolved. Most of the time I didn’t have any idea where I was going; I had no real intellectual clarity as to what it was I thought I was doing. Usually it was just a straightforward commitment in terms of pursuing the particular problems or questions which had been raised in the doing of the work.” -Robert Irwin (artist)“Visually it was very ambiguous which was more real, the object or its shadow. They were basically equal.”-Robert Irwin (artist), 1982
|
[
"Robert Irwin (artist)",
"Robert Irwin"
] |
|
13954_NT
|
Disc Installation
|
Explore the Irwin Quotes of this artwork.
|
“You have to make it very clear to anyone who might read your essay, especially any young artist who might happen to pick it up, that my whole process was really an intuitive activity in which all of the time I was only putting one foot in front of the other, and that each step was not that resolved. Most of the time I didn’t have any idea where I was going; I had no real intellectual clarity as to what it was I thought I was doing. Usually it was just a straightforward commitment in terms of pursuing the particular problems or questions which had been raised in the doing of the work.” -Robert Irwin (artist)“Visually it was very ambiguous which was more real, the object or its shadow. They were basically equal.”-Robert Irwin (artist), 1982
|
[
"Robert Irwin (artist)",
"Robert Irwin"
] |
|
13955_T
|
Portrait of a Young Man (Bellini, Royal Collection)
|
Focus on Portrait of a Young Man (Bellini, Royal Collection) and discuss the abstract.
|
Portrait of a Young Man is a c.1505 oil-on-panel painting by the Italian painter Giovanni Bellini. It is the latest surviving portrait by the artist, drawing on the work of Antonello da Messina and Dutch painters of the time. It is also the only portrait in which he included a landscape behind the sitter. He signed it on a cartouche on the trompe-l'œil marble parapet in the foreground.
The work was bought by Consul Smith and then passed into the British Royal Collection in 1762 when George III of the United Kingdom bought Smith's collection. In 2018 it hung in the King's Closet of Windsor Castle.The sitter's robe is that of a 'cittadino', the rank in Venetian society between that of patrician. His identity is unknown, although a theory arose in the 1940s that he was the humanist Pietro Bembo; Vasari records Bellini painting a lost portrait of Bembo's mistress, whilst Bellini's biographer Carlo Ridolfi mentions a portrait of Bembo in a list of his works, although this is the only documentary mention of any such work. Bembo would be thirty-five at the time the painting was produced but, although the sitter's nose does seem to match with later medals showing Bembo, his eyes and eyebrows seem to be different.
|
[
"Giovanni Bellini",
"trompe-l'œil",
"George III",
"cartouche",
"Young Man",
"Antonello da Messina",
"Consul Smith",
"Venetian society",
"George III of the United Kingdom",
"Royal Collection",
"Carlo Ridolfi",
"Pietro Bembo",
"Windsor Castle",
"Vasari"
] |
|
13955_NT
|
Portrait of a Young Man (Bellini, Royal Collection)
|
Focus on this artwork and discuss the abstract.
|
Portrait of a Young Man is a c.1505 oil-on-panel painting by the Italian painter Giovanni Bellini. It is the latest surviving portrait by the artist, drawing on the work of Antonello da Messina and Dutch painters of the time. It is also the only portrait in which he included a landscape behind the sitter. He signed it on a cartouche on the trompe-l'œil marble parapet in the foreground.
The work was bought by Consul Smith and then passed into the British Royal Collection in 1762 when George III of the United Kingdom bought Smith's collection. In 2018 it hung in the King's Closet of Windsor Castle.The sitter's robe is that of a 'cittadino', the rank in Venetian society between that of patrician. His identity is unknown, although a theory arose in the 1940s that he was the humanist Pietro Bembo; Vasari records Bellini painting a lost portrait of Bembo's mistress, whilst Bellini's biographer Carlo Ridolfi mentions a portrait of Bembo in a list of his works, although this is the only documentary mention of any such work. Bembo would be thirty-five at the time the painting was produced but, although the sitter's nose does seem to match with later medals showing Bembo, his eyes and eyebrows seem to be different.
|
[
"Giovanni Bellini",
"trompe-l'œil",
"George III",
"cartouche",
"Young Man",
"Antonello da Messina",
"Consul Smith",
"Venetian society",
"George III of the United Kingdom",
"Royal Collection",
"Carlo Ridolfi",
"Pietro Bembo",
"Windsor Castle",
"Vasari"
] |
|
13956_T
|
Paintings of 1940-1990s: the Leningrad School
|
How does Paintings of 1940-1990s: the Leningrad School elucidate its History and Organization?
|
The exhibition opened on March 2, and ran until 3 April, 1997. A catalog was published for the exhibition.
|
[] |
|
13956_NT
|
Paintings of 1940-1990s: the Leningrad School
|
How does this artwork elucidate its History and Organization?
|
The exhibition opened on March 2, and ran until 3 April, 1997. A catalog was published for the exhibition.
|
[] |
|
13957_T
|
Paintings of 1940-1990s: the Leningrad School
|
Focus on Paintings of 1940-1990s: the Leningrad School and analyze the Contributing Artists.
|
The exhibition included 93 artworks from 50 painters of the Leningrad School:
|
[
"Leningrad School"
] |
|
13957_NT
|
Paintings of 1940-1990s: the Leningrad School
|
Focus on this artwork and analyze the Contributing Artists.
|
The exhibition included 93 artworks from 50 painters of the Leningrad School:
|
[
"Leningrad School"
] |
|
13958_T
|
Paintings of 1940-1990s: the Leningrad School
|
In Paintings of 1940-1990s: the Leningrad School, how is the Contributed Artworks discussed?
|
For the Exhibition were selected art works created in 1950-1980s. Some of them had been exhibited before, while other paintings were shown for the first time.
Genre painting was represented by the works of "Ica Cream Vender" by Veniamin Borisov, "At the Summer Bath house" by Maya Kopitseva, "Spring in the City" by Piotr Litvinsky, "Gas pipeline laying" and "Asphalt laying works" by Anatoli Nenartovich, "Spring Day" by Nikolai Pozdneev, "Station Baikal. At the pier" by Anatoli Vasiliev, and some others.Portrait painting was represented by the works of "Junior Sergeant" by Vladimir Chekalov, "Schoolgirl" by Tatiana Gorb, "In summer at reading" by Nikolai Pozdneev, "In the Sun" by Alexander Samokhvalov, "Old Man" by Leonid Tkachenko, and some others.Landscape and Cityscape painting was represented by the works of "Windy Day" by Irina Baldina, "Winter Tale" and "Arabian coast" by Vsevolod Bazhenov, "Be a full wind" and "Near Kostroma City" by Evgeny Chuprun, "On the Volga River" and "Somewhere in Karelia" by Nikolai Galakhov, "Autumn Road" by Mikhail Kozell, "Izborsk Fortress" by Sergei Osipov, "Wave. Caspian Sea" and "Old Ladoga" by Vladimir Ovchinnikov, "Little street" by Nikolai Timkov, "Silhouettes Gurzuf" by Ruben Zakharian, and some others.Still life painting was represented by the works of "Roses" by Samuil Nevelshtein, "Still life with Pussy-Willows" by Taisia Afonina, "Still life with yellow material" by Rostislav Vovkushevsky, "A Lilac" by Kapitolina Rumiantseva, and some others.
|
[
"Leonid Tkachenko",
"Veniamin Borisov",
"Nikolai Galakhov",
"Irina Baldina",
"Ruben Zakharian",
"Vladimir Ovchinnikov",
"Genre painting",
"Landscape and Cityscape painting",
"Alexander Samokhvalov",
"Taisia Afonina",
"Still life",
"Nikolai Timkov",
"Samuil Nevelshtein",
"Sergei Osipov",
"Maya Kopitseva",
"Nikolai Pozdneev",
"Tatiana Gorb",
"Rostislav Vovkushevsky",
"Vladimir Chekalov",
"Portrait painting",
"Anatoli Nenartovich",
"Anatoli Vasiliev",
"Evgeny Chuprun",
"Vsevolod Bazhenov",
"Kapitolina Rumiantseva",
"Mikhail Kozell",
"Piotr Litvinsky"
] |
|
13958_NT
|
Paintings of 1940-1990s: the Leningrad School
|
In this artwork, how is the Contributed Artworks discussed?
|
For the Exhibition were selected art works created in 1950-1980s. Some of them had been exhibited before, while other paintings were shown for the first time.
Genre painting was represented by the works of "Ica Cream Vender" by Veniamin Borisov, "At the Summer Bath house" by Maya Kopitseva, "Spring in the City" by Piotr Litvinsky, "Gas pipeline laying" and "Asphalt laying works" by Anatoli Nenartovich, "Spring Day" by Nikolai Pozdneev, "Station Baikal. At the pier" by Anatoli Vasiliev, and some others.Portrait painting was represented by the works of "Junior Sergeant" by Vladimir Chekalov, "Schoolgirl" by Tatiana Gorb, "In summer at reading" by Nikolai Pozdneev, "In the Sun" by Alexander Samokhvalov, "Old Man" by Leonid Tkachenko, and some others.Landscape and Cityscape painting was represented by the works of "Windy Day" by Irina Baldina, "Winter Tale" and "Arabian coast" by Vsevolod Bazhenov, "Be a full wind" and "Near Kostroma City" by Evgeny Chuprun, "On the Volga River" and "Somewhere in Karelia" by Nikolai Galakhov, "Autumn Road" by Mikhail Kozell, "Izborsk Fortress" by Sergei Osipov, "Wave. Caspian Sea" and "Old Ladoga" by Vladimir Ovchinnikov, "Little street" by Nikolai Timkov, "Silhouettes Gurzuf" by Ruben Zakharian, and some others.Still life painting was represented by the works of "Roses" by Samuil Nevelshtein, "Still life with Pussy-Willows" by Taisia Afonina, "Still life with yellow material" by Rostislav Vovkushevsky, "A Lilac" by Kapitolina Rumiantseva, and some others.
|
[
"Leonid Tkachenko",
"Veniamin Borisov",
"Nikolai Galakhov",
"Irina Baldina",
"Ruben Zakharian",
"Vladimir Ovchinnikov",
"Genre painting",
"Landscape and Cityscape painting",
"Alexander Samokhvalov",
"Taisia Afonina",
"Still life",
"Nikolai Timkov",
"Samuil Nevelshtein",
"Sergei Osipov",
"Maya Kopitseva",
"Nikolai Pozdneev",
"Tatiana Gorb",
"Rostislav Vovkushevsky",
"Vladimir Chekalov",
"Portrait painting",
"Anatoli Nenartovich",
"Anatoli Vasiliev",
"Evgeny Chuprun",
"Vsevolod Bazhenov",
"Kapitolina Rumiantseva",
"Mikhail Kozell",
"Piotr Litvinsky"
] |
|
13959_T
|
Paintings of 1940-1990s: the Leningrad School
|
Focus on Paintings of 1940-1990s: the Leningrad School and explore the Reception.
|
The exhibition was widely covered in the press and in literature specialized in Soviet fine art.
|
[] |
|
13959_NT
|
Paintings of 1940-1990s: the Leningrad School
|
Focus on this artwork and explore the Reception.
|
The exhibition was widely covered in the press and in literature specialized in Soviet fine art.
|
[] |
|
13960_T
|
Painting of the Six Kings
|
Focus on Painting of the Six Kings and explain the abstract.
|
The Painting of the Six Kings is a fresco found on the wall of Qasr Amra, a desert castle of the Umayyad Caliphate located in modern-day Jordan. It depicts six rulers standing in two rows of three. Four of the six have inscriptions in Arabic and Greek identifying them as the Byzantine emperor, King Roderic of Spain, the Sasanian emperor, and the King of Aksum. The painting, now substantially damaged, is thought to be from between 710 and 750, commissioned by the Umayyad caliph or someone in his family. It is one of the most famous frescoes in the Qasr Amra complex.
|
[
"Aksum",
"Spain",
"fresco",
"Arabic",
"Sasanian",
"desert castle",
"Qasr Amra",
"Jordan",
"Byzantine",
"Greek",
"Umayyad Caliphate",
"Roderic",
"Caliphate",
"caliph"
] |
|
13960_NT
|
Painting of the Six Kings
|
Focus on this artwork and explain the abstract.
|
The Painting of the Six Kings is a fresco found on the wall of Qasr Amra, a desert castle of the Umayyad Caliphate located in modern-day Jordan. It depicts six rulers standing in two rows of three. Four of the six have inscriptions in Arabic and Greek identifying them as the Byzantine emperor, King Roderic of Spain, the Sasanian emperor, and the King of Aksum. The painting, now substantially damaged, is thought to be from between 710 and 750, commissioned by the Umayyad caliph or someone in his family. It is one of the most famous frescoes in the Qasr Amra complex.
|
[
"Aksum",
"Spain",
"fresco",
"Arabic",
"Sasanian",
"desert castle",
"Qasr Amra",
"Jordan",
"Byzantine",
"Greek",
"Umayyad Caliphate",
"Roderic",
"Caliphate",
"caliph"
] |
|
13961_T
|
Painting of the Six Kings
|
Explore the Location and history of this artwork, Painting of the Six Kings.
|
The painting is located in Qasr Amra (also transcribed "Quseir Amra", literally "little palace of Amra"), an Umayyad desert structure and a UNESCO World Heritage Site about 85 kilometres (53 mi) east of Amman and 21 kilometres (13 mi) southwest of the Azraq Oasis in modern-day Jordan. The complex has several frescoes painted on its walls. The remoteness and size of the structure suggest that it served as a desert retreat for Umayyad rulers at the time.The painting is on the southern end of the west portion of the main wall. Along with other works in the complex, it was cleaned and preserved in the 1970s by a team from the National Archaeological Museum of Spain.Historian Elizabeth Drayson estimated the earliest possible date for the painting to be 710, the year of the accession of Roderic – one of the kings portrayed in the painting – and the latest to be 750, the year of Abbasid Revolution that overthrew the Umayyads. The artist who painted the fresco is unknown. The patron who commissioned the building, including the painting, was likely one of the caliphs al-Walid I (reigned 705–715), al-Walid II (r. 743–744) or Yazid III (r. 744). It might have been commissioned after the patron became caliph, or before, when the patron was a member of the caliph's family and held the position of governor or heir.The complex, long familiar to local nomads, was first visited by a Westerner in 1898, by the Czech scholar Alois Musil. He first arrived in the complex and saw the paintings on 8 June that year, guided by a group Bedouins. Musil and his companion, Austrian artist Alphons Leopold Mielich, tried to remove the painting from the site, causing permanent damage. A fragment of the painting, containing labels and partial crowns of two of the figures, is now in the Museum of Islamic Art, BerlinMusil's 1907 publication Kusejr 'Amra included a tracing made by Mielich on the spot, Musil's interpretative copy made on the spot, Mielich's later reproduction, and Mielich's written description of the painting. This publication included their observations made before much of the damage to the painting was done.
|
[
"Azraq Oasis",
"Elizabeth Drayson",
"National Archaeological Museum of Spain",
"Spain",
"Bedouin",
"Alphons Leopold Mielich",
"fresco",
"al-Walid I",
"Qasr Amra",
"Jordan",
"al-Walid II",
"UNESCO",
"tracing",
"Abbasid Revolution",
"Roderic",
"World Heritage Site",
"Amman",
"Yazid III",
"Museum of Islamic Art, Berlin",
"caliph",
"Yazid II",
"Alois Musil",
"Yazid I"
] |
|
13961_NT
|
Painting of the Six Kings
|
Explore the Location and history of this artwork.
|
The painting is located in Qasr Amra (also transcribed "Quseir Amra", literally "little palace of Amra"), an Umayyad desert structure and a UNESCO World Heritage Site about 85 kilometres (53 mi) east of Amman and 21 kilometres (13 mi) southwest of the Azraq Oasis in modern-day Jordan. The complex has several frescoes painted on its walls. The remoteness and size of the structure suggest that it served as a desert retreat for Umayyad rulers at the time.The painting is on the southern end of the west portion of the main wall. Along with other works in the complex, it was cleaned and preserved in the 1970s by a team from the National Archaeological Museum of Spain.Historian Elizabeth Drayson estimated the earliest possible date for the painting to be 710, the year of the accession of Roderic – one of the kings portrayed in the painting – and the latest to be 750, the year of Abbasid Revolution that overthrew the Umayyads. The artist who painted the fresco is unknown. The patron who commissioned the building, including the painting, was likely one of the caliphs al-Walid I (reigned 705–715), al-Walid II (r. 743–744) or Yazid III (r. 744). It might have been commissioned after the patron became caliph, or before, when the patron was a member of the caliph's family and held the position of governor or heir.The complex, long familiar to local nomads, was first visited by a Westerner in 1898, by the Czech scholar Alois Musil. He first arrived in the complex and saw the paintings on 8 June that year, guided by a group Bedouins. Musil and his companion, Austrian artist Alphons Leopold Mielich, tried to remove the painting from the site, causing permanent damage. A fragment of the painting, containing labels and partial crowns of two of the figures, is now in the Museum of Islamic Art, BerlinMusil's 1907 publication Kusejr 'Amra included a tracing made by Mielich on the spot, Musil's interpretative copy made on the spot, Mielich's later reproduction, and Mielich's written description of the painting. This publication included their observations made before much of the damage to the painting was done.
|
[
"Azraq Oasis",
"Elizabeth Drayson",
"National Archaeological Museum of Spain",
"Spain",
"Bedouin",
"Alphons Leopold Mielich",
"fresco",
"al-Walid I",
"Qasr Amra",
"Jordan",
"al-Walid II",
"UNESCO",
"tracing",
"Abbasid Revolution",
"Roderic",
"World Heritage Site",
"Amman",
"Yazid III",
"Museum of Islamic Art, Berlin",
"caliph",
"Yazid II",
"Alois Musil",
"Yazid I"
] |
|
13962_T
|
Painting of the Six Kings
|
Focus on Painting of the Six Kings and discuss the Description.
|
The painting is badly damaged, partly due to the efforts by Alois Musil to remove it. Large portions of the figures and their garments are not clearly visible. There are six rulers, or kings, standing facing the viewer in two rows of three. Each king stretches out both hands with palms turned upwards. Inscriptions in Greek and Arabic above four of the figures, written in white letters on a blue background, identify them as:
Kaisar/Qaysar ("Caesar"), the Byzantine emperor, face not visible, wearing imperial robes and tiara,
Rodorikos/Ludhriq, Roderic, the Visigothic king of Hispania, barely visible, except for the tip of his helmet and robes,
Khosroes/Kisra, the Sasanian emperor, appearing young with curly hair, wearing a crown, a cloak, and shoes,
"Najashi" The King of Aksum, face partly visible, wearing a light garment with a red stole, and the imperial head cloth as seen on coins of kings.The labels were already fragile when Musil found it, and many of the labels were lost when he and Mielich tried to clean the painting and remove it from the site. However, Musil's 1907 publication provided his reproduction of the labels before the damage. Apart from the four rulers, no identification remains visible for the other two rulers. Possible identities speculated for them include the emperor of China, a Turkic leader, and an Indian ruler.Alongside the painting of the six kings, on the same wall, is a painting of a woman with the Greek word ΝΙΚΗ Nikē "Victory" above her. Opposite the painting, towards which the six rulers are gesturing, is a painting of a man seated on a throne. Above this man is an inscription containing a blessing on a person whose name is now invisible.
|
[
"Aksum",
"Caesar",
"Turkic leader",
"Arabic",
"Sasanian",
"Byzantine",
"Greek",
"Visigothic",
"emperor of China",
"ΝΙΚΗ",
"Najashi",
"Roderic",
"Alois Musil"
] |
|
13962_NT
|
Painting of the Six Kings
|
Focus on this artwork and discuss the Description.
|
The painting is badly damaged, partly due to the efforts by Alois Musil to remove it. Large portions of the figures and their garments are not clearly visible. There are six rulers, or kings, standing facing the viewer in two rows of three. Each king stretches out both hands with palms turned upwards. Inscriptions in Greek and Arabic above four of the figures, written in white letters on a blue background, identify them as:
Kaisar/Qaysar ("Caesar"), the Byzantine emperor, face not visible, wearing imperial robes and tiara,
Rodorikos/Ludhriq, Roderic, the Visigothic king of Hispania, barely visible, except for the tip of his helmet and robes,
Khosroes/Kisra, the Sasanian emperor, appearing young with curly hair, wearing a crown, a cloak, and shoes,
"Najashi" The King of Aksum, face partly visible, wearing a light garment with a red stole, and the imperial head cloth as seen on coins of kings.The labels were already fragile when Musil found it, and many of the labels were lost when he and Mielich tried to clean the painting and remove it from the site. However, Musil's 1907 publication provided his reproduction of the labels before the damage. Apart from the four rulers, no identification remains visible for the other two rulers. Possible identities speculated for them include the emperor of China, a Turkic leader, and an Indian ruler.Alongside the painting of the six kings, on the same wall, is a painting of a woman with the Greek word ΝΙΚΗ Nikē "Victory" above her. Opposite the painting, towards which the six rulers are gesturing, is a painting of a man seated on a throne. Above this man is an inscription containing a blessing on a person whose name is now invisible.
|
[
"Aksum",
"Caesar",
"Turkic leader",
"Arabic",
"Sasanian",
"Byzantine",
"Greek",
"Visigothic",
"emperor of China",
"ΝΙΚΗ",
"Najashi",
"Roderic",
"Alois Musil"
] |
|
13963_T
|
Painting of the Six Kings
|
How does Painting of the Six Kings elucidate its Interpretation?
|
The intent and meaning of the painting are unclear, and disputed by scholars. The highly diverse interpretations of the painting are partly due to the loss of information from the damage.According to Islamic art consultant Patricia Baker, the Greek word for "victory" appearing nearby suggests that the image was meant to suggest the caliph's supremacy over his enemies. Betsy Williams of the Metropolitan Museum of Art suggested that the six figures are depicted in supplication, presumably towards the caliph who would be seated in the hall. Other scholars, including Arabic epigraphist Max van Berchem and architectural historian K. A. C. Creswell, argued that the six rulers are a representation of the defeated enemies of Islam. Iranologist and archaeologist Ernst Herzfeld argued that the painting is an Umayyad copy or version of the Sassanian "Kings of the Earth" located at Kermanshah, as recorded by Yaqut al-Hamawi in his work Mu'jam al-Buldan (Dictionary of Countries). Art historian Oleg Grabar interpreted the painting as an attempt to convey the idea that the Umayyad dynasty was the descendant and heir of the dynasties it had defeated.
|
[
"K. A. C. Creswell",
"Kermanshah",
"Umayyad dynasty",
"Ernst Herzfeld",
"Iranologist",
"Oleg Grabar",
"Arabic",
"Mu'jam al-Buldan",
"Greek",
"epigraphist",
"Max van Berchem",
"Yaqut al-Hamawi",
"caliph",
"Metropolitan Museum of Art",
"Islamic art"
] |
|
13963_NT
|
Painting of the Six Kings
|
How does this artwork elucidate its Interpretation?
|
The intent and meaning of the painting are unclear, and disputed by scholars. The highly diverse interpretations of the painting are partly due to the loss of information from the damage.According to Islamic art consultant Patricia Baker, the Greek word for "victory" appearing nearby suggests that the image was meant to suggest the caliph's supremacy over his enemies. Betsy Williams of the Metropolitan Museum of Art suggested that the six figures are depicted in supplication, presumably towards the caliph who would be seated in the hall. Other scholars, including Arabic epigraphist Max van Berchem and architectural historian K. A. C. Creswell, argued that the six rulers are a representation of the defeated enemies of Islam. Iranologist and archaeologist Ernst Herzfeld argued that the painting is an Umayyad copy or version of the Sassanian "Kings of the Earth" located at Kermanshah, as recorded by Yaqut al-Hamawi in his work Mu'jam al-Buldan (Dictionary of Countries). Art historian Oleg Grabar interpreted the painting as an attempt to convey the idea that the Umayyad dynasty was the descendant and heir of the dynasties it had defeated.
|
[
"K. A. C. Creswell",
"Kermanshah",
"Umayyad dynasty",
"Ernst Herzfeld",
"Iranologist",
"Oleg Grabar",
"Arabic",
"Mu'jam al-Buldan",
"Greek",
"epigraphist",
"Max van Berchem",
"Yaqut al-Hamawi",
"caliph",
"Metropolitan Museum of Art",
"Islamic art"
] |
|
13964_T
|
Christ on the Cross (Zurbarán)
|
Focus on Christ on the Cross (Zurbarán) and analyze the abstract.
|
Christ on the Cross is a 1627 oil painting on canvas by the Spanish painter Francisco de Zurbarán, now in the Art Institute of Chicago.In 1626 Zurbarán signed a new contract with the Dominicans of San Pablo de Real Monastery in Seville to produce 21 paintings in 8 months. One of these was Christ on the Cross, which was so admired by the artist's contemporaries that Seville's city council suggested he moved there permanently in 1629.
As in Diego Velázquez's 1632 Christ Crucified, the artist shows Christ's two feet nailed separately – the number of nails used to crucify Christ was then a matter of controversy, with Bridget of Sweden writing of four nails. Both works also draw on a Counter Reformation trend after the Council of Trent to depictions focusing solely on Christ rather than those gathered around the cross.
|
[
"Council of Trent",
"Christ Crucified",
"Diego Velázquez",
"Seville",
"Dominican",
"Bridget of Sweden",
"Art Institute of Chicago",
"Francisco de Zurbarán",
"Counter Reformation"
] |
|
13964_NT
|
Christ on the Cross (Zurbarán)
|
Focus on this artwork and analyze the abstract.
|
Christ on the Cross is a 1627 oil painting on canvas by the Spanish painter Francisco de Zurbarán, now in the Art Institute of Chicago.In 1626 Zurbarán signed a new contract with the Dominicans of San Pablo de Real Monastery in Seville to produce 21 paintings in 8 months. One of these was Christ on the Cross, which was so admired by the artist's contemporaries that Seville's city council suggested he moved there permanently in 1629.
As in Diego Velázquez's 1632 Christ Crucified, the artist shows Christ's two feet nailed separately – the number of nails used to crucify Christ was then a matter of controversy, with Bridget of Sweden writing of four nails. Both works also draw on a Counter Reformation trend after the Council of Trent to depictions focusing solely on Christ rather than those gathered around the cross.
|
[
"Council of Trent",
"Christ Crucified",
"Diego Velázquez",
"Seville",
"Dominican",
"Bridget of Sweden",
"Art Institute of Chicago",
"Francisco de Zurbarán",
"Counter Reformation"
] |
|
13965_T
|
Vision of St. John on Patmos
|
In Vision of St. John on Patmos, how is the abstract discussed?
|
The Vision of St. John the Evangelist at Patmos (1520-1522) is a series of frescoes by the Italian late Renaissance artist Antonio Allegri da Correggio. It occupies the interior of the dome, and the relative pendentives, of the Benedictine church of San Giovanni Evangelista of Parma, Italy.
The centre of the cupola is occupied by an illusionistic space based on series of concentric planes indicated by the clouds, from which the apostles stretch out. Starting from the border of the dome, the clouds thin out and open to a shiny light Christ descending towards the floor of the nave. The scene is a faithful rendering of John's Book of Revelation (I,7). The figure of St. John leans from the drum of the dome. This part of the fresco was hidden to the people present in the church, but visible to the monks in the choir and under the dome.In the four pendentives Correggio painted, coupled, the Four Evangelists and the Four Doctors of the Church. These are: St. Matthew with an angel;
St. Mark with a winged lion;
St. Luke with an ox;
St. John with an eagleand, respectively,St. Jerome with the white beard and red garments;
St. Ambrose with a staff;
St. Gregory with the Papal tiara;
St. Augustine portrayed counting together with St. John.
|
[
"St. Mark",
"pendentives",
"Doctors of the Church",
"St. Jerome",
"St. Gregory",
"St. Ambrose",
"Renaissance",
"St. Augustine",
"St. John",
"John",
"St. Luke",
"Italy",
"Book of Revelation",
"Antonio Allegri da Correggio",
"Jerome",
"St. Matthew",
"San Giovanni Evangelista",
"Parma",
"Ambrose",
"John the Evangelist"
] |
|
13965_NT
|
Vision of St. John on Patmos
|
In this artwork, how is the abstract discussed?
|
The Vision of St. John the Evangelist at Patmos (1520-1522) is a series of frescoes by the Italian late Renaissance artist Antonio Allegri da Correggio. It occupies the interior of the dome, and the relative pendentives, of the Benedictine church of San Giovanni Evangelista of Parma, Italy.
The centre of the cupola is occupied by an illusionistic space based on series of concentric planes indicated by the clouds, from which the apostles stretch out. Starting from the border of the dome, the clouds thin out and open to a shiny light Christ descending towards the floor of the nave. The scene is a faithful rendering of John's Book of Revelation (I,7). The figure of St. John leans from the drum of the dome. This part of the fresco was hidden to the people present in the church, but visible to the monks in the choir and under the dome.In the four pendentives Correggio painted, coupled, the Four Evangelists and the Four Doctors of the Church. These are: St. Matthew with an angel;
St. Mark with a winged lion;
St. Luke with an ox;
St. John with an eagleand, respectively,St. Jerome with the white beard and red garments;
St. Ambrose with a staff;
St. Gregory with the Papal tiara;
St. Augustine portrayed counting together with St. John.
|
[
"St. Mark",
"pendentives",
"Doctors of the Church",
"St. Jerome",
"St. Gregory",
"St. Ambrose",
"Renaissance",
"St. Augustine",
"St. John",
"John",
"St. Luke",
"Italy",
"Book of Revelation",
"Antonio Allegri da Correggio",
"Jerome",
"St. Matthew",
"San Giovanni Evangelista",
"Parma",
"Ambrose",
"John the Evangelist"
] |
|
13966_T
|
Bust of Sojourner Truth (U.S. Capitol)
|
Focus on Bust of Sojourner Truth (U.S. Capitol) and explore the abstract.
|
Sojourner Truth is a public artwork by Canadian sculptor Artis Lane, located in Emancipation Hall at the United States Capitol Visitor Center in Washington, D.C. It was the first statue honoring an African-American woman in the U.S. Capitol building.
|
[
"Canadian",
"United States Capitol Visitor Center",
"Sojourner Truth",
"Washington, D.C.",
"Artis Lane"
] |
|
13966_NT
|
Bust of Sojourner Truth (U.S. Capitol)
|
Focus on this artwork and explore the abstract.
|
Sojourner Truth is a public artwork by Canadian sculptor Artis Lane, located in Emancipation Hall at the United States Capitol Visitor Center in Washington, D.C. It was the first statue honoring an African-American woman in the U.S. Capitol building.
|
[
"Canadian",
"United States Capitol Visitor Center",
"Sojourner Truth",
"Washington, D.C.",
"Artis Lane"
] |
|
13967_T
|
Bust of Sojourner Truth (U.S. Capitol)
|
Focus on Bust of Sojourner Truth (U.S. Capitol) and explain the Description.
|
The over-life-size bust of Sojourner Truth shows her in a cap and shawl similar to those in which she was often photographed. She is depicted with a smile suggesting confidence and determination. The sculpture was cast in bronze.
|
[
"Sojourner Truth"
] |
|
13967_NT
|
Bust of Sojourner Truth (U.S. Capitol)
|
Focus on this artwork and explain the Description.
|
The over-life-size bust of Sojourner Truth shows her in a cap and shawl similar to those in which she was often photographed. She is depicted with a smile suggesting confidence and determination. The sculpture was cast in bronze.
|
[
"Sojourner Truth"
] |
|
13968_T
|
Bust of Sojourner Truth (U.S. Capitol)
|
Explore the History of this artwork, Bust of Sojourner Truth (U.S. Capitol).
|
The sculpture was unveiled on April 28, 2009, in Emancipation Hall in the Capitol Visitor Center. It was the first sculpture of an African-American woman to be on display in the Capitol. First Lady Michelle Obama, Speaker of the House Nancy Pelosi, Secretary of State Hillary Clinton, and Representative Sheila Jackson Lee were among those who offered remarks at the unveiling. Representative Lee introduced the bill, House Congressional Resolution 86, that led to the establishment of a statue to Truth in the Capitol. The National Congress of Black Women was a major contributor; they raised funds over many years to underwrite the bust.
|
[
"Hillary Clinton",
"Michelle Obama",
"National Congress of Black Women",
"Sheila Jackson Lee",
"Nancy Pelosi"
] |
|
13968_NT
|
Bust of Sojourner Truth (U.S. Capitol)
|
Explore the History of this artwork.
|
The sculpture was unveiled on April 28, 2009, in Emancipation Hall in the Capitol Visitor Center. It was the first sculpture of an African-American woman to be on display in the Capitol. First Lady Michelle Obama, Speaker of the House Nancy Pelosi, Secretary of State Hillary Clinton, and Representative Sheila Jackson Lee were among those who offered remarks at the unveiling. Representative Lee introduced the bill, House Congressional Resolution 86, that led to the establishment of a statue to Truth in the Capitol. The National Congress of Black Women was a major contributor; they raised funds over many years to underwrite the bust.
|
[
"Hillary Clinton",
"Michelle Obama",
"National Congress of Black Women",
"Sheila Jackson Lee",
"Nancy Pelosi"
] |
|
13969_T
|
St. Matthew (Michelangelo)
|
Focus on St. Matthew (Michelangelo) and discuss the abstract.
|
St. Matthew is a marble sculpture by Michelangelo which depicts Matthew the Apostle. The sculpture was intended for a series of twelve apostles for the choir niches of the Florence Cathedral but left unfinished in 1506 when Michelangelo moved to Rome to work for Pope Julius II. It is currently part of the collection of the Galleria dell'Accademia in Florence.
|
[
"Matthew the Apostle",
"Florence",
"Michelangelo",
"Rome",
"Galleria dell'Accademia",
"Pope Julius II",
"Florence Cathedral"
] |
|
13969_NT
|
St. Matthew (Michelangelo)
|
Focus on this artwork and discuss the abstract.
|
St. Matthew is a marble sculpture by Michelangelo which depicts Matthew the Apostle. The sculpture was intended for a series of twelve apostles for the choir niches of the Florence Cathedral but left unfinished in 1506 when Michelangelo moved to Rome to work for Pope Julius II. It is currently part of the collection of the Galleria dell'Accademia in Florence.
|
[
"Matthew the Apostle",
"Florence",
"Michelangelo",
"Rome",
"Galleria dell'Accademia",
"Pope Julius II",
"Florence Cathedral"
] |
|
13970_T
|
Glory of Sant'Andrea Avellino
|
How does Glory of Sant'Andrea Avellino elucidate its abstract?
|
The Glory of Sant'Andrea Avellino is a painting by the Italian Baroque painter Giovanni Lanfranco, executed in 1624. It is the main altarpiece of the chapel of Sant'Andrea Avellino in the church of Sant'Andrea della Valle in Rome, Italy.
|
[
"Sant'Andrea della Valle",
"Giovanni Lanfranco",
"Rome",
"Andrea Avellino"
] |
|
13970_NT
|
Glory of Sant'Andrea Avellino
|
How does this artwork elucidate its abstract?
|
The Glory of Sant'Andrea Avellino is a painting by the Italian Baroque painter Giovanni Lanfranco, executed in 1624. It is the main altarpiece of the chapel of Sant'Andrea Avellino in the church of Sant'Andrea della Valle in Rome, Italy.
|
[
"Sant'Andrea della Valle",
"Giovanni Lanfranco",
"Rome",
"Andrea Avellino"
] |
|
13971_T
|
Glory of Sant'Andrea Avellino
|
Focus on Glory of Sant'Andrea Avellino and analyze the Description.
|
The painting depicts events on 10 November 1608 just before the death of the priest and Theatine preacher Andrea Avellino. As he began to celebrate the miracle of the Eucharist, he was stricken with apoplexy (stroke) and would soon after die. The depiction shows an assistant aiding him to stand as the heavens and angels open up above, prefiguring his sanctity. The depiction of the lower figures were completed by Lanfranco putatively in 8 days in order to be complete for his beatification by Pope Urban VIII in 1624. It is stated that the glory of angels were added in the mid-1600s by Antonio Amorosi. The canvas originally was taller, and the superior arch of it was detached in the 19th-century when the altar was rebuilt.It remains unclear what the painting completed only by Lanfranco depicted. Ultimately, the addition of the heavens above asserts the posthumous inclusion of Avellino, the second most prominent Theatine preacher, among the blessed. The drama of the moment is also meant to underscore the value of the Catholic mass to the heavens.
|
[
"Theatine",
"Eucharist",
"Urban VIII",
"Andrea Avellino",
"Antonio Amorosi",
"Pope Urban VIII"
] |
|
13971_NT
|
Glory of Sant'Andrea Avellino
|
Focus on this artwork and analyze the Description.
|
The painting depicts events on 10 November 1608 just before the death of the priest and Theatine preacher Andrea Avellino. As he began to celebrate the miracle of the Eucharist, he was stricken with apoplexy (stroke) and would soon after die. The depiction shows an assistant aiding him to stand as the heavens and angels open up above, prefiguring his sanctity. The depiction of the lower figures were completed by Lanfranco putatively in 8 days in order to be complete for his beatification by Pope Urban VIII in 1624. It is stated that the glory of angels were added in the mid-1600s by Antonio Amorosi. The canvas originally was taller, and the superior arch of it was detached in the 19th-century when the altar was rebuilt.It remains unclear what the painting completed only by Lanfranco depicted. Ultimately, the addition of the heavens above asserts the posthumous inclusion of Avellino, the second most prominent Theatine preacher, among the blessed. The drama of the moment is also meant to underscore the value of the Catholic mass to the heavens.
|
[
"Theatine",
"Eucharist",
"Urban VIII",
"Andrea Avellino",
"Antonio Amorosi",
"Pope Urban VIII"
] |
|
13972_T
|
Ia Orana Maria
|
In Ia Orana Maria, how is the abstract discussed?
|
Ia Orana Maria (Ave Maria) is an 1891 oil on canvas painting by Paul Gauguin, now in the Metropolitan Museum of Art in New York. It is one of the first works in his Tahitian period and shows two Polynesians (centre) greeting the Madonna and Child.
|
[
"Paul Gauguin",
"Tahiti",
"Madonna and Child",
"Metropolitan Museum of Art"
] |
|
13972_NT
|
Ia Orana Maria
|
In this artwork, how is the abstract discussed?
|
Ia Orana Maria (Ave Maria) is an 1891 oil on canvas painting by Paul Gauguin, now in the Metropolitan Museum of Art in New York. It is one of the first works in his Tahitian period and shows two Polynesians (centre) greeting the Madonna and Child.
|
[
"Paul Gauguin",
"Tahiti",
"Madonna and Child",
"Metropolitan Museum of Art"
] |
|
13973_T
|
Creation of the World (Raphael)
|
Focus on Creation of the World (Raphael) and explore the abstract.
|
Creation of the World is a mosaic composition in the dome of the Chigi Chapel in Santa Maria del Popolo, Rome, designed by Raphael. The chapel itself was designed by Raphael for his friend and patron, banker Agostino Chigi as a private chapel and family burial place. The dome was decorated with mosaics, a somewhat unusual and old-fashioned technique in the 16th century. Raphael's cartoons were executed by a Venetian craftsman, Luigi da Pace in 1516. The original cartoons were lost but some preparatory drawings, that confirm the originality of the work, survived in the Ashmolean Museum, Oxford. There are two studies for the figure of God and one for the angel above Jupiter. Another drawing in the Palais des Beaux-Arts in Lille shows the planet Mars with an angel. This is probably a creative drawing by a pupil suggested by its inferior quality. Luigi da Pace signed and dated the work at the corner of the panel of Venus:
"LV[dovicus] D[e] P[ace] V[enetus] F[ecit] 1516"
|
[
"Lille",
"Raphael",
"Rome",
"mosaic",
"Agostino Chigi",
"Oxford",
"Jupiter",
"Ashmolean Museum",
"Mars",
"Santa Maria del Popolo",
"Palais des Beaux-Arts",
"Venus",
"Chigi Chapel"
] |
|
13973_NT
|
Creation of the World (Raphael)
|
Focus on this artwork and explore the abstract.
|
Creation of the World is a mosaic composition in the dome of the Chigi Chapel in Santa Maria del Popolo, Rome, designed by Raphael. The chapel itself was designed by Raphael for his friend and patron, banker Agostino Chigi as a private chapel and family burial place. The dome was decorated with mosaics, a somewhat unusual and old-fashioned technique in the 16th century. Raphael's cartoons were executed by a Venetian craftsman, Luigi da Pace in 1516. The original cartoons were lost but some preparatory drawings, that confirm the originality of the work, survived in the Ashmolean Museum, Oxford. There are two studies for the figure of God and one for the angel above Jupiter. Another drawing in the Palais des Beaux-Arts in Lille shows the planet Mars with an angel. This is probably a creative drawing by a pupil suggested by its inferior quality. Luigi da Pace signed and dated the work at the corner of the panel of Venus:
"LV[dovicus] D[e] P[ace] V[enetus] F[ecit] 1516"
|
[
"Lille",
"Raphael",
"Rome",
"mosaic",
"Agostino Chigi",
"Oxford",
"Jupiter",
"Ashmolean Museum",
"Mars",
"Santa Maria del Popolo",
"Palais des Beaux-Arts",
"Venus",
"Chigi Chapel"
] |
|
13974_T
|
Creation of the World (Raphael)
|
Focus on Creation of the World (Raphael) and explain the Description.
|
The central roundel represents God, the Father, surrounded by putti, effectively foreshortened in an impetuous gesture, harking back to Michelangelo, which seems to give rise to the entire motion of the universe below. Eight mosaic panels show the Sun, the Moon, the starry sky and the six known planets as pagan deities depicted in half-length, each accompanied by an angel with colourful feathered wings. The figures are accompanied by the signs of the zodiac.
The sequence of the panels is as follows: the sky; Mercury, the god holding the caduceus (with Virgo and Gemini); Luna, the crescent moon jewelled goddess holding a bow (with Cancer); Saturn, the bearded god holding the scythe (with Aquarius and Capricorn); Jupiter, the king of the gods with his eagle holding a thunderbolt (with Sagittarius and Pisces); Mars, the god of war holding a sword and a shield (with Scorpio and Aries); Sol, the sun-jewelled god holding a bow (with Leo); Venus, the goddess of love with Cupid holding a torch as the Evening Star (with Taurus and Libra). A French engraver, Nicolas Dorigny created a series of plates depicting the mosaics in 1695 for Louis, Duke of Burgundy.
The mosaic panels are surrounded by richly gilded stucco decoration. The blue background creates an optical illusion giving the impression of an architectural framework opening to the sky above the chapel. The panels look like illusionistic skylights between the gilt stucco ribs while God is standing on the edge of the central oculus.The traditional interpretation of the dome is that the composition shows the Creation of the World. Another (disputed) interpretation claims that it represents the cosmos as described by Plato in a Christianized Neoplatonist form. This idea had a widespread popularity in the Renaissance. In this case the dome is a depiction of the Realm of the Soul after Death with God, the Father receiving the soul (of Agostino Chigi) in his new home. The presence of the signs of the zodiac corroborates this interpretation because the signs were symbols of the passage of time in eternity, and they appeared in antique funeral art around the image of the departed.
Nicole Riegel emphasized the role of the angels in the composition: "In view of the important, anything but accessory position of the angels in the panels, there is an unmistakable effort for a reconciliation or interfusion of the Pagan and Christian life view."
|
[
"Saturn",
"mosaic",
"Cupid",
"Libra",
"Gemini",
"Nicolas Dorigny",
"Scorpio",
"Leo",
"Agostino Chigi",
"Capricorn",
"Sol",
"Cancer",
"Louis, Duke of Burgundy",
"Mercury",
"Taurus",
"Sagittarius",
"Luna",
"Jupiter",
"Virgo",
"Neoplatonist",
"caduceus",
"Plato",
"Mars",
"Aries",
"Pisces",
"Michelangelo",
"Aquarius",
"Venus"
] |
|
13974_NT
|
Creation of the World (Raphael)
|
Focus on this artwork and explain the Description.
|
The central roundel represents God, the Father, surrounded by putti, effectively foreshortened in an impetuous gesture, harking back to Michelangelo, which seems to give rise to the entire motion of the universe below. Eight mosaic panels show the Sun, the Moon, the starry sky and the six known planets as pagan deities depicted in half-length, each accompanied by an angel with colourful feathered wings. The figures are accompanied by the signs of the zodiac.
The sequence of the panels is as follows: the sky; Mercury, the god holding the caduceus (with Virgo and Gemini); Luna, the crescent moon jewelled goddess holding a bow (with Cancer); Saturn, the bearded god holding the scythe (with Aquarius and Capricorn); Jupiter, the king of the gods with his eagle holding a thunderbolt (with Sagittarius and Pisces); Mars, the god of war holding a sword and a shield (with Scorpio and Aries); Sol, the sun-jewelled god holding a bow (with Leo); Venus, the goddess of love with Cupid holding a torch as the Evening Star (with Taurus and Libra). A French engraver, Nicolas Dorigny created a series of plates depicting the mosaics in 1695 for Louis, Duke of Burgundy.
The mosaic panels are surrounded by richly gilded stucco decoration. The blue background creates an optical illusion giving the impression of an architectural framework opening to the sky above the chapel. The panels look like illusionistic skylights between the gilt stucco ribs while God is standing on the edge of the central oculus.The traditional interpretation of the dome is that the composition shows the Creation of the World. Another (disputed) interpretation claims that it represents the cosmos as described by Plato in a Christianized Neoplatonist form. This idea had a widespread popularity in the Renaissance. In this case the dome is a depiction of the Realm of the Soul after Death with God, the Father receiving the soul (of Agostino Chigi) in his new home. The presence of the signs of the zodiac corroborates this interpretation because the signs were symbols of the passage of time in eternity, and they appeared in antique funeral art around the image of the departed.
Nicole Riegel emphasized the role of the angels in the composition: "In view of the important, anything but accessory position of the angels in the panels, there is an unmistakable effort for a reconciliation or interfusion of the Pagan and Christian life view."
|
[
"Saturn",
"mosaic",
"Cupid",
"Libra",
"Gemini",
"Nicolas Dorigny",
"Scorpio",
"Leo",
"Agostino Chigi",
"Capricorn",
"Sol",
"Cancer",
"Louis, Duke of Burgundy",
"Mercury",
"Taurus",
"Sagittarius",
"Luna",
"Jupiter",
"Virgo",
"Neoplatonist",
"caduceus",
"Plato",
"Mars",
"Aries",
"Pisces",
"Michelangelo",
"Aquarius",
"Venus"
] |
|
13975_T
|
Statue of Nelson Mandela, Union Buildings
|
Explore the abstract of this artwork, Statue of Nelson Mandela, Union Buildings.
|
The Nelson Mandela statue on the Union Buildings grounds, Pretoria, Gauteng, of former President of South Africa and anti-apartheid activist Nelson Mandela, stands 9 metres tall. The statue was unveiled on the Day of Reconciliation (16 December) 2013, bringing the official mourning period of ten days to a close, after Mandela died on 5 December.
|
[
"Gauteng",
"anti-apartheid",
"Pretoria",
"President of South Africa",
"South Africa",
"Union Buildings",
"Nelson Mandela",
"Day of Reconciliation"
] |
|
13975_NT
|
Statue of Nelson Mandela, Union Buildings
|
Explore the abstract of this artwork.
|
The Nelson Mandela statue on the Union Buildings grounds, Pretoria, Gauteng, of former President of South Africa and anti-apartheid activist Nelson Mandela, stands 9 metres tall. The statue was unveiled on the Day of Reconciliation (16 December) 2013, bringing the official mourning period of ten days to a close, after Mandela died on 5 December.
|
[
"Gauteng",
"anti-apartheid",
"Pretoria",
"President of South Africa",
"South Africa",
"Union Buildings",
"Nelson Mandela",
"Day of Reconciliation"
] |
|
13976_T
|
Statue of Nelson Mandela, Union Buildings
|
Focus on Statue of Nelson Mandela, Union Buildings and discuss the Location.
|
The statue is located in front of the buildings on a spot that used to belong to the statue of J.B.M. Hertzog who was the Prime Minister of South Africa from 1924-1939. Hertzog's statue was taken down on 22 November 2013 and moved to a different location in the grounds.
|
[
"J.B.M. Hertzog",
"South Africa"
] |
|
13976_NT
|
Statue of Nelson Mandela, Union Buildings
|
Focus on this artwork and discuss the Location.
|
The statue is located in front of the buildings on a spot that used to belong to the statue of J.B.M. Hertzog who was the Prime Minister of South Africa from 1924-1939. Hertzog's statue was taken down on 22 November 2013 and moved to a different location in the grounds.
|
[
"J.B.M. Hertzog",
"South Africa"
] |
|
13977_T
|
Statue of Nelson Mandela, Union Buildings
|
How does Statue of Nelson Mandela, Union Buildings elucidate its Controversy?
|
In January 2014 it was discovered that there was a tiny rabbit in the statue's right ear. According to the artists, Andre Prinsloo and Ruhan Janse van Vuuren, they added the bunny in lieu of signing the sculpture, and in remembrance of how quickly they had to produce it. (The Afrikaans word "haas" means both rabbit and "quickly" in English.) After a furore, the artists apologised and the Department of Arts and Culture had the offending bunny removed.
|
[
"Andre Prinsloo",
"Ruhan Janse van Vuuren"
] |
|
13977_NT
|
Statue of Nelson Mandela, Union Buildings
|
How does this artwork elucidate its Controversy?
|
In January 2014 it was discovered that there was a tiny rabbit in the statue's right ear. According to the artists, Andre Prinsloo and Ruhan Janse van Vuuren, they added the bunny in lieu of signing the sculpture, and in remembrance of how quickly they had to produce it. (The Afrikaans word "haas" means both rabbit and "quickly" in English.) After a furore, the artists apologised and the Department of Arts and Culture had the offending bunny removed.
|
[
"Andre Prinsloo",
"Ruhan Janse van Vuuren"
] |
|
13978_T
|
The Blind Man (painting)
|
Focus on The Blind Man (painting) and analyze the abstract.
|
The Blind Man is a 1910 painting by the Flemish artist Gustave Van de Woestyne, now in the Royal Museum for Fine Arts, Antwerp. It is one of a series of portraits of farm workers he produced in Leuven and shows the influence of what were then called the 'Flemish Primitives', such as Rogier van der Weyden's Portrait of Philip van Croy.
|
[
"Rogier van der Weyden",
"Royal Museum for Fine Arts, Antwerp",
"Gustave Van de Woestyne",
"Leuven"
] |
|
13978_NT
|
The Blind Man (painting)
|
Focus on this artwork and analyze the abstract.
|
The Blind Man is a 1910 painting by the Flemish artist Gustave Van de Woestyne, now in the Royal Museum for Fine Arts, Antwerp. It is one of a series of portraits of farm workers he produced in Leuven and shows the influence of what were then called the 'Flemish Primitives', such as Rogier van der Weyden's Portrait of Philip van Croy.
|
[
"Rogier van der Weyden",
"Royal Museum for Fine Arts, Antwerp",
"Gustave Van de Woestyne",
"Leuven"
] |
|
13979_T
|
Passage (sculpture)
|
In Passage (sculpture), how is the abstract discussed?
|
Passage is an outdoor 2014 art installation consisting of 38 weathered steel boat sculptures by Bill Will, installed along the MAX Orange Line in the Brooklyn neighborhood of southeast Portland, Oregon, in the United States.
|
[
"MAX Orange Line",
"Bill Will",
"Portland, Oregon",
"Brooklyn"
] |
|
13979_NT
|
Passage (sculpture)
|
In this artwork, how is the abstract discussed?
|
Passage is an outdoor 2014 art installation consisting of 38 weathered steel boat sculptures by Bill Will, installed along the MAX Orange Line in the Brooklyn neighborhood of southeast Portland, Oregon, in the United States.
|
[
"MAX Orange Line",
"Bill Will",
"Portland, Oregon",
"Brooklyn"
] |
|
13980_T
|
Passage (sculpture)
|
Focus on Passage (sculpture) and explore the Description.
|
Bill Will's Passage consists of 36 weathered steel boat sculptures installed adjacent to MAX Orange Line tracks along Southeast 17th Avenue between McLoughlin and Powell boulevards. According to TriMet, which began installing the sculptures in March–April 2014, the "pieces draw on the natural history of the area while celebrating the Portland-Milwaukie light rail transit project's green street improvements in the corridor". The project's cost was not confirmed in TriMet's announcement.
|
[
"TriMet",
"MAX Orange Line",
"Bill Will"
] |
|
13980_NT
|
Passage (sculpture)
|
Focus on this artwork and explore the Description.
|
Bill Will's Passage consists of 36 weathered steel boat sculptures installed adjacent to MAX Orange Line tracks along Southeast 17th Avenue between McLoughlin and Powell boulevards. According to TriMet, which began installing the sculptures in March–April 2014, the "pieces draw on the natural history of the area while celebrating the Portland-Milwaukie light rail transit project's green street improvements in the corridor". The project's cost was not confirmed in TriMet's announcement.
|
[
"TriMet",
"MAX Orange Line",
"Bill Will"
] |
|
13981_T
|
The Burial of Atala
|
Focus on The Burial of Atala and explain the abstract.
|
The Burial of Atala or The Funeral of Atala (French: Atala au tombeau) is an 1808 oil-on-canvas painting by the French painter Anne-Louis Girodet de Roussy-Trioson. It depicts a scene from Francois-René de Chateaubriand's novel, Atala, written in 1801. Inspired by this tragic love story, Girodet captures its dramatic tone by combining both Neoclassical and Romantic elements while emphasizing the sensuality of Atala’s death.
First publicly displayed in the Salon of 1808, the painting was well received. It was then acquired by Louis XVIII in 1818. Today, it is held in the Louvre Museum in Paris, France.
|
[
"Romantic",
"Neoclassical",
"Atala",
"Louvre",
"Paris",
"Francois-René de Chateaubriand's",
"Anne-Louis Girodet de Roussy-Trioson",
"Louvre Museum"
] |
|
13981_NT
|
The Burial of Atala
|
Focus on this artwork and explain the abstract.
|
The Burial of Atala or The Funeral of Atala (French: Atala au tombeau) is an 1808 oil-on-canvas painting by the French painter Anne-Louis Girodet de Roussy-Trioson. It depicts a scene from Francois-René de Chateaubriand's novel, Atala, written in 1801. Inspired by this tragic love story, Girodet captures its dramatic tone by combining both Neoclassical and Romantic elements while emphasizing the sensuality of Atala’s death.
First publicly displayed in the Salon of 1808, the painting was well received. It was then acquired by Louis XVIII in 1818. Today, it is held in the Louvre Museum in Paris, France.
|
[
"Romantic",
"Neoclassical",
"Atala",
"Louvre",
"Paris",
"Francois-René de Chateaubriand's",
"Anne-Louis Girodet de Roussy-Trioson",
"Louvre Museum"
] |
|
13982_T
|
The Burial of Atala
|
Explore the Context of this artwork, The Burial of Atala.
|
Reacting against the secularism of the French Revolution, both Chateaubriand and Girodet contributed to the revival of Christianity, incorporating religious motifs and iconography into their works.Chateaubriand’s Atala was part of a larger project, The Genius of Christianity (French: Le Génie du Christianisme), written as a defense of Christianity meant to inspire artists and to emphasize moral ideals. Atala tells the story of a Christian girl, Atala, who fell in love with a Natchez Indian, Chatcas. However, this threatens her obligation to her vow of chastity. Atala ultimately chooses to poison herself as a resolution to the struggle between love and the duties of her faith. The story had an immediate impact on artists. The Salon of 1802 featured two paintings directly inspired by Atala. Its tremendous influence persisted over the next half century, as eighteen more paintings were created based on the novel from 1802 to 1848. Girodet was the most significant artist to take up Chateaubriand’s texts at the time.Girodet’s style was influenced by his teacher, the Neoclassical painter Jacques-Louis David, but it also had elements of early Romanticism. Deviating from the Classical, heroic scenes prevalent in David’s works, Girodet placed more emphasis on emotions, individuality, and imagination in his art. Turning to Renaissance themes as well as contemporary literature for inspiration, Girodet was quickly drawn to the strong sentiments that were present in Chateaubriand’s Atala.
|
[
"The Genius of Christianity",
"Romantic",
"Neoclassical",
"Atala",
"French Revolution",
"Romanticism",
"Jacques-Louis David"
] |
|
13982_NT
|
The Burial of Atala
|
Explore the Context of this artwork.
|
Reacting against the secularism of the French Revolution, both Chateaubriand and Girodet contributed to the revival of Christianity, incorporating religious motifs and iconography into their works.Chateaubriand’s Atala was part of a larger project, The Genius of Christianity (French: Le Génie du Christianisme), written as a defense of Christianity meant to inspire artists and to emphasize moral ideals. Atala tells the story of a Christian girl, Atala, who fell in love with a Natchez Indian, Chatcas. However, this threatens her obligation to her vow of chastity. Atala ultimately chooses to poison herself as a resolution to the struggle between love and the duties of her faith. The story had an immediate impact on artists. The Salon of 1802 featured two paintings directly inspired by Atala. Its tremendous influence persisted over the next half century, as eighteen more paintings were created based on the novel from 1802 to 1848. Girodet was the most significant artist to take up Chateaubriand’s texts at the time.Girodet’s style was influenced by his teacher, the Neoclassical painter Jacques-Louis David, but it also had elements of early Romanticism. Deviating from the Classical, heroic scenes prevalent in David’s works, Girodet placed more emphasis on emotions, individuality, and imagination in his art. Turning to Renaissance themes as well as contemporary literature for inspiration, Girodet was quickly drawn to the strong sentiments that were present in Chateaubriand’s Atala.
|
[
"The Genius of Christianity",
"Romantic",
"Neoclassical",
"Atala",
"French Revolution",
"Romanticism",
"Jacques-Louis David"
] |
|
13983_T
|
The Burial of Atala
|
Focus on The Burial of Atala and discuss the Description.
|
The painting features three distinct figures positioned in front of an archway. In the center of the painting, Atala appears dressed in a white burial shroud with her head facing the viewer. She holds a crucifix and has her hands in a prayer-like gesture. To her right stands a man in a robe, representing the character Father Aubry in the novel. Father Aubry, an old priest, delivered the last rites as Atala passed away in Chactas's arms. He stands inside the grave and is lifting the upper half of Atala's body as if preparing to lower her into the grave. The unclothed young man to the left of Atala is Chactas, who is clutching tightly onto Atala’s legs at the edge.In the background of the painting, there is a forest and a cross in the distance, set against the light of dawn. The shovel in the foreground alludes to the digging of the grave. Furthermore, inscribed on the wall of the cave are words quoted from the Book of Job in French, translating to “I have faded like a flower. I have withered like the grass in the fields.”In this painting, the composition confines viewers within the walls of the cave. David’s influence on Girodet is shown through incorporating the Neoclassical tendency to focus on the instantaneity of the moment that is seemingly frozen in time. However, Girodet also distances himself from the Neoclassical tradition, adding elements of Romanticism. The figures express the sensation of grief distinctly, highlighting Girodet's emphasis on individuality. The light on Atala further stresses the sensuality of the moment, adding a poetic and erotic tone. Girodet accentuates similar Romantic elements of originality, individuality, and imagination across many of his works, including the Sleep of Endymion and the Ossian Receiving the Spirits of the French Heroes.
|
[
"Romantic",
"Neoclassical",
"Book of Job",
"Atala",
"Romanticism"
] |
|
13983_NT
|
The Burial of Atala
|
Focus on this artwork and discuss the Description.
|
The painting features three distinct figures positioned in front of an archway. In the center of the painting, Atala appears dressed in a white burial shroud with her head facing the viewer. She holds a crucifix and has her hands in a prayer-like gesture. To her right stands a man in a robe, representing the character Father Aubry in the novel. Father Aubry, an old priest, delivered the last rites as Atala passed away in Chactas's arms. He stands inside the grave and is lifting the upper half of Atala's body as if preparing to lower her into the grave. The unclothed young man to the left of Atala is Chactas, who is clutching tightly onto Atala’s legs at the edge.In the background of the painting, there is a forest and a cross in the distance, set against the light of dawn. The shovel in the foreground alludes to the digging of the grave. Furthermore, inscribed on the wall of the cave are words quoted from the Book of Job in French, translating to “I have faded like a flower. I have withered like the grass in the fields.”In this painting, the composition confines viewers within the walls of the cave. David’s influence on Girodet is shown through incorporating the Neoclassical tendency to focus on the instantaneity of the moment that is seemingly frozen in time. However, Girodet also distances himself from the Neoclassical tradition, adding elements of Romanticism. The figures express the sensation of grief distinctly, highlighting Girodet's emphasis on individuality. The light on Atala further stresses the sensuality of the moment, adding a poetic and erotic tone. Girodet accentuates similar Romantic elements of originality, individuality, and imagination across many of his works, including the Sleep of Endymion and the Ossian Receiving the Spirits of the French Heroes.
|
[
"Romantic",
"Neoclassical",
"Book of Job",
"Atala",
"Romanticism"
] |
|
13984_T
|
The Sacrifice of Polyxena (Giovanni Francesco Romanelli)
|
How does The Sacrifice of Polyxena (Giovanni Francesco Romanelli) elucidate its abstract?
|
The Sacrifice of Polyxena is a 17th-century painting by Italian artist Giovanni Francesco Romanelli. Done in oil on canvas, the painting depicts the death of Polyxena, a captive Trojan princess sacrificed to appease the ghost of the Greek hero Achilles, who had been killed by the Trojans. The painting is in the collection of the Metropolitan Museum of Art, in New York.
|
[
"Trojan",
"New York",
"Giovanni Francesco Romanelli",
"Achilles",
"sacrificed",
"Metropolitan Museum of Art",
"Polyxena"
] |
|
13984_NT
|
The Sacrifice of Polyxena (Giovanni Francesco Romanelli)
|
How does this artwork elucidate its abstract?
|
The Sacrifice of Polyxena is a 17th-century painting by Italian artist Giovanni Francesco Romanelli. Done in oil on canvas, the painting depicts the death of Polyxena, a captive Trojan princess sacrificed to appease the ghost of the Greek hero Achilles, who had been killed by the Trojans. The painting is in the collection of the Metropolitan Museum of Art, in New York.
|
[
"Trojan",
"New York",
"Giovanni Francesco Romanelli",
"Achilles",
"sacrificed",
"Metropolitan Museum of Art",
"Polyxena"
] |
|
13985_T
|
Cancer, There Is Hope
|
Focus on Cancer, There Is Hope and analyze the abstract.
|
Cancer, There Is Hope is a bronze sculpture by Victor Salmones, formerly installed in Houston, Texas, United States. It was cast in 1990, shortly after the artist's death, and was dedicated on May 16, 1993. The sculpture was presented to the City of Houston by the Richard and Annette Bloch Foundation.There are plans to remove the sculpture, as of 2021, because of vandalism beyond repair.
|
[
"Texas",
"bronze sculpture",
"Richard and Annette Bloch Foundation",
"Houston",
"Victor Salmones"
] |
|
13985_NT
|
Cancer, There Is Hope
|
Focus on this artwork and analyze the abstract.
|
Cancer, There Is Hope is a bronze sculpture by Victor Salmones, formerly installed in Houston, Texas, United States. It was cast in 1990, shortly after the artist's death, and was dedicated on May 16, 1993. The sculpture was presented to the City of Houston by the Richard and Annette Bloch Foundation.There are plans to remove the sculpture, as of 2021, because of vandalism beyond repair.
|
[
"Texas",
"bronze sculpture",
"Richard and Annette Bloch Foundation",
"Houston",
"Victor Salmones"
] |
|
13986_T
|
Bust of Christopher Columbus (Lancaster, Pennsylvania)
|
In Bust of Christopher Columbus (Lancaster, Pennsylvania), how is the abstract discussed?
|
A bust of Christopher Columbus was installed in Lancaster, Pennsylvania, United States in 1992. The bust was dedicated at the Lancaster County Courthouse on the 500th anniversary of Christopher Columbus’ discovery of America. Designed by Art Research and Technology of Lancaster at a cost of $13,000, the bronze bust depicts Columbus with chin-length hair, wearing a period hat and a pleated shirt and cloak. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1995.
|
[
"Lancaster County Courthouse",
"Pennsylvania",
"Smithsonian Institution",
"Lancaster",
"Save Outdoor Sculpture!",
"Christopher Columbus",
"bust",
"Art Research and Technology of Lancaster",
"Lancaster, Pennsylvania"
] |
|
13986_NT
|
Bust of Christopher Columbus (Lancaster, Pennsylvania)
|
In this artwork, how is the abstract discussed?
|
A bust of Christopher Columbus was installed in Lancaster, Pennsylvania, United States in 1992. The bust was dedicated at the Lancaster County Courthouse on the 500th anniversary of Christopher Columbus’ discovery of America. Designed by Art Research and Technology of Lancaster at a cost of $13,000, the bronze bust depicts Columbus with chin-length hair, wearing a period hat and a pleated shirt and cloak. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1995.
|
[
"Lancaster County Courthouse",
"Pennsylvania",
"Smithsonian Institution",
"Lancaster",
"Save Outdoor Sculpture!",
"Christopher Columbus",
"bust",
"Art Research and Technology of Lancaster",
"Lancaster, Pennsylvania"
] |
|
13987_T
|
Baptism of Christ (El Greco, Toledo)
|
Focus on Baptism of Christ (El Greco, Toledo) and explore the abstract.
|
Baptism of Christ is a 1608–1614 painting by El Greco, made towards the end of his life in Toledo and completed by his son Jorge Manuel Theotocópuli. It is now in the Hospital de Tavera in Toledo.
|
[
"Jorge Manuel Theotocópuli",
"Toledo",
"El Greco"
] |
|
13987_NT
|
Baptism of Christ (El Greco, Toledo)
|
Focus on this artwork and explore the abstract.
|
Baptism of Christ is a 1608–1614 painting by El Greco, made towards the end of his life in Toledo and completed by his son Jorge Manuel Theotocópuli. It is now in the Hospital de Tavera in Toledo.
|
[
"Jorge Manuel Theotocópuli",
"Toledo",
"El Greco"
] |
|
13988_T
|
Baptism of Christ (El Greco, Toledo)
|
Focus on Baptism of Christ (El Greco, Toledo) and explain the Description.
|
The work was produced almost entirely by Jorge Manuel Theotocópuli, El Greco's son. Jesus appears kneeling while Saint John the Baptist at right pours water onto his head from a conch. In the upper, God the Father and the dove of the Holy Spirit are painted to unite the figures of the Holy Trinity. The strong lighting recalls the work of Michelangelo.
This large canvas was delivered to the Tavera Hospital shortly before 1624, the date on which it was already included in the inventory of this institution. It is likely that it was designed to be placed in the main altarpiece, in the central niche of the lower floor, which has the appropriate measurements. However, the Tabernacle of the Tavera Hospital would have made it difficult to contemplate. It was then placed in the altarpiece on the right side. After a brief move, it was returned to the same altarpiece and a landscape was added at the bottom, in order to fill the space that was empty (circa 1670). There it remained until the Spanish Civil War. Later, all the paintings by El Greco in the Hospital were exhibited in the palace of the Duchess of Lerma (in the same Hospital). They then returned to their place, and this work is found once again in the altarpiece on the right side.
|
[
"Michelangelo",
"Jorge Manuel Theotocópuli",
"John the Baptist",
"El Greco",
"Trinity",
"Holy Spirit",
"Saint John the Baptist",
"God the Father",
"Holy Trinity"
] |
|
13988_NT
|
Baptism of Christ (El Greco, Toledo)
|
Focus on this artwork and explain the Description.
|
The work was produced almost entirely by Jorge Manuel Theotocópuli, El Greco's son. Jesus appears kneeling while Saint John the Baptist at right pours water onto his head from a conch. In the upper, God the Father and the dove of the Holy Spirit are painted to unite the figures of the Holy Trinity. The strong lighting recalls the work of Michelangelo.
This large canvas was delivered to the Tavera Hospital shortly before 1624, the date on which it was already included in the inventory of this institution. It is likely that it was designed to be placed in the main altarpiece, in the central niche of the lower floor, which has the appropriate measurements. However, the Tabernacle of the Tavera Hospital would have made it difficult to contemplate. It was then placed in the altarpiece on the right side. After a brief move, it was returned to the same altarpiece and a landscape was added at the bottom, in order to fill the space that was empty (circa 1670). There it remained until the Spanish Civil War. Later, all the paintings by El Greco in the Hospital were exhibited in the palace of the Duchess of Lerma (in the same Hospital). They then returned to their place, and this work is found once again in the altarpiece on the right side.
|
[
"Michelangelo",
"Jorge Manuel Theotocópuli",
"John the Baptist",
"El Greco",
"Trinity",
"Holy Spirit",
"Saint John the Baptist",
"God the Father",
"Holy Trinity"
] |
|
13989_T
|
Statue of Helmuth von Moltke the Elder
|
Explore the abstract of this artwork, Statue of Helmuth von Moltke the Elder.
|
The statue of Helmuth von Moltke the Elder by Joseph Uphues is located near the Berlin Victory Column in the Tiergarten, Berlin.
|
[
"Berlin Victory Column",
"Joseph Uphues",
"Helmuth von Moltke the Elder",
"Berlin"
] |
|
13989_NT
|
Statue of Helmuth von Moltke the Elder
|
Explore the abstract of this artwork.
|
The statue of Helmuth von Moltke the Elder by Joseph Uphues is located near the Berlin Victory Column in the Tiergarten, Berlin.
|
[
"Berlin Victory Column",
"Joseph Uphues",
"Helmuth von Moltke the Elder",
"Berlin"
] |
|
13990_T
|
Girls Dancing Around an Obelisk
|
Focus on Girls Dancing Around an Obelisk and discuss the abstract.
|
Girls Dancing Around an Obelisk is an oil-on-canvas painting by French painter Hubert Robert, made in 1798. It is held at the Montreal Museum of Fine Arts since 1964.
|
[
"French",
"Montreal",
"Obelisk",
"Hubert Robert",
"Montreal Museum of Fine Arts"
] |
|
13990_NT
|
Girls Dancing Around an Obelisk
|
Focus on this artwork and discuss the abstract.
|
Girls Dancing Around an Obelisk is an oil-on-canvas painting by French painter Hubert Robert, made in 1798. It is held at the Montreal Museum of Fine Arts since 1964.
|
[
"French",
"Montreal",
"Obelisk",
"Hubert Robert",
"Montreal Museum of Fine Arts"
] |
|
13991_T
|
Girls Dancing Around an Obelisk
|
How does Girls Dancing Around an Obelisk elucidate its History and description?
|
Hubert Robert had a fascination with the Ancient Egypt, typical of the pre-romanticism of his time. This painting depicts, in an imaginary Egyptian architectural setting, where the Giza pyramids can be seen in the distance, a group of nine young female dancers, wearing white dresses in an antique style and blue and red ribbons at the waist, performing a farandole around the base of an Egyptian obelisk, whose truncated top lies on the ground on the right of the composition, in the shadows. A broken Sphinx is seen at the left, behind the obelisk. The scene is completed by a group of people dressed in more modern attire detailing the ruins, in the lower left, and by musicians playing their instruments perched on a ledge of the obelisk. The tiny figures illustrate the huge dimension, at the distance, of the pyramids.
|
[
"Ancient Egypt",
"farandole",
"Hubert Robert",
"Sphinx",
"obelisk"
] |
|
13991_NT
|
Girls Dancing Around an Obelisk
|
How does this artwork elucidate its History and description?
|
Hubert Robert had a fascination with the Ancient Egypt, typical of the pre-romanticism of his time. This painting depicts, in an imaginary Egyptian architectural setting, where the Giza pyramids can be seen in the distance, a group of nine young female dancers, wearing white dresses in an antique style and blue and red ribbons at the waist, performing a farandole around the base of an Egyptian obelisk, whose truncated top lies on the ground on the right of the composition, in the shadows. A broken Sphinx is seen at the left, behind the obelisk. The scene is completed by a group of people dressed in more modern attire detailing the ruins, in the lower left, and by musicians playing their instruments perched on a ledge of the obelisk. The tiny figures illustrate the huge dimension, at the distance, of the pyramids.
|
[
"Ancient Egypt",
"farandole",
"Hubert Robert",
"Sphinx",
"obelisk"
] |
|
13992_T
|
Venus Anadyomene (Titian)
|
Focus on Venus Anadyomene (Titian) and analyze the abstract.
|
Venus Anadyomene (Greek, 'Venus rising from the sea'), is a c. 1520 oil painting by Titian, depicting Venus rising from the sea and wringing her hair, after her birth fully-grown. Venus, said to have been born from a shell, is identified by the shell at bottom left. It is smaller than usual in the birth of Venus scenes, such as Botticelli's, and is just intended to identify the subject rather than be a boat-like vessel for Venus, as in Sandro Botticelli's The Birth of Venus and other depictions.
The voluptuousness of the Venus presented, and her sideways glance, also owes much to the Crouching Venus and Cnidian Venus types of antique sculpture. The wringing of her hair is a direct imitation of Apelles's lost masterwork of the same title. Titian deliberately included this detail to prove that he could rival the art of antiquity in which the goddess was also washing her hair — a fact mentioned in Pliny's Natural History.
The painting is in exceptionally fine condition. It was once owned by Christina of Sweden, and passed via the Orleans Collection to 6th Duke of Sutherland, who lent it and 26 other paintings to the National Gallery of Scotland in 1945. On the death of the childless Duke in 2000, the work was acquired from his cousin, Francis Egerton, 7th Duke of Sutherland for more than £11m in 2003, with the aid of the National Art Collections Fund. Also contributing to the purchase were the Wolfson Foundation, the Heritage Lottery Fund (£7.6m), and the Scottish Executive (£2.5m). To facilitate the sale, £2.4m of the picture's value was offset against inheritance tax. The market value has been estimated at £20m. After the sale, the 7th Duke said, "To all intents and purposes nothing has changed, except the painting will now belong to the nation."
It soon afterwards formed the centrepiece of an exhibition in 2004 and the anniversary exhibition "Saved!" for the National Art Collections Fund.
|
[
"Botticelli's",
"Wolfson Foundation",
"National Gallery of Scotland",
"Cnidian Venus",
"Natural History",
"The Birth of Venus",
"6th Duke of Sutherland",
"National Art Collections Fund",
"Francis Egerton, 7th Duke of Sutherland",
"Christina of Sweden",
"Sandro Botticelli",
"Venus Anadyomene",
"Orleans Collection",
"Crouching Venus",
"Titian",
"Venus",
"Scottish Executive",
"Heritage Lottery Fund",
"Apelles",
"offset against inheritance tax"
] |
|
13992_NT
|
Venus Anadyomene (Titian)
|
Focus on this artwork and analyze the abstract.
|
Venus Anadyomene (Greek, 'Venus rising from the sea'), is a c. 1520 oil painting by Titian, depicting Venus rising from the sea and wringing her hair, after her birth fully-grown. Venus, said to have been born from a shell, is identified by the shell at bottom left. It is smaller than usual in the birth of Venus scenes, such as Botticelli's, and is just intended to identify the subject rather than be a boat-like vessel for Venus, as in Sandro Botticelli's The Birth of Venus and other depictions.
The voluptuousness of the Venus presented, and her sideways glance, also owes much to the Crouching Venus and Cnidian Venus types of antique sculpture. The wringing of her hair is a direct imitation of Apelles's lost masterwork of the same title. Titian deliberately included this detail to prove that he could rival the art of antiquity in which the goddess was also washing her hair — a fact mentioned in Pliny's Natural History.
The painting is in exceptionally fine condition. It was once owned by Christina of Sweden, and passed via the Orleans Collection to 6th Duke of Sutherland, who lent it and 26 other paintings to the National Gallery of Scotland in 1945. On the death of the childless Duke in 2000, the work was acquired from his cousin, Francis Egerton, 7th Duke of Sutherland for more than £11m in 2003, with the aid of the National Art Collections Fund. Also contributing to the purchase were the Wolfson Foundation, the Heritage Lottery Fund (£7.6m), and the Scottish Executive (£2.5m). To facilitate the sale, £2.4m of the picture's value was offset against inheritance tax. The market value has been estimated at £20m. After the sale, the 7th Duke said, "To all intents and purposes nothing has changed, except the painting will now belong to the nation."
It soon afterwards formed the centrepiece of an exhibition in 2004 and the anniversary exhibition "Saved!" for the National Art Collections Fund.
|
[
"Botticelli's",
"Wolfson Foundation",
"National Gallery of Scotland",
"Cnidian Venus",
"Natural History",
"The Birth of Venus",
"6th Duke of Sutherland",
"National Art Collections Fund",
"Francis Egerton, 7th Duke of Sutherland",
"Christina of Sweden",
"Sandro Botticelli",
"Venus Anadyomene",
"Orleans Collection",
"Crouching Venus",
"Titian",
"Venus",
"Scottish Executive",
"Heritage Lottery Fund",
"Apelles",
"offset against inheritance tax"
] |
|
13993_T
|
Woodrow Wilson Monument
|
In Woodrow Wilson Monument, how is the abstract discussed?
|
The Woodrow Wilson Monument (Czech: Pomník Woodrowa Wilsona), created by Czech-American sculptor Albin Polasek, is installed outside Praha hlavní nádraží in Prague, Czech Republic. It was unveiled in October 2011, and honors the 28th president of the United States, Woodrow Wilson.
|
[
"Praha hlavní nádraží",
"Woodrow Wilson",
"Prague",
"Albin Polasek"
] |
|
13993_NT
|
Woodrow Wilson Monument
|
In this artwork, how is the abstract discussed?
|
The Woodrow Wilson Monument (Czech: Pomník Woodrowa Wilsona), created by Czech-American sculptor Albin Polasek, is installed outside Praha hlavní nádraží in Prague, Czech Republic. It was unveiled in October 2011, and honors the 28th president of the United States, Woodrow Wilson.
|
[
"Praha hlavní nádraží",
"Woodrow Wilson",
"Prague",
"Albin Polasek"
] |
|
13994_T
|
Music (Matisse)
|
Focus on Music (Matisse) and explore the abstract.
|
Music (La Musique) is a wall-size painting made by Henri Matisse in 1910. The painting was commissioned by Sergei Shchukin, who hung it with Matisse's 1910 Dance on the staircase of his Moscow mansion. Matisse made the painting without any preparatory sketches, and thus the painting bears many traces of modifications. One can virtually trace the steps Matisse took to find the intended effect. As in Dance, the aim was to show man's attainment of a state of completeness by immersion in creativity.
The painting is now in the collection of the Hermitage Museum in Saint Petersburg, Russia.
|
[
"Russia",
"Henri Matisse",
"Hermitage Museum",
"Sergei Shchukin",
"Saint Petersburg",
"Dance"
] |
|
13994_NT
|
Music (Matisse)
|
Focus on this artwork and explore the abstract.
|
Music (La Musique) is a wall-size painting made by Henri Matisse in 1910. The painting was commissioned by Sergei Shchukin, who hung it with Matisse's 1910 Dance on the staircase of his Moscow mansion. Matisse made the painting without any preparatory sketches, and thus the painting bears many traces of modifications. One can virtually trace the steps Matisse took to find the intended effect. As in Dance, the aim was to show man's attainment of a state of completeness by immersion in creativity.
The painting is now in the collection of the Hermitage Museum in Saint Petersburg, Russia.
|
[
"Russia",
"Henri Matisse",
"Hermitage Museum",
"Sergei Shchukin",
"Saint Petersburg",
"Dance"
] |
|
13995_T
|
The Soothsayer's Recompense
|
Focus on The Soothsayer's Recompense and explain the abstract.
|
The Soothsayer's Recompense is a 1913 painting by Italian painter Giorgio de Chirico. It is now in the Philadelphia Museum of Art as part of the permanent collection. It was accessioned in 1950 as one of the thousand items donated to the institution by Walter and Louise Arensberg. The piece was created in France, through a process of "squaring-up" in which Chirico drew a version of the piece divided into nine squares, and subsequently used this draft to quickly create the fleshed-out painting.
|
[
"Giorgio de Chirico",
"Walter and Louise Arensberg",
"Philadelphia Museum of Art"
] |
|
13995_NT
|
The Soothsayer's Recompense
|
Focus on this artwork and explain the abstract.
|
The Soothsayer's Recompense is a 1913 painting by Italian painter Giorgio de Chirico. It is now in the Philadelphia Museum of Art as part of the permanent collection. It was accessioned in 1950 as one of the thousand items donated to the institution by Walter and Louise Arensberg. The piece was created in France, through a process of "squaring-up" in which Chirico drew a version of the piece divided into nine squares, and subsequently used this draft to quickly create the fleshed-out painting.
|
[
"Giorgio de Chirico",
"Walter and Louise Arensberg",
"Philadelphia Museum of Art"
] |
|
13996_T
|
The Soothsayer's Recompense
|
Explore the Subject matter of this artwork, The Soothsayer's Recompense.
|
The piece depicts an empty city square, a recurring motif in works by Chirico. It also features a locomotive in the background, another recurring motif also found in Le Rêve Transformé and Gare Montparnasse (The Melancholy of Departure).
The statue at the center of the painting is meant to represent Ariadne, who was the daughter of Minos, King of Crete. She assisted Theseus in his escape from the Labyrinth, but he later abandoned her on the island of Naxos. Like the locomotive and empty square, Ariadne appears in other paintings by Chirico.
|
[
"Gare Montparnasse (The Melancholy of Departure)",
"Naxos",
"The Melancholy of Departure",
"Theseus",
"Labyrinth",
"Le Rêve Transformé",
"Ariadne"
] |
|
13996_NT
|
The Soothsayer's Recompense
|
Explore the Subject matter of this artwork.
|
The piece depicts an empty city square, a recurring motif in works by Chirico. It also features a locomotive in the background, another recurring motif also found in Le Rêve Transformé and Gare Montparnasse (The Melancholy of Departure).
The statue at the center of the painting is meant to represent Ariadne, who was the daughter of Minos, King of Crete. She assisted Theseus in his escape from the Labyrinth, but he later abandoned her on the island of Naxos. Like the locomotive and empty square, Ariadne appears in other paintings by Chirico.
|
[
"Gare Montparnasse (The Melancholy of Departure)",
"Naxos",
"The Melancholy of Departure",
"Theseus",
"Labyrinth",
"Le Rêve Transformé",
"Ariadne"
] |
|
13997_T
|
The Soothsayer's Recompense
|
Focus on The Soothsayer's Recompense and discuss the Display history.
|
The Soothsayer's Recompense is currently owned by the Philadelphia Museum of Art, and was first shown there in 1954. It originally hung in the home of the Arensberg family, where it inspired Philip Guston to become a painter. Since being accessioned by its current owner, it has been shown elsewhere, including twice at the Estorick Collection of Modern Italian Art in 2003 and again in 2014, and at the Institute of Contemporary Art in 2007.
|
[
"Estorick Collection of Modern Italian Art",
"Philadelphia Museum of Art",
"Institute of Contemporary Art",
"Philip Guston"
] |
|
13997_NT
|
The Soothsayer's Recompense
|
Focus on this artwork and discuss the Display history.
|
The Soothsayer's Recompense is currently owned by the Philadelphia Museum of Art, and was first shown there in 1954. It originally hung in the home of the Arensberg family, where it inspired Philip Guston to become a painter. Since being accessioned by its current owner, it has been shown elsewhere, including twice at the Estorick Collection of Modern Italian Art in 2003 and again in 2014, and at the Institute of Contemporary Art in 2007.
|
[
"Estorick Collection of Modern Italian Art",
"Philadelphia Museum of Art",
"Institute of Contemporary Art",
"Philip Guston"
] |
|
13998_T
|
Still Life with Fruit (Caravaggio)
|
How does Still Life with Fruit (Caravaggio) elucidate its abstract?
|
Still Life with Fruit on a Stone Ledge is a painting attributed to the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610).
The picture has been variously dated between 1601 and 1610 (Caravaggio scholar John T. Spike lists the date as circa 1603 in the second revised edition of his study of the artist). It depicts a wicker basket heaped with various fruit and vegetables sitting on a stone table, caught in Caravaggio's usual strong yet mellow shaft of light falling from top left, "as if through a hole in the ceiling." (Caravaggio at around this time was sued by a landlady for having cut a hole in the ceiling of the rooms he rented, presumably to create his characteristic lighting). The bulk of the space is taken up by the large melons, marrows and pumpkins, the watermelon and pumpkin cut open to display the interior, the marrows, long and twisting, seeming to wish to escape the two-dimensional space of the picture plane.
|
[
"Michelangelo Merisi da Caravaggio",
"light falling from top left",
"Baroque",
"Caravaggio",
"Italian"
] |
|
13998_NT
|
Still Life with Fruit (Caravaggio)
|
How does this artwork elucidate its abstract?
|
Still Life with Fruit on a Stone Ledge is a painting attributed to the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610).
The picture has been variously dated between 1601 and 1610 (Caravaggio scholar John T. Spike lists the date as circa 1603 in the second revised edition of his study of the artist). It depicts a wicker basket heaped with various fruit and vegetables sitting on a stone table, caught in Caravaggio's usual strong yet mellow shaft of light falling from top left, "as if through a hole in the ceiling." (Caravaggio at around this time was sued by a landlady for having cut a hole in the ceiling of the rooms he rented, presumably to create his characteristic lighting). The bulk of the space is taken up by the large melons, marrows and pumpkins, the watermelon and pumpkin cut open to display the interior, the marrows, long and twisting, seeming to wish to escape the two-dimensional space of the picture plane.
|
[
"Michelangelo Merisi da Caravaggio",
"light falling from top left",
"Baroque",
"Caravaggio",
"Italian"
] |
|
13999_T
|
Still Life with Fruit (Caravaggio)
|
Focus on Still Life with Fruit (Caravaggio) and analyze the Still life.
|
Caravaggio has justly been credited as the father of Roman still-life painting, a genre which was in its infancy in the early 17th century. Although Caravaggio very frequently included still-life elements in his works, only two independent still lifes from his hand have been identified to date. These are the Still Life with Fruit on a Stone Ledge and the Basket of Fruit at the Ambrosiana in Milan. Because of both the extraordinary virtuosity of its execution and the complexity of meaning suggested by its composition, scholars have referred to the Still Life with Fruit on a Stone Ledge as a "capital picture for the artist" and a "masterpiece of still life."
While at one level the painting is a bravura study of texture and form and light, the Renaissance symbology of fruit and vegetables was rich and intricate, and given this fact and the fact that so many of Caravaggio's apparently simple paintings, such as Boy Bitten by a Lizard, in fact carry coded messages, it is not unlikely that the Still Life with Fruit on a Stone Ledge is equally complex. Nevertheless, no plausible reading has so far been advanced, although several commentators have noted the visual suggestiveness of the moistly cut fruits and melons and the writhing, thrusting marrows.
|
[
"Boy Bitten by a Lizard",
"Renaissance",
"Caravaggio"
] |
|
13999_NT
|
Still Life with Fruit (Caravaggio)
|
Focus on this artwork and analyze the Still life.
|
Caravaggio has justly been credited as the father of Roman still-life painting, a genre which was in its infancy in the early 17th century. Although Caravaggio very frequently included still-life elements in his works, only two independent still lifes from his hand have been identified to date. These are the Still Life with Fruit on a Stone Ledge and the Basket of Fruit at the Ambrosiana in Milan. Because of both the extraordinary virtuosity of its execution and the complexity of meaning suggested by its composition, scholars have referred to the Still Life with Fruit on a Stone Ledge as a "capital picture for the artist" and a "masterpiece of still life."
While at one level the painting is a bravura study of texture and form and light, the Renaissance symbology of fruit and vegetables was rich and intricate, and given this fact and the fact that so many of Caravaggio's apparently simple paintings, such as Boy Bitten by a Lizard, in fact carry coded messages, it is not unlikely that the Still Life with Fruit on a Stone Ledge is equally complex. Nevertheless, no plausible reading has so far been advanced, although several commentators have noted the visual suggestiveness of the moistly cut fruits and melons and the writhing, thrusting marrows.
|
[
"Boy Bitten by a Lizard",
"Renaissance",
"Caravaggio"
] |
|
14000_T
|
Still Life with Fruit (Caravaggio)
|
In Still Life with Fruit (Caravaggio), how is the Provenance discussed?
|
It was first recorded in the collection of Cardinal Antonio Barberini in 1671, as being "in the hand" of the artist; how it came to be there (and this is the first recorded mention of its existence) is open to speculation, but Barberini is known to have bought up part of the collection of Cardinal Francesco Maria Del Monte, Caravaggio's first patron, when the cardinal died in 1627 . It may therefore have been a private work for Del Monte.
Another possibility is that in 1644 Cardinal Antonio Barberini inherited the Still Life with Fruit on a Stone Ledge from his uncle, Pope Urban VIII, who was the greatest patron of the Roman Baroque and an avid art collector. It is documented that in 1603, while he was still a cardinal, Urban VIII acquired a number of paintings directly from Caravaggio. The Still Life with Fruit on a Stone Ledge could easily have been one of these. It shares the same dimensions and the same palette as the Sacrifice of Isaac now at the Uffizi, which is known to have been part of this group and which dates from the same period in Caravaggio's career.
|
[
"Baroque",
"Antonio Barberini",
"Caravaggio",
"Francesco Maria Del Monte",
"Cardinal"
] |
|
14000_NT
|
Still Life with Fruit (Caravaggio)
|
In this artwork, how is the Provenance discussed?
|
It was first recorded in the collection of Cardinal Antonio Barberini in 1671, as being "in the hand" of the artist; how it came to be there (and this is the first recorded mention of its existence) is open to speculation, but Barberini is known to have bought up part of the collection of Cardinal Francesco Maria Del Monte, Caravaggio's first patron, when the cardinal died in 1627 . It may therefore have been a private work for Del Monte.
Another possibility is that in 1644 Cardinal Antonio Barberini inherited the Still Life with Fruit on a Stone Ledge from his uncle, Pope Urban VIII, who was the greatest patron of the Roman Baroque and an avid art collector. It is documented that in 1603, while he was still a cardinal, Urban VIII acquired a number of paintings directly from Caravaggio. The Still Life with Fruit on a Stone Ledge could easily have been one of these. It shares the same dimensions and the same palette as the Sacrifice of Isaac now at the Uffizi, which is known to have been part of this group and which dates from the same period in Caravaggio's career.
|
[
"Baroque",
"Antonio Barberini",
"Caravaggio",
"Francesco Maria Del Monte",
"Cardinal"
] |
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