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|---|---|---|---|---|---|
14001_T
|
From Darkness, the Light (Johann Ender)
|
Focus on From Darkness, the Light (Johann Ender) and explore the abstract.
|
From Darkness, the Light (Hungarian: Borura derü!) or Allegory of the Hungarian Academy of Sciences (Hungarian: A Magyar Tudományos Akadémia allegóriája) is a monumental painting by Johann Ender in the Art Collection of the Hungarian Academy of Sciences in Budapest. It is also the official symbol of the institution, the main motif constituting its logo.
|
[
"Hungarian Academy of Sciences",
"Budapest",
"logo",
"Hungarian",
"Johann Ender"
] |
|
14001_NT
|
From Darkness, the Light (Johann Ender)
|
Focus on this artwork and explore the abstract.
|
From Darkness, the Light (Hungarian: Borura derü!) or Allegory of the Hungarian Academy of Sciences (Hungarian: A Magyar Tudományos Akadémia allegóriája) is a monumental painting by Johann Ender in the Art Collection of the Hungarian Academy of Sciences in Budapest. It is also the official symbol of the institution, the main motif constituting its logo.
|
[
"Hungarian Academy of Sciences",
"Budapest",
"logo",
"Hungarian",
"Johann Ender"
] |
|
14002_T
|
From Darkness, the Light (Johann Ender)
|
Focus on From Darkness, the Light (Johann Ender) and explain the History.
|
The painting was made by Johann Ender in 1831 and it was signed by the artist on the lower right corner: Johann Ender pinx 1831. The allegorical painting was commissioned by the founder of the academy, Count István Széchenyi who donated the full annual income of his estates to establish the Hungarian Society of Learning in 1825. The scientific society came into being in 1830. There was a strong personal connection between the client and the artist who went on long journey together in the Mediterranean in 1818. Széchenyi gave many commissions to Ender in the next decades.Ender had to implement the visual program of Széchenyi who closely followed the preparations. The artist made several preparatory drawings. When a serious disagreement broke out, Széchenyi consulted Friedrich von Amerling, the most acclaimed painter in Vienna at the time. Amerling created an alternative draft but in the end Ender retained the assignment. The same composition was used on the coat of arms and the seal of the society.
On 4 June 1834 Széchenyi announced that he donated the "allegorical painting that constitutes the coat of arms of the society" to the institution. This is commemorated by the inscription in the lower left corner: "A' M. Accademiának emlékül G. Széchenyi István, 1834".
|
[
"Friedrich von Amerling",
"Hungarian",
"Vienna",
"István Széchenyi",
"Johann Ender"
] |
|
14002_NT
|
From Darkness, the Light (Johann Ender)
|
Focus on this artwork and explain the History.
|
The painting was made by Johann Ender in 1831 and it was signed by the artist on the lower right corner: Johann Ender pinx 1831. The allegorical painting was commissioned by the founder of the academy, Count István Széchenyi who donated the full annual income of his estates to establish the Hungarian Society of Learning in 1825. The scientific society came into being in 1830. There was a strong personal connection between the client and the artist who went on long journey together in the Mediterranean in 1818. Széchenyi gave many commissions to Ender in the next decades.Ender had to implement the visual program of Széchenyi who closely followed the preparations. The artist made several preparatory drawings. When a serious disagreement broke out, Széchenyi consulted Friedrich von Amerling, the most acclaimed painter in Vienna at the time. Amerling created an alternative draft but in the end Ender retained the assignment. The same composition was used on the coat of arms and the seal of the society.
On 4 June 1834 Széchenyi announced that he donated the "allegorical painting that constitutes the coat of arms of the society" to the institution. This is commemorated by the inscription in the lower left corner: "A' M. Accademiának emlékül G. Széchenyi István, 1834".
|
[
"Friedrich von Amerling",
"Hungarian",
"Vienna",
"István Széchenyi",
"Johann Ender"
] |
|
14003_T
|
From Darkness, the Light (Johann Ender)
|
Explore the Description of this artwork, From Darkness, the Light (Johann Ender).
|
The painting shows a young goddess wearing a white chiton and a purple cloak; there is a laurel wreath on her head. In her right hand she is holding up a gold cup, her other hand is resting on a large shield. The goddess is set in a dark landscape, where heavy clouds are gathering on the sky, but the first rays of the light are bursting through the gloom. Two eagles are coming, the first one is approaching the gold cup.
The painting supposedly portrays Count Széchenyi's lover, his later wife, Crescence Seilern. At time of its creation the goddess was identified as Minerva or Amphitrite but the composition originated in the very popular subject of Goddess Hebe accompanied by the eagle of Jupiter.
In the center of the shield the Hungarian coat-of-arms is flanked by Minerva and Hungaria, the latter woman is veiled but the goddess lifts up her shroud. This is another visual reference to the enlightenment that science could bring to the country. The reliefs of the shield depict a famous episode from ancient history, the meeting of Attila, the ruler of the Huns with Pope Leo I. The inspiration for this scene was the famous painting by Raphael in the Apostolic Palace, The Meeting of Leo the Great and Attila. At the time the Huns were generally considered the forefathers of the Hungarians.
The painting has the same elaborate Rococo frame as the contemporary monumental portrait of Count István Széchenyi by Friedrich von Amerling.
|
[
"Jupiter",
"Friedrich von Amerling",
"Minerva",
"Pope Leo I",
"Raphael",
"Rococo",
"Huns",
"Apostolic Palace",
"Amphitrite",
"Hungarian",
"The Meeting of Leo the Great and Attila",
"chiton",
"portrait of Count István Széchenyi",
"István Széchenyi",
"Attila",
"Hebe"
] |
|
14003_NT
|
From Darkness, the Light (Johann Ender)
|
Explore the Description of this artwork.
|
The painting shows a young goddess wearing a white chiton and a purple cloak; there is a laurel wreath on her head. In her right hand she is holding up a gold cup, her other hand is resting on a large shield. The goddess is set in a dark landscape, where heavy clouds are gathering on the sky, but the first rays of the light are bursting through the gloom. Two eagles are coming, the first one is approaching the gold cup.
The painting supposedly portrays Count Széchenyi's lover, his later wife, Crescence Seilern. At time of its creation the goddess was identified as Minerva or Amphitrite but the composition originated in the very popular subject of Goddess Hebe accompanied by the eagle of Jupiter.
In the center of the shield the Hungarian coat-of-arms is flanked by Minerva and Hungaria, the latter woman is veiled but the goddess lifts up her shroud. This is another visual reference to the enlightenment that science could bring to the country. The reliefs of the shield depict a famous episode from ancient history, the meeting of Attila, the ruler of the Huns with Pope Leo I. The inspiration for this scene was the famous painting by Raphael in the Apostolic Palace, The Meeting of Leo the Great and Attila. At the time the Huns were generally considered the forefathers of the Hungarians.
The painting has the same elaborate Rococo frame as the contemporary monumental portrait of Count István Széchenyi by Friedrich von Amerling.
|
[
"Jupiter",
"Friedrich von Amerling",
"Minerva",
"Pope Leo I",
"Raphael",
"Rococo",
"Huns",
"Apostolic Palace",
"Amphitrite",
"Hungarian",
"The Meeting of Leo the Great and Attila",
"chiton",
"portrait of Count István Széchenyi",
"István Széchenyi",
"Attila",
"Hebe"
] |
|
14004_T
|
The Blessed Mother
|
Focus on The Blessed Mother and discuss the abstract.
|
The Blessed Mother is a work of public art by Gregory Mendez and Neil Wiffill. The sculpture, which depicts Mary, is located at St. Mary of the Assumption Catholic Church in Decatur, Indiana in the United States.
|
[
"Decatur, Indiana",
"Mary",
"Decatur",
"United States",
"Indiana",
"public art"
] |
|
14004_NT
|
The Blessed Mother
|
Focus on this artwork and discuss the abstract.
|
The Blessed Mother is a work of public art by Gregory Mendez and Neil Wiffill. The sculpture, which depicts Mary, is located at St. Mary of the Assumption Catholic Church in Decatur, Indiana in the United States.
|
[
"Decatur, Indiana",
"Mary",
"Decatur",
"United States",
"Indiana",
"public art"
] |
|
14005_T
|
The Blessed Mother
|
How does The Blessed Mother elucidate its Description?
|
The sculpture depicts Mary during her assumption into heaven. She is standing straight upwards, with her chest tilted to the proper left. Her arms are extended, with her proper left arm pointed downward diagonal and her proper right arm pointing upwards diagonal. Her eyes are closed and her head is slightly tilted forward. Mary is shown to wear a blue, white, and light blue robe, which falls all the way to the ground, covering her feet and most of her arms. Three angels are hidden in the robe. Her head is covered by the top of the robe, which has a marbled pale orange-green color. She wears a white shawl, which is draped over both arms and falls almost to the ground. She has white skin and gold speckling is seen throughout the piece. There are three long-stem roses made of metal lying on the ground in front of her. They are affixed to a piece of metal.Originally, the piece was going to be made of cement. The artists changed their minds in order to experiment, and the sculpture was made of scagliola with steel reinforcement. The artists chose to use scagliola to give the sculpture an appearance of being made of marble. The sculpture stands bolted to a covered platform structure, which was completed within four days, and is made of steel with a rubber roof. The sculpture, in total, weighs 700 pounds.
|
[
"Mary",
"marble",
"cement",
"assumption into heaven",
"angels",
"rose",
"robe",
"scagliola"
] |
|
14005_NT
|
The Blessed Mother
|
How does this artwork elucidate its Description?
|
The sculpture depicts Mary during her assumption into heaven. She is standing straight upwards, with her chest tilted to the proper left. Her arms are extended, with her proper left arm pointed downward diagonal and her proper right arm pointing upwards diagonal. Her eyes are closed and her head is slightly tilted forward. Mary is shown to wear a blue, white, and light blue robe, which falls all the way to the ground, covering her feet and most of her arms. Three angels are hidden in the robe. Her head is covered by the top of the robe, which has a marbled pale orange-green color. She wears a white shawl, which is draped over both arms and falls almost to the ground. She has white skin and gold speckling is seen throughout the piece. There are three long-stem roses made of metal lying on the ground in front of her. They are affixed to a piece of metal.Originally, the piece was going to be made of cement. The artists changed their minds in order to experiment, and the sculpture was made of scagliola with steel reinforcement. The artists chose to use scagliola to give the sculpture an appearance of being made of marble. The sculpture stands bolted to a covered platform structure, which was completed within four days, and is made of steel with a rubber roof. The sculpture, in total, weighs 700 pounds.
|
[
"Mary",
"marble",
"cement",
"assumption into heaven",
"angels",
"rose",
"robe",
"scagliola"
] |
|
14006_T
|
The Blessed Mother
|
Focus on The Blessed Mother and analyze the Acquisition.
|
The piece was commissioned, in June 2012, by the St. Mary of the Assumption Catholic Church's Mary's Garden committee, who were in charge of developing a new garden on the church grounds. They asked Gregory Mendez to create it, and he invited Neil Wiffill, whom he had worked with before, to collaborate. The Blessed Mother was completed at Wiffill's studio, 20 miles away, and moved to the church. The sculpture was dedicated on September 8, 2013, the birthday of Mary. It is located in the Mary Garden at the church.
|
[
"Mary",
"birthday"
] |
|
14006_NT
|
The Blessed Mother
|
Focus on this artwork and analyze the Acquisition.
|
The piece was commissioned, in June 2012, by the St. Mary of the Assumption Catholic Church's Mary's Garden committee, who were in charge of developing a new garden on the church grounds. They asked Gregory Mendez to create it, and he invited Neil Wiffill, whom he had worked with before, to collaborate. The Blessed Mother was completed at Wiffill's studio, 20 miles away, and moved to the church. The sculpture was dedicated on September 8, 2013, the birthday of Mary. It is located in the Mary Garden at the church.
|
[
"Mary",
"birthday"
] |
|
14007_T
|
The Blessed Mother
|
In The Blessed Mother, how is the Other information discussed?
|
Gregory Mendez and Neil Wiffill worked together to create the piece. The piece took almost one year to complete. They worked 14-hour days during the last four months before finalizing the piece, in order to make the dedication date. They created seven models before deciding on the final version. The artists debated how to depict Mary, either as a modern-day woman or in more traditional clothing. They also discussed extensively on how her body would be positions. In the end piece, the artists aimed to depict a "alive and real" person through the sculpture. She is described as "shapely and modern in appearance," by the artists.The platform, that the sculpture is affixed to, was created by Elton Bishop. It is described as a "modern-day grotto". The three long-stemmed roses, which lie at the sculptures feet, are meant to suggest that visitors can place flowers of their own in Mary's honor. They are also a tribute to the mothers of the artists. The sculpture is the largest collaboration that the two sculptors have created together, to date.
|
[
"Mary",
"grotto",
"rose"
] |
|
14007_NT
|
The Blessed Mother
|
In this artwork, how is the Other information discussed?
|
Gregory Mendez and Neil Wiffill worked together to create the piece. The piece took almost one year to complete. They worked 14-hour days during the last four months before finalizing the piece, in order to make the dedication date. They created seven models before deciding on the final version. The artists debated how to depict Mary, either as a modern-day woman or in more traditional clothing. They also discussed extensively on how her body would be positions. In the end piece, the artists aimed to depict a "alive and real" person through the sculpture. She is described as "shapely and modern in appearance," by the artists.The platform, that the sculpture is affixed to, was created by Elton Bishop. It is described as a "modern-day grotto". The three long-stemmed roses, which lie at the sculptures feet, are meant to suggest that visitors can place flowers of their own in Mary's honor. They are also a tribute to the mothers of the artists. The sculpture is the largest collaboration that the two sculptors have created together, to date.
|
[
"Mary",
"grotto",
"rose"
] |
|
14008_T
|
The Blessed Mother
|
Focus on The Blessed Mother and explore the Condition.
|
Due to the fragility of scagliola, which is rarely used for outdoor sculpture, the sculpture resides on a covered platform. Before installation, the piece was given four coats of sealant for protection.
|
[
"sealant",
"scagliola"
] |
|
14008_NT
|
The Blessed Mother
|
Focus on this artwork and explore the Condition.
|
Due to the fragility of scagliola, which is rarely used for outdoor sculpture, the sculpture resides on a covered platform. Before installation, the piece was given four coats of sealant for protection.
|
[
"sealant",
"scagliola"
] |
|
14009_T
|
Statue of Zabel Yesayan (Proshyan)
|
Focus on Statue of Zabel Yesayan (Proshyan) and explain the abstract.
|
Statue of Zabel Yesayan (Armenian: Զաբել Եսայանի հուշարձան), a life-size monument dedicated to famous Armenian writer, novelist, translator, public speaker, literary critic Zabel Yesayan. It is located in the village of Proshyan, Kotayk Province of the Republic of Armenia, in the area of the International Center for Agribusiness Research and Education (ICARE): 5th street, 12th lane, 1.
The project was implemented by the Armenian Artists Project charitable online gallery, under the initiative and sponsorship of Diaspora Armenians Victor Zarougian and Judy Saryan.
|
[
"Proshyan",
"Republic of Armenia",
"Zabel Yesayan",
"Armenia",
"literary critic",
"Agribusiness"
] |
|
14009_NT
|
Statue of Zabel Yesayan (Proshyan)
|
Focus on this artwork and explain the abstract.
|
Statue of Zabel Yesayan (Armenian: Զաբել Եսայանի հուշարձան), a life-size monument dedicated to famous Armenian writer, novelist, translator, public speaker, literary critic Zabel Yesayan. It is located in the village of Proshyan, Kotayk Province of the Republic of Armenia, in the area of the International Center for Agribusiness Research and Education (ICARE): 5th street, 12th lane, 1.
The project was implemented by the Armenian Artists Project charitable online gallery, under the initiative and sponsorship of Diaspora Armenians Victor Zarougian and Judy Saryan.
|
[
"Proshyan",
"Republic of Armenia",
"Zabel Yesayan",
"Armenia",
"literary critic",
"Agribusiness"
] |
|
14010_T
|
Statue of Zabel Yesayan (Proshyan)
|
Explore the History of this artwork, Statue of Zabel Yesayan (Proshyan).
|
In 2021, Boston-Armenian philanthropists Victor Zarougian and Judy Saryan commissioned an original monument dedicated to Armenian novelist, public speaker and politician Zabel Yesayan.The opening ceremony of the monument took place on October 9, 2022, in the park of the Zabel Yesayan Agribusiness Center. The opening speech was delivered by Judy Saryan, who presented important episodes of Yesayan's biography, emphasizing her great contribution to the protection of the rights of the Armenian people, especially Armenian women.The Nairyan vocal ensemble performed at the opening ceremony, whose artistic director Naira Mugdusyan first presented Zabel Yesayan's letter to her daughter. Mughdusyan accompanied her speech with sign language.
|
[
"Zabel Yesayan",
"Armenia",
"sign language",
"Agribusiness"
] |
|
14010_NT
|
Statue of Zabel Yesayan (Proshyan)
|
Explore the History of this artwork.
|
In 2021, Boston-Armenian philanthropists Victor Zarougian and Judy Saryan commissioned an original monument dedicated to Armenian novelist, public speaker and politician Zabel Yesayan.The opening ceremony of the monument took place on October 9, 2022, in the park of the Zabel Yesayan Agribusiness Center. The opening speech was delivered by Judy Saryan, who presented important episodes of Yesayan's biography, emphasizing her great contribution to the protection of the rights of the Armenian people, especially Armenian women.The Nairyan vocal ensemble performed at the opening ceremony, whose artistic director Naira Mugdusyan first presented Zabel Yesayan's letter to her daughter. Mughdusyan accompanied her speech with sign language.
|
[
"Zabel Yesayan",
"Armenia",
"sign language",
"Agribusiness"
] |
|
14011_T
|
Statue of Zabel Yesayan (Proshyan)
|
Focus on Statue of Zabel Yesayan (Proshyan) and discuss the Description.
|
The sculpture of Zabel Yesayan is placed on the bridge. She is holding a book in her right hand, which symbolizes her intellectual character and love for literature. The left hand is a fist, symbolizing Yesayan's fighting spirit and defiant character. The bridge-pedestal of the statue symbolizes Western and Eastern Armenia, on which the image of Yesayan stands as a connecting link.
The statue is made of bronze, and it is 1 meter 80 cm high. The height together with the bridge is 2 meters 50 cm.
|
[
"Eastern Armenia",
"Zabel Yesayan",
"Armenia",
"bronze",
"Western"
] |
|
14011_NT
|
Statue of Zabel Yesayan (Proshyan)
|
Focus on this artwork and discuss the Description.
|
The sculpture of Zabel Yesayan is placed on the bridge. She is holding a book in her right hand, which symbolizes her intellectual character and love for literature. The left hand is a fist, symbolizing Yesayan's fighting spirit and defiant character. The bridge-pedestal of the statue symbolizes Western and Eastern Armenia, on which the image of Yesayan stands as a connecting link.
The statue is made of bronze, and it is 1 meter 80 cm high. The height together with the bridge is 2 meters 50 cm.
|
[
"Eastern Armenia",
"Zabel Yesayan",
"Armenia",
"bronze",
"Western"
] |
|
14012_T
|
Socrates, his two Wives, and Alcibiades
|
Focus on Socrates, his two Wives, and Alcibiades and analyze the abstract.
|
Socrates, his two Wives, and Alcibiades is a large oil on canvas painting by the Dutch Golden Age artist, Reyer van Blommendael. It is today owned by the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1377.The painting was bought in 1934 in Paris as a work by Jan Victors, and was later attributed to Cesar van Everdingen. Only in 1997 has the art historian Eddy de Jongh attributed the painting with certainty to Bloemmendael. Other paintings by Blommendael, especially Loth and his Daughters (Musée des Beaux-Arts of Dunkirk), show exactly the same, distinctive type of blonde, round-faced, small-eyed and full-breasted young woman as Socrates, his two Wives, and Alcibiades.The bigamist Socrates is depicted as so absorbed by his thoughts that he remains ignorant of Myrto's erotic enticement, as well as of Xanthippe dousing him with cold water. Only young Alcibiades, arriving from the left, is about to waken the philosopher from his stupor. Socrates is leaning on a stone with the inscription "Know thyself".
|
[
"Cesar van Everdingen",
"Myrto",
"canvas",
"Eddy de Jongh",
"Alcibiades",
"Musée des Beaux-Arts",
"Know thyself",
"Dunkirk",
"Dutch Golden Age",
"Xanthippe",
"Strasbourg",
"Socrates",
"bigamist",
"Jan Victors",
"Paris",
"Reyer van Blommendael"
] |
|
14012_NT
|
Socrates, his two Wives, and Alcibiades
|
Focus on this artwork and analyze the abstract.
|
Socrates, his two Wives, and Alcibiades is a large oil on canvas painting by the Dutch Golden Age artist, Reyer van Blommendael. It is today owned by the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1377.The painting was bought in 1934 in Paris as a work by Jan Victors, and was later attributed to Cesar van Everdingen. Only in 1997 has the art historian Eddy de Jongh attributed the painting with certainty to Bloemmendael. Other paintings by Blommendael, especially Loth and his Daughters (Musée des Beaux-Arts of Dunkirk), show exactly the same, distinctive type of blonde, round-faced, small-eyed and full-breasted young woman as Socrates, his two Wives, and Alcibiades.The bigamist Socrates is depicted as so absorbed by his thoughts that he remains ignorant of Myrto's erotic enticement, as well as of Xanthippe dousing him with cold water. Only young Alcibiades, arriving from the left, is about to waken the philosopher from his stupor. Socrates is leaning on a stone with the inscription "Know thyself".
|
[
"Cesar van Everdingen",
"Myrto",
"canvas",
"Eddy de Jongh",
"Alcibiades",
"Musée des Beaux-Arts",
"Know thyself",
"Dunkirk",
"Dutch Golden Age",
"Xanthippe",
"Strasbourg",
"Socrates",
"bigamist",
"Jan Victors",
"Paris",
"Reyer van Blommendael"
] |
|
14013_T
|
Youth Triumphant
|
In Youth Triumphant, how is the abstract discussed?
|
Youth Triumphant is one of the sculptures created by Auguste Rodin as part of the planning for his The Gates of Hell. It was inspired by Jean Dampt's The Grandmother's Kiss, exhibited in 1893. That work shows a young woman resting in the arms of an old woman, with the pair deeply kissing.
|
[
"Jean Dampt",
"The Gates of Hell",
"Auguste Rodin"
] |
|
14013_NT
|
Youth Triumphant
|
In this artwork, how is the abstract discussed?
|
Youth Triumphant is one of the sculptures created by Auguste Rodin as part of the planning for his The Gates of Hell. It was inspired by Jean Dampt's The Grandmother's Kiss, exhibited in 1893. That work shows a young woman resting in the arms of an old woman, with the pair deeply kissing.
|
[
"Jean Dampt",
"The Gates of Hell",
"Auguste Rodin"
] |
|
14014_T
|
Youth Triumphant
|
Focus on Youth Triumphant and explore the Versions.
|
He also produced variants of the work. George Grappe concludes that - after Rodin became more popular and he and his companion Rose Beuret signed a 10-year contract with the Fumière et Gavinot foundry - the work was reproduced in different sizes. One cast is in the Museo Soumaya.
|
[
"Museo Soumaya",
"Fumière et Gavinot",
"George Grappe",
"Rose Beuret"
] |
|
14014_NT
|
Youth Triumphant
|
Focus on this artwork and explore the Versions.
|
He also produced variants of the work. George Grappe concludes that - after Rodin became more popular and he and his companion Rose Beuret signed a 10-year contract with the Fumière et Gavinot foundry - the work was reproduced in different sizes. One cast is in the Museo Soumaya.
|
[
"Museo Soumaya",
"Fumière et Gavinot",
"George Grappe",
"Rose Beuret"
] |
|
14015_T
|
Statue of Benjamin Franklin (Washington, D.C.)
|
Focus on Statue of Benjamin Franklin (Washington, D.C.) and explain the abstract.
|
The outdoor statue of Benjamin Franklin in Washington, D.C., is located near the intersection of 12th Street and Pennsylvania Avenue, in front of the Old Post Office. The statue was a gift from Stilson Hutchins, founder of The Washington Post, who wanted to display his and the newspaper's stature in the city. The designer, Ernst Plassmann, and sculptor, Jacques Jouvenal, were both German-American artists. The architect of the memorial was J. F. Manning.
The statue was unveiled in 1889 after several years of bureaucratic red tape. There was no public celebration at the dedication, due to Hutchins' desire for the event to be small and intimate. The statue was originally sited at the intersection of 10th Street, D Street, and Pennsylvania Avenue NW. During the 1960s and 1970s, a lot of changes were made to Pennsylvania Avenue, including relocating the statue. The site chosen, in front of the Old Post Office, was because Franklin, in addition to being a statesman, diplomat, and a Founding Father, served as the country's first Postmaster General.
The statue is one of 14 American Revolution statues in Washington, D.C., that were collectively listed on the National Register of Historic Places (NRHP). The statue is also a contributing property to the Pennsylvania Avenue National Historic Site and the L'Enfant Plan, both listed on the NRHP. The statue is made of Carrara marble and the pedestal is Quincy granite. There are several inscriptions on the statue and pedestal, and a multi-colored brick inlay surrounding it.
|
[
"Jacques Jouvenal",
"National Register of Historic Places",
"red tape",
"L'Enfant Plan",
"Carrara marble",
"The Washington Post",
"Washington, D.C.",
"Founding Father",
"Old Post Office",
"Benjamin Franklin",
"Pennsylvania Avenue National Historic Site",
"Pennsylvania Avenue",
"American Revolution",
"Ernst Plassmann",
"Postmaster General",
"NW",
"Stilson Hutchins",
"14 American Revolution statues",
"contributing property"
] |
|
14015_NT
|
Statue of Benjamin Franklin (Washington, D.C.)
|
Focus on this artwork and explain the abstract.
|
The outdoor statue of Benjamin Franklin in Washington, D.C., is located near the intersection of 12th Street and Pennsylvania Avenue, in front of the Old Post Office. The statue was a gift from Stilson Hutchins, founder of The Washington Post, who wanted to display his and the newspaper's stature in the city. The designer, Ernst Plassmann, and sculptor, Jacques Jouvenal, were both German-American artists. The architect of the memorial was J. F. Manning.
The statue was unveiled in 1889 after several years of bureaucratic red tape. There was no public celebration at the dedication, due to Hutchins' desire for the event to be small and intimate. The statue was originally sited at the intersection of 10th Street, D Street, and Pennsylvania Avenue NW. During the 1960s and 1970s, a lot of changes were made to Pennsylvania Avenue, including relocating the statue. The site chosen, in front of the Old Post Office, was because Franklin, in addition to being a statesman, diplomat, and a Founding Father, served as the country's first Postmaster General.
The statue is one of 14 American Revolution statues in Washington, D.C., that were collectively listed on the National Register of Historic Places (NRHP). The statue is also a contributing property to the Pennsylvania Avenue National Historic Site and the L'Enfant Plan, both listed on the NRHP. The statue is made of Carrara marble and the pedestal is Quincy granite. There are several inscriptions on the statue and pedestal, and a multi-colored brick inlay surrounding it.
|
[
"Jacques Jouvenal",
"National Register of Historic Places",
"red tape",
"L'Enfant Plan",
"Carrara marble",
"The Washington Post",
"Washington, D.C.",
"Founding Father",
"Old Post Office",
"Benjamin Franklin",
"Pennsylvania Avenue National Historic Site",
"Pennsylvania Avenue",
"American Revolution",
"Ernst Plassmann",
"Postmaster General",
"NW",
"Stilson Hutchins",
"14 American Revolution statues",
"contributing property"
] |
|
14016_T
|
Statue of Benjamin Franklin (Washington, D.C.)
|
Explore the Location and design of this artwork, Statue of Benjamin Franklin (Washington, D.C.).
|
The statue of Benjamin Franklin is located in front of the Old Post Office at the intersection of 12th Street and Pennsylvania Avenue NW in Washington, D.C. It was originally sited two blocks east across the street from The Washington Post offices, but was moved to its present location in 1980, based on the design plan of the city's Pennsylvania Development Corporation. The statue is made of Carrara marble and is approximately 8-feet tall (2.4 m). The base is Quincy granite and measures 5.5 feet wide (1.7 m). The pedestal and statue are on a raised platform made of granite. When the statue was moved in 1982, Aleksandra Kasuba was chosen to design the platform. In addition to the platform, she designed a multicolor granite and brick pavement surrounding the statue that was meant to recall the Old Post Office interior. The base and platform measures 11-feet tall (3.4 m).The full-length statue of Franklin depicts him as a diplomat in the court of Louis XVI when the U.S. signed its first treaty with a foreign power. His right arm is raised and he's holding papers or diplomatic documents with his left hand. Behind his right foot are three books, two closed and one open.Just under the statue is the inscription:
FRANKLINBelow that, each side of the base is inscribed with one word describing Franklin:
PRINTER
PHILANTHROPIST
PATRIOT
PHILOSOPHER.
On the second level of the base is inscribed:
PRESENTED TO THE NATIONAL CAPITAL/ BY /STILSON HUTCHINS.A bronze plaque is on the third level of the base. Its inscription is:
ERECTED JANUARY 17TH, 1889ERNST PLASSMAN, DESIGNER
JACQUES JOUVENAL, SCULPTOR
J. F. MANNING, DESIGNER OF PEDESTALCOMMISSIONERS OF DISTRICT OF COLUMBIA
W. B. WEBB, S .E. WHEATLEY, C. W. RAYMOND
|
[
"Carrara marble",
"The Washington Post",
"Washington, D.C.",
"Old Post Office",
"Benjamin Franklin",
"Pennsylvania Avenue",
"Aleksandra Kasuba",
"NW",
"Louis XVI"
] |
|
14016_NT
|
Statue of Benjamin Franklin (Washington, D.C.)
|
Explore the Location and design of this artwork.
|
The statue of Benjamin Franklin is located in front of the Old Post Office at the intersection of 12th Street and Pennsylvania Avenue NW in Washington, D.C. It was originally sited two blocks east across the street from The Washington Post offices, but was moved to its present location in 1980, based on the design plan of the city's Pennsylvania Development Corporation. The statue is made of Carrara marble and is approximately 8-feet tall (2.4 m). The base is Quincy granite and measures 5.5 feet wide (1.7 m). The pedestal and statue are on a raised platform made of granite. When the statue was moved in 1982, Aleksandra Kasuba was chosen to design the platform. In addition to the platform, she designed a multicolor granite and brick pavement surrounding the statue that was meant to recall the Old Post Office interior. The base and platform measures 11-feet tall (3.4 m).The full-length statue of Franklin depicts him as a diplomat in the court of Louis XVI when the U.S. signed its first treaty with a foreign power. His right arm is raised and he's holding papers or diplomatic documents with his left hand. Behind his right foot are three books, two closed and one open.Just under the statue is the inscription:
FRANKLINBelow that, each side of the base is inscribed with one word describing Franklin:
PRINTER
PHILANTHROPIST
PATRIOT
PHILOSOPHER.
On the second level of the base is inscribed:
PRESENTED TO THE NATIONAL CAPITAL/ BY /STILSON HUTCHINS.A bronze plaque is on the third level of the base. Its inscription is:
ERECTED JANUARY 17TH, 1889ERNST PLASSMAN, DESIGNER
JACQUES JOUVENAL, SCULPTOR
J. F. MANNING, DESIGNER OF PEDESTALCOMMISSIONERS OF DISTRICT OF COLUMBIA
W. B. WEBB, S .E. WHEATLEY, C. W. RAYMOND
|
[
"Carrara marble",
"The Washington Post",
"Washington, D.C.",
"Old Post Office",
"Benjamin Franklin",
"Pennsylvania Avenue",
"Aleksandra Kasuba",
"NW",
"Louis XVI"
] |
|
14017_T
|
Statue of Benjamin Franklin (Washington, D.C.)
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In Statue of Benjamin Franklin (Washington, D.C.), how is the Production and installation of the History elucidated?
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Benjamin Franklin, one of the Founding Fathers and a signer of the Declaration of Independence, was a well-known intellectual, scientist, statesman, author, and diplomat in 18th-century America. Around 100 years after Franklin's birth, Stilson Hutchins, founder of The Washington Post, aimed to make the surrounding area of his newspaper's building a prime example of his contributions and stature to the city. One of his contributions was to erect a statue honoring Franklin in a small lot at 10th Street, D Street, and Pennsylvania Avenue NW, directly across from The Post building. It took several years before the statue came to fruition. After an Act of Congress was approved on July 19, 1888, local government officials were to find a location for the statue. Since Stilson was paying for the statue, officials chose the lot near his newspaper's building.
Ernst Plassmann was a German-American sculptor who designed the statue of Franklin, partially based on earlier works he had made. The sculptor chosen for the piece, Jacques Jouvenal, was also born in Germany and lived in Washington, D.C., from 1855 until his death in 1905. Jouvenal had operated a statuary workshop at 941 D Street NW, the site where The Post building would be located years later, and the current site of the J. Edgar Hoover Building.By the time the statue was finally installed, Hutchins had retired and dedicated the piece to Washington, D.C., as a symbol of good will from U.S. newspaper publishers. The dedication ceremony took place at 10:00 am on January 17, 1889, Franklin's birthday. The unveiling was done by Franklin's great-granddaughter, Mrs. H. W. Emory. In an article covering the event, The Post wrote "[t]he statue was uncovered without ostentation or parade. Mr. Hutchins having declined a great many suggestions to make what he styles a 'fuss' over it."
|
[
"Jacques Jouvenal",
"The Washington Post",
"Washington, D.C.",
"Founding Father",
"Benjamin Franklin",
"Declaration of Independence",
"Pennsylvania Avenue",
"Founding Fathers",
"Act of Congress",
"Ernst Plassmann",
"NW",
"Stilson Hutchins",
"J. Edgar Hoover Building"
] |
|
14017_NT
|
Statue of Benjamin Franklin (Washington, D.C.)
|
In this artwork, how is the Production and installation of the History elucidated?
|
Benjamin Franklin, one of the Founding Fathers and a signer of the Declaration of Independence, was a well-known intellectual, scientist, statesman, author, and diplomat in 18th-century America. Around 100 years after Franklin's birth, Stilson Hutchins, founder of The Washington Post, aimed to make the surrounding area of his newspaper's building a prime example of his contributions and stature to the city. One of his contributions was to erect a statue honoring Franklin in a small lot at 10th Street, D Street, and Pennsylvania Avenue NW, directly across from The Post building. It took several years before the statue came to fruition. After an Act of Congress was approved on July 19, 1888, local government officials were to find a location for the statue. Since Stilson was paying for the statue, officials chose the lot near his newspaper's building.
Ernst Plassmann was a German-American sculptor who designed the statue of Franklin, partially based on earlier works he had made. The sculptor chosen for the piece, Jacques Jouvenal, was also born in Germany and lived in Washington, D.C., from 1855 until his death in 1905. Jouvenal had operated a statuary workshop at 941 D Street NW, the site where The Post building would be located years later, and the current site of the J. Edgar Hoover Building.By the time the statue was finally installed, Hutchins had retired and dedicated the piece to Washington, D.C., as a symbol of good will from U.S. newspaper publishers. The dedication ceremony took place at 10:00 am on January 17, 1889, Franklin's birthday. The unveiling was done by Franklin's great-granddaughter, Mrs. H. W. Emory. In an article covering the event, The Post wrote "[t]he statue was uncovered without ostentation or parade. Mr. Hutchins having declined a great many suggestions to make what he styles a 'fuss' over it."
|
[
"Jacques Jouvenal",
"The Washington Post",
"Washington, D.C.",
"Founding Father",
"Benjamin Franklin",
"Declaration of Independence",
"Pennsylvania Avenue",
"Founding Fathers",
"Act of Congress",
"Ernst Plassmann",
"NW",
"Stilson Hutchins",
"J. Edgar Hoover Building"
] |
|
14018_T
|
Statue of Benjamin Franklin (Washington, D.C.)
|
In the context of Statue of Benjamin Franklin (Washington, D.C.), analyze the Later history of the History.
|
In 1893, The Post moved its headquarters, but the statue remained in the same place. Several years later the local government created a triangular plaza where the statue is located in order for traffic to run more smoothly. A new bank that opened across from the statue in 1914 was named Franklin National Bank due to the statue facing its building. The statue became a meeting spot for various groups in the early 20-century. The Salvation Army would use the location to proselytize, suffragists met there in 1915, and it was also a meeting place for disarmament activists following World War I. On Franklin's birthday, it wasn't uncommon for people to lay wreaths in front of the statue.Over time, the statue became dirty and was in serious need of cleaning. Because most statues in public spaces in Washington, D.C., are located on federal property, it's the government's responsibility to maintain these memorials. Since the Franklin statue had been a gift to the city, it was left to the local government to carry out this task. Local officials said they had neither the funds nor reasoning to pay for the statue's upkeep. During the 1960s and 1970s, federal official and the Pennsylvania Avenue Development Corporation made plans and carried out massive changes to the portion of Pennsylvania Avenue between the United States Capitol and the White House. In 1974, a portion of D Street was closed and made into a public space. This necessitated the moving of Franklin's statue. The new spot chosen for the statue was in front of the Old Post Office, due to Franklin being America's first Postmaster General. The relocation took place in late 1980.The statue of Franklin is one of 14 American Revolution statues that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The following year the statues were added to the District of Columbia Inventory of Historic Sites. In addition, the Franklin statue is a contributing property to the Pennsylvania Avenue National Historic Site, listed on the NRHP on October 15, 1966, and the L'Enfant Plan, listed on April 24, 1997.
|
[
"National Register of Historic Places",
"World War I",
"L'Enfant Plan",
"disarmament",
"Washington, D.C.",
"Old Post Office",
"Pennsylvania Avenue National Historic Site",
"suffragists",
"District of Columbia Inventory of Historic Sites",
"Pennsylvania Avenue",
"The Salvation Army",
"American Revolution",
"United States Capitol",
"Postmaster General",
"White House",
"14 American Revolution statues",
"contributing property"
] |
|
14018_NT
|
Statue of Benjamin Franklin (Washington, D.C.)
|
In the context of this artwork, analyze the Later history of the History.
|
In 1893, The Post moved its headquarters, but the statue remained in the same place. Several years later the local government created a triangular plaza where the statue is located in order for traffic to run more smoothly. A new bank that opened across from the statue in 1914 was named Franklin National Bank due to the statue facing its building. The statue became a meeting spot for various groups in the early 20-century. The Salvation Army would use the location to proselytize, suffragists met there in 1915, and it was also a meeting place for disarmament activists following World War I. On Franklin's birthday, it wasn't uncommon for people to lay wreaths in front of the statue.Over time, the statue became dirty and was in serious need of cleaning. Because most statues in public spaces in Washington, D.C., are located on federal property, it's the government's responsibility to maintain these memorials. Since the Franklin statue had been a gift to the city, it was left to the local government to carry out this task. Local officials said they had neither the funds nor reasoning to pay for the statue's upkeep. During the 1960s and 1970s, federal official and the Pennsylvania Avenue Development Corporation made plans and carried out massive changes to the portion of Pennsylvania Avenue between the United States Capitol and the White House. In 1974, a portion of D Street was closed and made into a public space. This necessitated the moving of Franklin's statue. The new spot chosen for the statue was in front of the Old Post Office, due to Franklin being America's first Postmaster General. The relocation took place in late 1980.The statue of Franklin is one of 14 American Revolution statues that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The following year the statues were added to the District of Columbia Inventory of Historic Sites. In addition, the Franklin statue is a contributing property to the Pennsylvania Avenue National Historic Site, listed on the NRHP on October 15, 1966, and the L'Enfant Plan, listed on April 24, 1997.
|
[
"National Register of Historic Places",
"World War I",
"L'Enfant Plan",
"disarmament",
"Washington, D.C.",
"Old Post Office",
"Pennsylvania Avenue National Historic Site",
"suffragists",
"District of Columbia Inventory of Historic Sites",
"Pennsylvania Avenue",
"The Salvation Army",
"American Revolution",
"United States Capitol",
"Postmaster General",
"White House",
"14 American Revolution statues",
"contributing property"
] |
|
14019_T
|
Shift (sculpture)
|
In Shift (sculpture), how is the abstract discussed?
|
Shift is a large outdoor sculpture by American artist Richard Serra, located in King City, Ontario, Canada about 30 kilometers north of Toronto. The work was commissioned in 1970 by art collector Roger Davidson and installed on his family property. Shift consists of six large concrete forms, each 20 centimetres thick and 1.5 metres high, zigzagging over the northwest portion of the 4.03 hectares (40,300 m2) property's rolling countryside. In 1990 the Township of King voted to designate Shift and the surrounding land as a protected cultural landscape under the Ontario Heritage Act. The property is now owned by a Toronto-based developer who announced in 2010 that they appeal the decision of the Ontario Conservation Review board with plans to develop the property for housing, necessitating the removal of Shift. In 2013 the Township of King voted to prepare a bylaw to designate Shift as protected under the Ontario Heritage Act, preventing its destruction or alteration.
|
[
"King City, Ontario",
"Canada",
"Richard Serra",
"King City",
"Toronto",
"Ontario Heritage Act",
"Ontario"
] |
|
14019_NT
|
Shift (sculpture)
|
In this artwork, how is the abstract discussed?
|
Shift is a large outdoor sculpture by American artist Richard Serra, located in King City, Ontario, Canada about 30 kilometers north of Toronto. The work was commissioned in 1970 by art collector Roger Davidson and installed on his family property. Shift consists of six large concrete forms, each 20 centimetres thick and 1.5 metres high, zigzagging over the northwest portion of the 4.03 hectares (40,300 m2) property's rolling countryside. In 1990 the Township of King voted to designate Shift and the surrounding land as a protected cultural landscape under the Ontario Heritage Act. The property is now owned by a Toronto-based developer who announced in 2010 that they appeal the decision of the Ontario Conservation Review board with plans to develop the property for housing, necessitating the removal of Shift. In 2013 the Township of King voted to prepare a bylaw to designate Shift as protected under the Ontario Heritage Act, preventing its destruction or alteration.
|
[
"King City, Ontario",
"Canada",
"Richard Serra",
"King City",
"Toronto",
"Ontario Heritage Act",
"Ontario"
] |
|
14020_T
|
Shift (sculpture)
|
Focus on Shift (sculpture) and explore the History.
|
In the summer of 1970 Serra and artist Joan Jonas visited the site, a 13-acre potato farm in King Township. They discovered that if two people walked the distance of the land towards each other while keeping each other in view, they had to negotiate the contours of the land and walked in a zigzagged path. This determined the topographical definition of the space and the finished work would be the maximum distance two people could occupy while still in view of one another. The sculpture's construction began in 1970 and ended in 1972.In 1973 Serra discussed Shift in Art in America:What I wanted was a dialectic between one's perception of the place in totality and one's relation to the field as walked. The result is a way of measuring oneself against the indeterminancy of the land. As one follows the work farther into the field, one is forced to shift and turn with the work and look back across the elevational drop. From the top of the hill, looking back across he valley, images and thoughts are remembered which were initiated by the consciousness of having experienced them.
The land was owned by the family of Roger Davidson, an art collector. Serra approached Davidson with an idea to use the land for a site-specific sculpture. Davidson agreed in exchange for two of Serra's smaller sculptures. Ownership of the work was undetermined and as there was no contract, Serra understood that the work would be preserved on the land by the Davidson family and that the land would not be sold and would be accessible to the public.In 1974, the land, registered in Davidson's mother's name, was sold to Hickory Hill Investments, a land developer. Land registry records made no mention of an artwork on the property. The Ontario government listed the land as protected under the Oak Ridges Moraine Conservation Act as a green space, while Shift is protected under Canadian copyright law as Serra is a landowner in Nova Scotia. The Toronto-based developer announced in 2010 planned to develop the property for housing. Shift and the surrounding land was designated a protected cultural landscape under the Ontario Heritage Act. In 2013 the Township of King voted to prepare a bylaw to designate Shift as protected under the Ontario Heritage Act, preventing its destruction or alteration.
|
[
"Joan Jonas",
"Nova Scotia",
"land developer",
"Oak Ridges Moraine Conservation Act",
"Toronto",
"Ontario Heritage Act",
"Oak Ridges Moraine",
"Ontario",
"Art in America"
] |
|
14020_NT
|
Shift (sculpture)
|
Focus on this artwork and explore the History.
|
In the summer of 1970 Serra and artist Joan Jonas visited the site, a 13-acre potato farm in King Township. They discovered that if two people walked the distance of the land towards each other while keeping each other in view, they had to negotiate the contours of the land and walked in a zigzagged path. This determined the topographical definition of the space and the finished work would be the maximum distance two people could occupy while still in view of one another. The sculpture's construction began in 1970 and ended in 1972.In 1973 Serra discussed Shift in Art in America:What I wanted was a dialectic between one's perception of the place in totality and one's relation to the field as walked. The result is a way of measuring oneself against the indeterminancy of the land. As one follows the work farther into the field, one is forced to shift and turn with the work and look back across the elevational drop. From the top of the hill, looking back across he valley, images and thoughts are remembered which were initiated by the consciousness of having experienced them.
The land was owned by the family of Roger Davidson, an art collector. Serra approached Davidson with an idea to use the land for a site-specific sculpture. Davidson agreed in exchange for two of Serra's smaller sculptures. Ownership of the work was undetermined and as there was no contract, Serra understood that the work would be preserved on the land by the Davidson family and that the land would not be sold and would be accessible to the public.In 1974, the land, registered in Davidson's mother's name, was sold to Hickory Hill Investments, a land developer. Land registry records made no mention of an artwork on the property. The Ontario government listed the land as protected under the Oak Ridges Moraine Conservation Act as a green space, while Shift is protected under Canadian copyright law as Serra is a landowner in Nova Scotia. The Toronto-based developer announced in 2010 planned to develop the property for housing. Shift and the surrounding land was designated a protected cultural landscape under the Ontario Heritage Act. In 2013 the Township of King voted to prepare a bylaw to designate Shift as protected under the Ontario Heritage Act, preventing its destruction or alteration.
|
[
"Joan Jonas",
"Nova Scotia",
"land developer",
"Oak Ridges Moraine Conservation Act",
"Toronto",
"Ontario Heritage Act",
"Oak Ridges Moraine",
"Ontario",
"Art in America"
] |
|
14021_T
|
Statue of Alonzo Horton
|
Focus on Statue of Alonzo Horton and explain the abstract.
|
Alonzo E. Horton is a statue of the American real estate developer of the same name, installed at the intersection of Third Avenue and E Street (Broadway Circle), across from San Diego's Westfield Horton Plaza, in the U.S. state of California.
|
[
"San Diego",
"U.S. state",
"Westfield Horton Plaza",
"American real estate developer of the same name",
"California"
] |
|
14021_NT
|
Statue of Alonzo Horton
|
Focus on this artwork and explain the abstract.
|
Alonzo E. Horton is a statue of the American real estate developer of the same name, installed at the intersection of Third Avenue and E Street (Broadway Circle), across from San Diego's Westfield Horton Plaza, in the U.S. state of California.
|
[
"San Diego",
"U.S. state",
"Westfield Horton Plaza",
"American real estate developer of the same name",
"California"
] |
|
14022_T
|
The Cotton Pickers
|
Explore the abstract of this artwork, The Cotton Pickers.
|
The Cotton Pickers is an 1876 oil painting by Winslow Homer. It depicts two young African-American women in a cotton field.Stately, silent and with barely a flicker of sadness on their faces, the two black women in the painting are unmistakable in their disillusionment: they picked cotton before the war and they are still picking cotton afterward.The painting is in the collection of the Los Angeles County Museum of Art (LACMA).
|
[
"Los Angeles County Museum of Art",
"African-American",
"Winslow Homer"
] |
|
14022_NT
|
The Cotton Pickers
|
Explore the abstract of this artwork.
|
The Cotton Pickers is an 1876 oil painting by Winslow Homer. It depicts two young African-American women in a cotton field.Stately, silent and with barely a flicker of sadness on their faces, the two black women in the painting are unmistakable in their disillusionment: they picked cotton before the war and they are still picking cotton afterward.The painting is in the collection of the Los Angeles County Museum of Art (LACMA).
|
[
"Los Angeles County Museum of Art",
"African-American",
"Winslow Homer"
] |
|
14023_T
|
The Cotton Pickers
|
Focus on The Cotton Pickers and discuss the Background.
|
Early in his artistic career, Homer apprenticed to a lithographer creating images for sheet music and other publications. After the apprenticeship ended, he began making illustrations on a regular freelance basis for the magazine Harper’s Weekly. When the Civil War began, Harper’s made him an artist-correspondent with the Army of the Potomac. Over the next few years, the artist directly witnessed and recorded life in the Union Army.Homer made many sketches that served as the basis for magazine illustrations. Toward the end of the war, he began using them for his own paintings. The first of these to use African American subjects is a work called "The Bright Side." The piece is acknowledged as Homer’s transition from illustrator to painter. Its subject matter and small size mark the piece as illustration, while its style points to Homer’s future as a realist painter.After the war, the artist's interest in painting the lives of former slaves led him to return visits to Petersburg, Virginia, where he had spent time during the Civil War's final siege. From 1874 to 1876, Homer made studies for and may have painted a series of watercolors and paintings of the life of rural African Americans. Because of his realistic portrayals and sensitivity towards his subjects, the painter is known as “first American consistently to paint African Americans without the prevailing attitudes of condescension and sentimentality.”"The Cotton Pickers" is considered to be Homer's most outstanding painting depicting the post-war period.In 1876, the year the painting was made, Federal troops were being withdrawn from the South as Reconstruction came to an end. During this period, the focus of the Federal Government shifted from aiding its vulnerable new citizens, to helping rich industrialists fight labor unions. In the post-war years preceding “The Cotton Pickers,” African-Americans had hopes of vast improvements in their lives. This optimism, however, was short lived, as continued racism and a harsher form of black codes, the Jim Crow Laws would soon be implemented.
|
[
"Union Army",
"sheet music",
"labor unions",
"Federal Government",
"Jim Crow Laws",
"African Americans",
"African-American",
"\"The Bright Side.\"",
"Army of the Potomac",
"South",
"Harper’s Weekly",
"Civil War",
"lithographer",
"Reconstruction"
] |
|
14023_NT
|
The Cotton Pickers
|
Focus on this artwork and discuss the Background.
|
Early in his artistic career, Homer apprenticed to a lithographer creating images for sheet music and other publications. After the apprenticeship ended, he began making illustrations on a regular freelance basis for the magazine Harper’s Weekly. When the Civil War began, Harper’s made him an artist-correspondent with the Army of the Potomac. Over the next few years, the artist directly witnessed and recorded life in the Union Army.Homer made many sketches that served as the basis for magazine illustrations. Toward the end of the war, he began using them for his own paintings. The first of these to use African American subjects is a work called "The Bright Side." The piece is acknowledged as Homer’s transition from illustrator to painter. Its subject matter and small size mark the piece as illustration, while its style points to Homer’s future as a realist painter.After the war, the artist's interest in painting the lives of former slaves led him to return visits to Petersburg, Virginia, where he had spent time during the Civil War's final siege. From 1874 to 1876, Homer made studies for and may have painted a series of watercolors and paintings of the life of rural African Americans. Because of his realistic portrayals and sensitivity towards his subjects, the painter is known as “first American consistently to paint African Americans without the prevailing attitudes of condescension and sentimentality.”"The Cotton Pickers" is considered to be Homer's most outstanding painting depicting the post-war period.In 1876, the year the painting was made, Federal troops were being withdrawn from the South as Reconstruction came to an end. During this period, the focus of the Federal Government shifted from aiding its vulnerable new citizens, to helping rich industrialists fight labor unions. In the post-war years preceding “The Cotton Pickers,” African-Americans had hopes of vast improvements in their lives. This optimism, however, was short lived, as continued racism and a harsher form of black codes, the Jim Crow Laws would soon be implemented.
|
[
"Union Army",
"sheet music",
"labor unions",
"Federal Government",
"Jim Crow Laws",
"African Americans",
"African-American",
"\"The Bright Side.\"",
"Army of the Potomac",
"South",
"Harper’s Weekly",
"Civil War",
"lithographer",
"Reconstruction"
] |
|
14024_T
|
The Cotton Pickers
|
How does The Cotton Pickers elucidate its Description?
|
In "The Cotton Pickers", Homer employs a palette of browns and silvery grays on a canvas that measures approximately 24 by 38 inches. The piece offers a realistic view of two female "slave-like" workers. The women are presented from a low vantage point, filling the canvas and dominating the composition. They are dressed in humble clothing, cotton blouses and long skirts. The colors are blurred and dim with little contrast in shadow and texture, except for the background which appears much lighter than the women. The darker colors with which the pair are painted establish the work's entire atmosphere.Judging by the light, the scene is set in early morning. As the women have nearly filled their basket and sack, they have probably been working since before dawn. Both are silent with vivid expressions. The painter renders the pair with a combination of black and white physical characteristics. Neither woman is picking cotton. The unhappy one on the left, holding a bushel basket, stoops to brush a plant with her hand. The woman on the right, gunny sack slug across her shoulder, stands erect gazing into the distance, a poignant image of inner life and aspiration. Her demeanor might be interpreted as one of defiance or hatred. While the figures are painted as powerful and heroic, they are also portrayed as individuals.Far into the distance, Homer places a low blue-green mountain range bordered on the left by a forest and on the right by a single pine rising high above the pale field.
|
[] |
|
14024_NT
|
The Cotton Pickers
|
How does this artwork elucidate its Description?
|
In "The Cotton Pickers", Homer employs a palette of browns and silvery grays on a canvas that measures approximately 24 by 38 inches. The piece offers a realistic view of two female "slave-like" workers. The women are presented from a low vantage point, filling the canvas and dominating the composition. They are dressed in humble clothing, cotton blouses and long skirts. The colors are blurred and dim with little contrast in shadow and texture, except for the background which appears much lighter than the women. The darker colors with which the pair are painted establish the work's entire atmosphere.Judging by the light, the scene is set in early morning. As the women have nearly filled their basket and sack, they have probably been working since before dawn. Both are silent with vivid expressions. The painter renders the pair with a combination of black and white physical characteristics. Neither woman is picking cotton. The unhappy one on the left, holding a bushel basket, stoops to brush a plant with her hand. The woman on the right, gunny sack slug across her shoulder, stands erect gazing into the distance, a poignant image of inner life and aspiration. Her demeanor might be interpreted as one of defiance or hatred. While the figures are painted as powerful and heroic, they are also portrayed as individuals.Far into the distance, Homer places a low blue-green mountain range bordered on the left by a forest and on the right by a single pine rising high above the pale field.
|
[] |
|
14025_T
|
The Cotton Pickers
|
Focus on The Cotton Pickers and analyze the Analysis.
|
Homer's contemporaries praised the artist as the first to see the possibilities of untapped subject matter. In contrast to the caricatures painted of African Americans during and after the Civil War, Homer's representation of rural workers in heroic terms drew upon a popular European style of the time. These elements are well represented in the work of French artists Jean-François Millet and Jules Breton. Homer similarly portrayed his laborers with respect and sympathy as graceful majestic figures, as well as unmistakably American subjects. "The Cotton Pickers" has been called "the artist’s most monumental painting of the figure; that it should also be of African American subjects is remarkable."The women's slavery past is imprinted on their faces as is their future in an inevitable cycle of labor. Though the master-slave relationship was undone by the Emancipation Proclamation, slave-holding ideologies remained intact for many more years. The vast expanse of land portrayed in "The Cotton Pickers" is likely part of a large farm or plantation, indicating that the two figures are common wage laborers. No progress from the women’s labor is visible, although their basket and sack are full. The boundless nature of the field suggests that the work will never be finished. To emphasize the concept of a never-ending endeavor, Homer places the cotton plants so the viewer cannot see the laborers’ legs, providing an illusion that the pair are unable to move or escape from bondage.The field hands are isolated in terms of color, which suggests their isolation in life. The foreground color is dense and heightened, while the background is much lighter and less intensified. The background is perceived as light and weightless, against which the darkly-painted laborers are viewed as still bound to the epoch of slavery. Despite this, the women give the impression of looking forward with thoughtfulness and determination. They stand erect, emanating the force of will to handle their difficult circumstances. In painting the background, Homer may even offer the promise of a better future. From left to right, the horizon progresses from a single tree to a forest, which might be interpreted as "one hope turning into a unified force of change."According to a contemporary art historian, by depicting the women as mulattoes with characteristic Caucasian features such as light skin and fine facial bone structure, Homer indicates they are of mixed race parentage. Increase in the mulatto population from the mid-18th century to the mid-19th century resulted from the sexual abuse of enslaved black women by their Southern planter masters. "The Cotton Pickers" presumes the women's fathers were white plantation owners. During Homer's time, mixed-blood heritage was thought to be an obstacle to black Americans' advancement. Individuals fearful of threats to white racial purity theorized that mulattos were "doomed to biological eradication and could not reproduce beyond a few generations." Unable to sustain this heritage, "the mulatto would be denied a place in America’s future" and the world of the powerless mixed-race individual would be one in which major change for the black community could never occur. Homer's portrayal of the women as mulattoes may characterize them as having limited potential for successful futures. Reality, however, often proved quite different. Because many mulattos were born to wealthy white fathers, they often received special treatment both within the black community and from slave holding relatives.A fellow scholar and critic concludes that in "The Cotton Pickers", "Homer creates a gap between the specificity of the realistic details and the mysterious evocativeness of the expressions and oblique glances that makes the uneasy relationship of consciousness to ordinary life the subject of the painting." His figures "look out of the frame space, beyond the physical world defined by their paintings... beckoning the "viewer to look beyond social valuations and depictions...to an appreciation of an intangible, gentle sublimity in which the individual consciousness participates, separated from the group or the social task at hand and not communicable in effects of light and color." The result is a conception of the individual as in some sense 'all dressed up with no place to go' with a consciousness that potentially will not be expressed or translated into worldly roles, actions, or identities."
|
[
"Jules Breton",
"mulattoes",
"African Americans",
"Jean-François Millet",
"South",
"Civil War",
"Emancipation Proclamation"
] |
|
14025_NT
|
The Cotton Pickers
|
Focus on this artwork and analyze the Analysis.
|
Homer's contemporaries praised the artist as the first to see the possibilities of untapped subject matter. In contrast to the caricatures painted of African Americans during and after the Civil War, Homer's representation of rural workers in heroic terms drew upon a popular European style of the time. These elements are well represented in the work of French artists Jean-François Millet and Jules Breton. Homer similarly portrayed his laborers with respect and sympathy as graceful majestic figures, as well as unmistakably American subjects. "The Cotton Pickers" has been called "the artist’s most monumental painting of the figure; that it should also be of African American subjects is remarkable."The women's slavery past is imprinted on their faces as is their future in an inevitable cycle of labor. Though the master-slave relationship was undone by the Emancipation Proclamation, slave-holding ideologies remained intact for many more years. The vast expanse of land portrayed in "The Cotton Pickers" is likely part of a large farm or plantation, indicating that the two figures are common wage laborers. No progress from the women’s labor is visible, although their basket and sack are full. The boundless nature of the field suggests that the work will never be finished. To emphasize the concept of a never-ending endeavor, Homer places the cotton plants so the viewer cannot see the laborers’ legs, providing an illusion that the pair are unable to move or escape from bondage.The field hands are isolated in terms of color, which suggests their isolation in life. The foreground color is dense and heightened, while the background is much lighter and less intensified. The background is perceived as light and weightless, against which the darkly-painted laborers are viewed as still bound to the epoch of slavery. Despite this, the women give the impression of looking forward with thoughtfulness and determination. They stand erect, emanating the force of will to handle their difficult circumstances. In painting the background, Homer may even offer the promise of a better future. From left to right, the horizon progresses from a single tree to a forest, which might be interpreted as "one hope turning into a unified force of change."According to a contemporary art historian, by depicting the women as mulattoes with characteristic Caucasian features such as light skin and fine facial bone structure, Homer indicates they are of mixed race parentage. Increase in the mulatto population from the mid-18th century to the mid-19th century resulted from the sexual abuse of enslaved black women by their Southern planter masters. "The Cotton Pickers" presumes the women's fathers were white plantation owners. During Homer's time, mixed-blood heritage was thought to be an obstacle to black Americans' advancement. Individuals fearful of threats to white racial purity theorized that mulattos were "doomed to biological eradication and could not reproduce beyond a few generations." Unable to sustain this heritage, "the mulatto would be denied a place in America’s future" and the world of the powerless mixed-race individual would be one in which major change for the black community could never occur. Homer's portrayal of the women as mulattoes may characterize them as having limited potential for successful futures. Reality, however, often proved quite different. Because many mulattos were born to wealthy white fathers, they often received special treatment both within the black community and from slave holding relatives.A fellow scholar and critic concludes that in "The Cotton Pickers", "Homer creates a gap between the specificity of the realistic details and the mysterious evocativeness of the expressions and oblique glances that makes the uneasy relationship of consciousness to ordinary life the subject of the painting." His figures "look out of the frame space, beyond the physical world defined by their paintings... beckoning the "viewer to look beyond social valuations and depictions...to an appreciation of an intangible, gentle sublimity in which the individual consciousness participates, separated from the group or the social task at hand and not communicable in effects of light and color." The result is a conception of the individual as in some sense 'all dressed up with no place to go' with a consciousness that potentially will not be expressed or translated into worldly roles, actions, or identities."
|
[
"Jules Breton",
"mulattoes",
"African Americans",
"Jean-François Millet",
"South",
"Civil War",
"Emancipation Proclamation"
] |
|
14026_T
|
St Mark (Mantegna)
|
In St Mark (Mantegna), how is the abstract discussed?
|
Saint Mark is a 1448 tempera on canvas painting by Andrea Mantegna. It is now in the Städel Museum in Frankfurt. It is the earliest known work by the artist. The painting depicts Mark the Evangelist.
Mantegna was aged 17 in 1448, the year in which he regained his independence after six years in the studio of Francesco Squarcione. He filed a lawsuit against his former master for not paying him for works he had produced under his own name. He also began several commissions, such as the altarpiece for Santa Sofia church in Padua, now destroyed.
It is signed and dated 1448 on a small cartouche in the foreground, inscribed "INCLITA MAGNANIMI VEN... / EVANGELISTA PAX TIBI M[ARC]E / ANDREAE MANTEGNAE PICTORIS LABOR". The use of a cartouche in this way originated in Flemish art and was also used by other Italian artists such as Filippo Lippi.
|
[
"Mark the Evangelist",
"Francesco Squarcione",
"Städel Museum",
"Städel",
"Santa Sofia church",
"Padua",
"Mantegna",
"Andrea Mantegna",
"Filippo Lippi"
] |
|
14026_NT
|
St Mark (Mantegna)
|
In this artwork, how is the abstract discussed?
|
Saint Mark is a 1448 tempera on canvas painting by Andrea Mantegna. It is now in the Städel Museum in Frankfurt. It is the earliest known work by the artist. The painting depicts Mark the Evangelist.
Mantegna was aged 17 in 1448, the year in which he regained his independence after six years in the studio of Francesco Squarcione. He filed a lawsuit against his former master for not paying him for works he had produced under his own name. He also began several commissions, such as the altarpiece for Santa Sofia church in Padua, now destroyed.
It is signed and dated 1448 on a small cartouche in the foreground, inscribed "INCLITA MAGNANIMI VEN... / EVANGELISTA PAX TIBI M[ARC]E / ANDREAE MANTEGNAE PICTORIS LABOR". The use of a cartouche in this way originated in Flemish art and was also used by other Italian artists such as Filippo Lippi.
|
[
"Mark the Evangelist",
"Francesco Squarcione",
"Städel Museum",
"Städel",
"Santa Sofia church",
"Padua",
"Mantegna",
"Andrea Mantegna",
"Filippo Lippi"
] |
|
14027_T
|
Portrait of George Washington Taking the Salute at Trenton
|
Focus on Portrait of George Washington Taking the Salute at Trenton and explore the abstract.
|
The Portrait of George Washington Taking the Salute at Trenton is a large full-length oil on canvas painting by the Scottish artist John Faed depicting General George Washington on the battlefield at Trenton, New Jersey, during the American Revolutionary War. The equestrian portrait was the basis for the engraving Washington Receiving a Salute on the Field of Trenton by the British artist William Holl.
|
[
"Trenton, New Jersey",
"Scottish",
"John Faed",
"equestrian portrait",
"oil on canvas",
"William Holl",
"American Revolution",
"George Washington",
"American Revolutionary War"
] |
|
14027_NT
|
Portrait of George Washington Taking the Salute at Trenton
|
Focus on this artwork and explore the abstract.
|
The Portrait of George Washington Taking the Salute at Trenton is a large full-length oil on canvas painting by the Scottish artist John Faed depicting General George Washington on the battlefield at Trenton, New Jersey, during the American Revolutionary War. The equestrian portrait was the basis for the engraving Washington Receiving a Salute on the Field of Trenton by the British artist William Holl.
|
[
"Trenton, New Jersey",
"Scottish",
"John Faed",
"equestrian portrait",
"oil on canvas",
"William Holl",
"American Revolution",
"George Washington",
"American Revolutionary War"
] |
|
14028_T
|
Portrait of George Washington Taking the Salute at Trenton
|
Focus on Portrait of George Washington Taking the Salute at Trenton and explain the History.
|
John Faed (1819–1902) was a member of the Royal Scottish Academy. In 1856, the portrait was sold to the publisher James Keith for £200 (equivalent to £19,880 in 2021). According to biographer Mary McKerrow, "Why he painted this important posthumous equestrian portrait of George Washington Taking the Salute at Trenton has still to be discovered." According to the provenance provided by Christie's, the painting originated from a commission by Andrew Carnegie. It sold in 1969 for US$662,500 at Christie's auction house. By 1982, it was in the collection of St. Mary's Art Guild in Detroit, Michigan. In 1984 the painting was sold anonymously for US$43,000 by Sotheby's. The painting was on display at the Westervelt–Warner Museum of American Art, renamed the Tuscaloosa Museum of Art, created by Jack Warner to display his art collection. Washington was Warner's personal hero. The art museum closed in 2018.
|
[
"Detroit",
"Scottish",
"John Faed",
"Andrew Carnegie",
"equestrian portrait",
"provenance",
"Jack Warner",
"Detroit, Michigan",
"Christie's",
"Sotheby's",
"George Washington",
"Tuscaloosa Museum of Art",
"Royal Scottish Academy"
] |
|
14028_NT
|
Portrait of George Washington Taking the Salute at Trenton
|
Focus on this artwork and explain the History.
|
John Faed (1819–1902) was a member of the Royal Scottish Academy. In 1856, the portrait was sold to the publisher James Keith for £200 (equivalent to £19,880 in 2021). According to biographer Mary McKerrow, "Why he painted this important posthumous equestrian portrait of George Washington Taking the Salute at Trenton has still to be discovered." According to the provenance provided by Christie's, the painting originated from a commission by Andrew Carnegie. It sold in 1969 for US$662,500 at Christie's auction house. By 1982, it was in the collection of St. Mary's Art Guild in Detroit, Michigan. In 1984 the painting was sold anonymously for US$43,000 by Sotheby's. The painting was on display at the Westervelt–Warner Museum of American Art, renamed the Tuscaloosa Museum of Art, created by Jack Warner to display his art collection. Washington was Warner's personal hero. The art museum closed in 2018.
|
[
"Detroit",
"Scottish",
"John Faed",
"Andrew Carnegie",
"equestrian portrait",
"provenance",
"Jack Warner",
"Detroit, Michigan",
"Christie's",
"Sotheby's",
"George Washington",
"Tuscaloosa Museum of Art",
"Royal Scottish Academy"
] |
|
14029_T
|
Portrait of George Washington Taking the Salute at Trenton
|
Explore the Description of this artwork, Portrait of George Washington Taking the Salute at Trenton.
|
General George Washington (1732–1799) is depicted in full military uniform, a blue coat over buff waistcoat and pants, riding on a white horse. There is a leopard-skin blanket under his saddle. He is holding a tricorner hat in his left hand and an outstretched sword in his right hand. The background shows a small group of military tents. The figure's head is based on the work of another painter, namely the Athenaeum Portrait of Washington by the American painter Gilbert Stuart (1755–1828). The painting is 142.2 centimeters (56.0 in) high and 105.4 centimeters (41.5 in) wide.
|
[
"tricorner hat",
"Gilbert Stuart",
"buff",
"George Washington",
"Athenaeum Portrait",
"Stuart"
] |
|
14029_NT
|
Portrait of George Washington Taking the Salute at Trenton
|
Explore the Description of this artwork.
|
General George Washington (1732–1799) is depicted in full military uniform, a blue coat over buff waistcoat and pants, riding on a white horse. There is a leopard-skin blanket under his saddle. He is holding a tricorner hat in his left hand and an outstretched sword in his right hand. The background shows a small group of military tents. The figure's head is based on the work of another painter, namely the Athenaeum Portrait of Washington by the American painter Gilbert Stuart (1755–1828). The painting is 142.2 centimeters (56.0 in) high and 105.4 centimeters (41.5 in) wide.
|
[
"tricorner hat",
"Gilbert Stuart",
"buff",
"George Washington",
"Athenaeum Portrait",
"Stuart"
] |
|
14030_T
|
Portrait of George Washington Taking the Salute at Trenton
|
Focus on Portrait of George Washington Taking the Salute at Trenton and discuss the Engraving.
|
Washington Receiving a Salute on the Field of Trenton is an engraving by William Holl (1807–1871) based on Faed's equestrian portrait. In 1865, the National Art Association of New York published it exclusively for subscribers. The print is 24 inches (61 cm) high and 17+10⁄16 inches (44.8 cm) wide. The print was recommended for school use and seen in classrooms.
William Spohn Baker notes: An admirable engraving, of an admirable picture. The horse, which is exceedingly well drawn, is said to have been painted by R. Ansdell, the composition of the picture being by Faed. Head after Stuart.
In 1866, an advertisement in the Herald of Health for this engraving stated: This picture shows Washington on horseback, and when framed can not fail to prove a most interesting ornament to any parlor or sitting-room. Its influence upon the children of a house would be worth many times its cost in cultivating their tastes for fine works of art.
In 1880, his portrait bust engraving was used to illustrate an article on Washington in the Magazine of American History.
|
[
"R. Ansdell",
"equestrian portrait",
"Magazine of American History",
"William Holl",
"William Spohn Baker",
"portrait bust",
"Stuart"
] |
|
14030_NT
|
Portrait of George Washington Taking the Salute at Trenton
|
Focus on this artwork and discuss the Engraving.
|
Washington Receiving a Salute on the Field of Trenton is an engraving by William Holl (1807–1871) based on Faed's equestrian portrait. In 1865, the National Art Association of New York published it exclusively for subscribers. The print is 24 inches (61 cm) high and 17+10⁄16 inches (44.8 cm) wide. The print was recommended for school use and seen in classrooms.
William Spohn Baker notes: An admirable engraving, of an admirable picture. The horse, which is exceedingly well drawn, is said to have been painted by R. Ansdell, the composition of the picture being by Faed. Head after Stuart.
In 1866, an advertisement in the Herald of Health for this engraving stated: This picture shows Washington on horseback, and when framed can not fail to prove a most interesting ornament to any parlor or sitting-room. Its influence upon the children of a house would be worth many times its cost in cultivating their tastes for fine works of art.
In 1880, his portrait bust engraving was used to illustrate an article on Washington in the Magazine of American History.
|
[
"R. Ansdell",
"equestrian portrait",
"Magazine of American History",
"William Holl",
"William Spohn Baker",
"portrait bust",
"Stuart"
] |
|
14031_T
|
Portrait of George Washington Taking the Salute at Trenton
|
How does Portrait of George Washington Taking the Salute at Trenton elucidate its Legacy?
|
Shadows of Liberty (2016), by American contemporary painter Titus Kaphar, is a reimagined presentation of the painting.
|
[
"Titus Kaphar"
] |
|
14031_NT
|
Portrait of George Washington Taking the Salute at Trenton
|
How does this artwork elucidate its Legacy?
|
Shadows of Liberty (2016), by American contemporary painter Titus Kaphar, is a reimagined presentation of the painting.
|
[
"Titus Kaphar"
] |
|
14032_T
|
Pan (White)
|
Focus on Pan (White) and analyze the abstract.
|
Pan is a 1980 public artwork by sculptor Roger White located at the Indiana World War Memorial Plaza in Indianapolis, Indiana, United States. This work was originally surveyed in 1993 as part of the Smithsonian's Save Outdoor Sculpture! program. A former water fountain, this piece is part of a National Historic Landmark District.
|
[
"Pan",
"Indianapolis",
"Indiana World War Memorial Plaza",
"Indianapolis, Indiana",
"Smithsonian's",
"United States",
"Indiana",
"Roger White",
"Save Outdoor Sculpture!",
"National Historic Landmark District"
] |
|
14032_NT
|
Pan (White)
|
Focus on this artwork and analyze the abstract.
|
Pan is a 1980 public artwork by sculptor Roger White located at the Indiana World War Memorial Plaza in Indianapolis, Indiana, United States. This work was originally surveyed in 1993 as part of the Smithsonian's Save Outdoor Sculpture! program. A former water fountain, this piece is part of a National Historic Landmark District.
|
[
"Pan",
"Indianapolis",
"Indiana World War Memorial Plaza",
"Indianapolis, Indiana",
"Smithsonian's",
"United States",
"Indiana",
"Roger White",
"Save Outdoor Sculpture!",
"National Historic Landmark District"
] |
|
14033_T
|
Pan (White)
|
In Pan (White), how is the Description discussed?
|
It is a bronze figure of Pan sitting on a limestone tree stump. Pan is nude and his furry proper right knee is bent upwards to his chest with his other leg hangs over the side of the stump. The satyr holds a pan flute in his hand, holding it up to his mouth, as if playing it for nearby Syrinx.
|
[
"bronze",
"Pan",
"satyr",
"nude",
"pan flute",
"limestone"
] |
|
14033_NT
|
Pan (White)
|
In this artwork, how is the Description discussed?
|
It is a bronze figure of Pan sitting on a limestone tree stump. Pan is nude and his furry proper right knee is bent upwards to his chest with his other leg hangs over the side of the stump. The satyr holds a pan flute in his hand, holding it up to his mouth, as if playing it for nearby Syrinx.
|
[
"bronze",
"Pan",
"satyr",
"nude",
"pan flute",
"limestone"
] |
|
14034_T
|
Pan (White)
|
Focus on Pan (White) and explore the Information.
|
Pan was originally designed by Myra Reynolds Richards. Richards' original Syrinx and Pan sculptures were dedicated in 1923. Eventually, both pieces were stolen, with Syrinx disappearing in 1959 and Pan c. 1970. The parks department commissioned Adolph Wolter to replace the pieces, and in 1973 they were reinstalled in their current location in University Park at the Indiana World War Memorial Plaza. However, Wolter's Pan would eventually be stolen as well, and sculptor Roger White was commissioned to replace the piece. Pan was replaced in 1980 by White.Carol M. Highsmith photographed the sculpture in September 2016.
|
[
"Pan",
"Myra Reynolds Richards",
"Indiana World War Memorial Plaza",
"Carol M. Highsmith",
"Adolph Wolter",
"Indiana",
"Roger White"
] |
|
14034_NT
|
Pan (White)
|
Focus on this artwork and explore the Information.
|
Pan was originally designed by Myra Reynolds Richards. Richards' original Syrinx and Pan sculptures were dedicated in 1923. Eventually, both pieces were stolen, with Syrinx disappearing in 1959 and Pan c. 1970. The parks department commissioned Adolph Wolter to replace the pieces, and in 1973 they were reinstalled in their current location in University Park at the Indiana World War Memorial Plaza. However, Wolter's Pan would eventually be stolen as well, and sculptor Roger White was commissioned to replace the piece. Pan was replaced in 1980 by White.Carol M. Highsmith photographed the sculpture in September 2016.
|
[
"Pan",
"Myra Reynolds Richards",
"Indiana World War Memorial Plaza",
"Carol M. Highsmith",
"Adolph Wolter",
"Indiana",
"Roger White"
] |
|
14035_T
|
The Canal du Loing (painting)
|
Focus on The Canal du Loing (painting) and explain the abstract.
|
The Canal du Loing or The Canal du Loing at Moret is an 1892 painting by Alfred Sisley, donated to the Musée du Luxembourg after the painter's death in 1899 by a group of the painter's friends headed by Claude Monet. It is now in the Musée d'Orsay (INV 20723). A similar work, painted in winter 1891, is now in the National Museum of Fine Arts of Algiers.
|
[
"Musée d'Orsay",
"Loing",
"Musée du Luxembourg",
"Alfred Sisley",
"National Museum of Fine Arts of Algiers",
"A similar work",
"Claude Monet"
] |
|
14035_NT
|
The Canal du Loing (painting)
|
Focus on this artwork and explain the abstract.
|
The Canal du Loing or The Canal du Loing at Moret is an 1892 painting by Alfred Sisley, donated to the Musée du Luxembourg after the painter's death in 1899 by a group of the painter's friends headed by Claude Monet. It is now in the Musée d'Orsay (INV 20723). A similar work, painted in winter 1891, is now in the National Museum of Fine Arts of Algiers.
|
[
"Musée d'Orsay",
"Loing",
"Musée du Luxembourg",
"Alfred Sisley",
"National Museum of Fine Arts of Algiers",
"A similar work",
"Claude Monet"
] |
|
14036_T
|
The Canal du Loing (painting)
|
Explore the Production of this artwork, The Canal du Loing (painting).
|
It was produced after Sisley settled in Moret-sur-Loing for good. The town was criss-crossed by several watercourses, notably the picturesque river Loing, the left tributary of the Seine. The Canal du Loing is no longer bordered by trees as shown. Sisley commented to Adolphe Tavernier the same year as painting the work "the sky cannot just be a background [...] I focus on this part of the landscape, because I want to make you understand the importance I attach to it [...] I always begin a canvas with the sky".Gustave Geffroy described another painting of the same subject by Sisley: "I paint a winter day, frosty and sunny. The ground, the sky, the canal, the fine skeleton of the trees, all is mauve, phasing towards pink, the air is gilded. Three parallel roads, developed in depth, lead to a distant background lined with poplars. Beside the metallic water meander a dark man and a clear horse, both tiny next to the sparkling hedge, burning with colour. The atmosphere is so pure that if the dark man uttered a cry, the three ways and the canal would carry the echo to the vaults of the world."
|
[
"Loing",
"Seine",
"Gustave Geffroy",
"Adolphe Tavernier",
"Moret-sur-Loing"
] |
|
14036_NT
|
The Canal du Loing (painting)
|
Explore the Production of this artwork.
|
It was produced after Sisley settled in Moret-sur-Loing for good. The town was criss-crossed by several watercourses, notably the picturesque river Loing, the left tributary of the Seine. The Canal du Loing is no longer bordered by trees as shown. Sisley commented to Adolphe Tavernier the same year as painting the work "the sky cannot just be a background [...] I focus on this part of the landscape, because I want to make you understand the importance I attach to it [...] I always begin a canvas with the sky".Gustave Geffroy described another painting of the same subject by Sisley: "I paint a winter day, frosty and sunny. The ground, the sky, the canal, the fine skeleton of the trees, all is mauve, phasing towards pink, the air is gilded. Three parallel roads, developed in depth, lead to a distant background lined with poplars. Beside the metallic water meander a dark man and a clear horse, both tiny next to the sparkling hedge, burning with colour. The atmosphere is so pure that if the dark man uttered a cry, the three ways and the canal would carry the echo to the vaults of the world."
|
[
"Loing",
"Seine",
"Gustave Geffroy",
"Adolphe Tavernier",
"Moret-sur-Loing"
] |
|
14037_T
|
The Canal du Loing (painting)
|
Focus on The Canal du Loing (painting) and discuss the Reception.
|
Hergé's 1958 Coke en stock includes Captain Haddock acquiring the painting reflecting Hergé's interest in painting at this time. It also formed part of the French Post's Year of Impressionism via a stamp with an intaglio reproduction of the painting by Pierre Gandon.
|
[
"Hergé",
"Coke en stock",
"intaglio",
"Pierre Gandon"
] |
|
14037_NT
|
The Canal du Loing (painting)
|
Focus on this artwork and discuss the Reception.
|
Hergé's 1958 Coke en stock includes Captain Haddock acquiring the painting reflecting Hergé's interest in painting at this time. It also formed part of the French Post's Year of Impressionism via a stamp with an intaglio reproduction of the painting by Pierre Gandon.
|
[
"Hergé",
"Coke en stock",
"intaglio",
"Pierre Gandon"
] |
|
14038_T
|
Facing the Crowd
|
How does Facing the Crowd elucidate its abstract?
|
Facing the Crowd is a series of two outdoor sculptures by American artist Michael Stutz, located outside of Providence Park in Portland, Oregon, in the United States. Composed of silicon bronze, the sculptures depict faces of a laughing man and a smiling boy. They were funded by the City of Portland's Percent for Art program and were installed in 2001, during a major remodel of the outdoor sports venue then known as PGE Park.
|
[
"Portland, Oregon",
"PGE Park",
"Providence Park",
"Michael Stutz"
] |
|
14038_NT
|
Facing the Crowd
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How does this artwork elucidate its abstract?
|
Facing the Crowd is a series of two outdoor sculptures by American artist Michael Stutz, located outside of Providence Park in Portland, Oregon, in the United States. Composed of silicon bronze, the sculptures depict faces of a laughing man and a smiling boy. They were funded by the City of Portland's Percent for Art program and were installed in 2001, during a major remodel of the outdoor sports venue then known as PGE Park.
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[
"Portland, Oregon",
"PGE Park",
"Providence Park",
"Michael Stutz"
] |
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14039_T
|
Facing the Crowd
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Focus on Facing the Crowd and analyze the Description.
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The sculptures, which depict the faces of a man and a boy, are located at 18th and 20th Avenues at Morrison Street in Portland's Goose Hollow neighborhood. Designed by Michael Stutz, they were installed in 2001 during the nearly $40 million remodel of PGE Park, the outdoor sports venue now known as Providence Park. Funding was provided by the City of Portland's Percent for Art program. The faces are made of welded silicon bronze and are each approximately 8 feet (2.4 m) tall. Similar in appearance, the one at KeyBank Plaza on 18th Avenue depicts a smiling boy, while the one at the intersection of 20th and Morrison depicts a laughing man.Stutz said of Facing the Crowd: "The heartily smiling man and boy faces portray two stages in the life of an individual, relating to the historical evolution and changing character of the site itself." He has also said that the work's "dynamic presence becomes a celebration of joy and playfulness. [His] hope is that these giant totems engage the spectator with their simple and universal theme of maintaining humor in the midst of chaotic urban world."
|
[
"PGE Park",
"Providence Park",
"Goose Hollow",
"Michael Stutz"
] |
|
14039_NT
|
Facing the Crowd
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Focus on this artwork and analyze the Description.
|
The sculptures, which depict the faces of a man and a boy, are located at 18th and 20th Avenues at Morrison Street in Portland's Goose Hollow neighborhood. Designed by Michael Stutz, they were installed in 2001 during the nearly $40 million remodel of PGE Park, the outdoor sports venue now known as Providence Park. Funding was provided by the City of Portland's Percent for Art program. The faces are made of welded silicon bronze and are each approximately 8 feet (2.4 m) tall. Similar in appearance, the one at KeyBank Plaza on 18th Avenue depicts a smiling boy, while the one at the intersection of 20th and Morrison depicts a laughing man.Stutz said of Facing the Crowd: "The heartily smiling man and boy faces portray two stages in the life of an individual, relating to the historical evolution and changing character of the site itself." He has also said that the work's "dynamic presence becomes a celebration of joy and playfulness. [His] hope is that these giant totems engage the spectator with their simple and universal theme of maintaining humor in the midst of chaotic urban world."
|
[
"PGE Park",
"Providence Park",
"Goose Hollow",
"Michael Stutz"
] |
|
14040_T
|
Statue of Álex Lora
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In Statue of Álex Lora, how is the abstract discussed?
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The statue of Álex Lora is installed in the city of Puebla, in the Mexican state of Puebla.
|
[
"Álex Lora",
"Puebla",
"Lora"
] |
|
14040_NT
|
Statue of Álex Lora
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In this artwork, how is the abstract discussed?
|
The statue of Álex Lora is installed in the city of Puebla, in the Mexican state of Puebla.
|
[
"Álex Lora",
"Puebla",
"Lora"
] |
|
14041_T
|
Agatha Christie Memorial
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Focus on Agatha Christie Memorial and explore the abstract.
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The Agatha Christie Memorial is a memorial to author and playwright Agatha Christie, located at the intersection of Cranbourn Street and Great Newport Street by St Martin's Cross near Covent Garden, in London, United Kingdom.
|
[
"Christie",
"intersection",
"Agatha Christie",
"Covent Garden"
] |
|
14041_NT
|
Agatha Christie Memorial
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Focus on this artwork and explore the abstract.
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The Agatha Christie Memorial is a memorial to author and playwright Agatha Christie, located at the intersection of Cranbourn Street and Great Newport Street by St Martin's Cross near Covent Garden, in London, United Kingdom.
|
[
"Christie",
"intersection",
"Agatha Christie",
"Covent Garden"
] |
|
14042_T
|
Agatha Christie Memorial
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Focus on Agatha Christie Memorial and explain the Description and history.
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The memorial is located in the heart of London's theatre district. This was chosen to pay homage to Christie's contribution to theatre: her 1952 murder mystery play The Mousetrap is the world's longest-running show, and she was the first female playwright to have three plays performing simultaneously in the West End.The memorial depicts a book with Christie at its centre. It is about 2.4 metres high and made of bronze. It is lit from below as well as from within. An inscription on the front reads: Agatha / Christie / 1890–1976. It was designed by sculptor Ben Twiston-Davies.The idea to create this memorial was conceived and implemented by Christie's grandson Mathew Prichard together with Sir Stephen Waley-Cohen, producer of The Mousetrap since 1994. Westminster City Council gave formal consent and offered advice on its construction. Although a bust of Christie had already been erected in Torquay, Devon, this was the first memorial to be erected in London, according to Twiston-Davies. The memorial was unveiled on 25 November 2012, to commemorate the 60th anniversary of The Mousetrap.
On the memorial appear some titles of her most popular books and plays, in English, and in some of the many languages into which Christie's work has been translated. The titles included were chosen in a competition among her fans. The details of the inscriptions can be seen on the official website.
|
[
"Stephen Waley-Cohen",
"Westminster City Council",
"language",
"Christie",
"homage",
"West End",
"bronze",
"Torquay",
"Mathew Prichard",
"Ben Twiston-Davies",
"The Mousetrap",
"fans",
"murder mystery",
"Christie's",
"bust",
"producer",
"Sir Stephen Waley-Cohen"
] |
|
14042_NT
|
Agatha Christie Memorial
|
Focus on this artwork and explain the Description and history.
|
The memorial is located in the heart of London's theatre district. This was chosen to pay homage to Christie's contribution to theatre: her 1952 murder mystery play The Mousetrap is the world's longest-running show, and she was the first female playwright to have three plays performing simultaneously in the West End.The memorial depicts a book with Christie at its centre. It is about 2.4 metres high and made of bronze. It is lit from below as well as from within. An inscription on the front reads: Agatha / Christie / 1890–1976. It was designed by sculptor Ben Twiston-Davies.The idea to create this memorial was conceived and implemented by Christie's grandson Mathew Prichard together with Sir Stephen Waley-Cohen, producer of The Mousetrap since 1994. Westminster City Council gave formal consent and offered advice on its construction. Although a bust of Christie had already been erected in Torquay, Devon, this was the first memorial to be erected in London, according to Twiston-Davies. The memorial was unveiled on 25 November 2012, to commemorate the 60th anniversary of The Mousetrap.
On the memorial appear some titles of her most popular books and plays, in English, and in some of the many languages into which Christie's work has been translated. The titles included were chosen in a competition among her fans. The details of the inscriptions can be seen on the official website.
|
[
"Stephen Waley-Cohen",
"Westminster City Council",
"language",
"Christie",
"homage",
"West End",
"bronze",
"Torquay",
"Mathew Prichard",
"Ben Twiston-Davies",
"The Mousetrap",
"fans",
"murder mystery",
"Christie's",
"bust",
"producer",
"Sir Stephen Waley-Cohen"
] |
|
14043_T
|
The Painter and The Buyer
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Explore the abstract of this artwork, The Painter and The Buyer.
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The Painter and The Buyer is a 1565 pen and ink on brown paper painting by Flemish artist Pieter Bruegel the Elder. The alternative title is The Artist and The Connoisseur.
The painter is thought to be a self-portrait of Pieter Bruegel the Elder.
|
[
"Connoisseur",
"Pieter Bruegel the Elder",
"Bruegel"
] |
|
14043_NT
|
The Painter and The Buyer
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Explore the abstract of this artwork.
|
The Painter and The Buyer is a 1565 pen and ink on brown paper painting by Flemish artist Pieter Bruegel the Elder. The alternative title is The Artist and The Connoisseur.
The painter is thought to be a self-portrait of Pieter Bruegel the Elder.
|
[
"Connoisseur",
"Pieter Bruegel the Elder",
"Bruegel"
] |
|
14044_T
|
The Painter and The Buyer
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Focus on The Painter and The Buyer and discuss the Content.
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The artist holds a paint brush in his right hand, on the left past the viewer, presumably to the object he paints. A second man looks over his shoulder at the resulting picture. This work is for the viewer, however, face down. Bruegel is limited entirely to the presentation of two dissimilar men: the painter drawn in detail with disheveled hair, bushy eyebrows and unkempt beard, and the more vague outline reproduced viewer behind him with pince-nez, long nose and mouth slightly open.
|
[
"Bruegel"
] |
|
14044_NT
|
The Painter and The Buyer
|
Focus on this artwork and discuss the Content.
|
The artist holds a paint brush in his right hand, on the left past the viewer, presumably to the object he paints. A second man looks over his shoulder at the resulting picture. This work is for the viewer, however, face down. Bruegel is limited entirely to the presentation of two dissimilar men: the painter drawn in detail with disheveled hair, bushy eyebrows and unkempt beard, and the more vague outline reproduced viewer behind him with pince-nez, long nose and mouth slightly open.
|
[
"Bruegel"
] |
|
14045_T
|
Portrait of Jacopo Strada
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How does Portrait of Jacopo Strada elucidate its abstract?
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The Portrait of Jacopo Strada is a 1567-68 portrait of the court librarian Jacopo Strada by Titian, now held in the Kunsthistorisches Museum in Vienna.Strada was not only an official book keeper, but also had many other qualities, and this portrait portrays him in his study surrounded by objects displaying his knowledge. He is shown wearing a gold chain, probably awarded him the previous year 1566 when he was appointed Antiquarius Caesareus by his employer Maximilian II, Holy Roman Emperor.
The inscription upper right reads JACOBVUS DE STRADA CIVIS ROMANVS CAESS. ANTIQVARIVS ET COM. BELIC. AN: AETAT: LI: et C.M.D.L. XVI (Jacopo de Strada, citizen of Rome, imperial Antiquary and Minister, aged 51 in the year 1566). The painting is signed top left: "TITIANVS F (ECIT)". The letter on the table additionally contains the words Titian Vecellio Venezia.
A century later this painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already enjoyed notoriety in Teniers' portrayals of the Archduke's art collection:
|
[
"David Teniers the Younger",
"Kunsthistorisches Museum",
"Archduke Leopold Wilhelm",
"Titian",
"Maximilian II, Holy Roman Emperor",
"Jacopo Strada",
"Vienna",
"Theatrum Pictorium"
] |
|
14045_NT
|
Portrait of Jacopo Strada
|
How does this artwork elucidate its abstract?
|
The Portrait of Jacopo Strada is a 1567-68 portrait of the court librarian Jacopo Strada by Titian, now held in the Kunsthistorisches Museum in Vienna.Strada was not only an official book keeper, but also had many other qualities, and this portrait portrays him in his study surrounded by objects displaying his knowledge. He is shown wearing a gold chain, probably awarded him the previous year 1566 when he was appointed Antiquarius Caesareus by his employer Maximilian II, Holy Roman Emperor.
The inscription upper right reads JACOBVUS DE STRADA CIVIS ROMANVS CAESS. ANTIQVARIVS ET COM. BELIC. AN: AETAT: LI: et C.M.D.L. XVI (Jacopo de Strada, citizen of Rome, imperial Antiquary and Minister, aged 51 in the year 1566). The painting is signed top left: "TITIANVS F (ECIT)". The letter on the table additionally contains the words Titian Vecellio Venezia.
A century later this painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already enjoyed notoriety in Teniers' portrayals of the Archduke's art collection:
|
[
"David Teniers the Younger",
"Kunsthistorisches Museum",
"Archduke Leopold Wilhelm",
"Titian",
"Maximilian II, Holy Roman Emperor",
"Jacopo Strada",
"Vienna",
"Theatrum Pictorium"
] |
|
14046_T
|
Orchid and Hummingbirds near a Mountain Lake
|
Focus on Orchid and Hummingbirds near a Mountain Lake and analyze the abstract.
|
Orchid and Hummingbirds near a Mountain Lake is a painting by Martin Johnson Heade, which he completed sometime between 1875 and 1890.: 322 Some scholars see the sensual depiction of the orchid and the nearly touching beaks of the birds as conveying romantic or even sexual overtones. Others see Heade's interest in orchids and hummingbirds as an exploration of dominance and survival in nature, perhaps inspired by Charles Darwin's evolutionary theory. The work is now in the collection of the McMullen Museum of Art at Boston College, having been donated as part of the Carolyn A. and Peter S. Lynch collection.Works such as this earned Heade critical and commercial success during his lifetime.: ix His reputation grew substantially during the second half of the twentieth century, and the curator Theodore E. Stebbins, Jr. remarked in 1992 that "Heade has been recognized during the last fifty years as one of the most original and most talented of all American artists.": 10
|
[
"Boston College",
"Peter S. Lynch",
"Carolyn A.",
"Boston",
"Martin Johnson Heade",
"McMullen Museum of Art",
"Theodore E. Stebbins, Jr."
] |
|
14046_NT
|
Orchid and Hummingbirds near a Mountain Lake
|
Focus on this artwork and analyze the abstract.
|
Orchid and Hummingbirds near a Mountain Lake is a painting by Martin Johnson Heade, which he completed sometime between 1875 and 1890.: 322 Some scholars see the sensual depiction of the orchid and the nearly touching beaks of the birds as conveying romantic or even sexual overtones. Others see Heade's interest in orchids and hummingbirds as an exploration of dominance and survival in nature, perhaps inspired by Charles Darwin's evolutionary theory. The work is now in the collection of the McMullen Museum of Art at Boston College, having been donated as part of the Carolyn A. and Peter S. Lynch collection.Works such as this earned Heade critical and commercial success during his lifetime.: ix His reputation grew substantially during the second half of the twentieth century, and the curator Theodore E. Stebbins, Jr. remarked in 1992 that "Heade has been recognized during the last fifty years as one of the most original and most talented of all American artists.": 10
|
[
"Boston College",
"Peter S. Lynch",
"Carolyn A.",
"Boston",
"Martin Johnson Heade",
"McMullen Museum of Art",
"Theodore E. Stebbins, Jr."
] |
|
14047_T
|
Orchid and Hummingbirds near a Mountain Lake
|
In the context of Orchid and Hummingbirds near a Mountain Lake, explore the Heade's South America of the Background.
|
Heade began his study on hummingbirds during an expedition to South America, specifically Brazil, in 1863. He made two more trips to South America after that, with the third and final trip being in 1869–70. In South America, Heade spent his time studying the environment and sketching what he saw in its lively and natural form.
|
[] |
|
14047_NT
|
Orchid and Hummingbirds near a Mountain Lake
|
In the context of this artwork, explore the Heade's South America of the Background.
|
Heade began his study on hummingbirds during an expedition to South America, specifically Brazil, in 1863. He made two more trips to South America after that, with the third and final trip being in 1869–70. In South America, Heade spent his time studying the environment and sketching what he saw in its lively and natural form.
|
[] |
|
14048_T
|
Orchid and Hummingbirds near a Mountain Lake
|
In the context of Orchid and Hummingbirds near a Mountain Lake, explain the Hummingbirds in art of the Background.
|
Heade was the first artist to paint live hummingbirds in their natural environment as opposed to dead hummingbirds in a studio setting. According to Stebbins, "during the early 1870s Heade moved from conventional still-life compositions, in which he would typically paint a vase of flowers resting on a table indoors, to a highly unusual format–hardly a 'still-life' at all–where he would depict orchids and hummingbirds as they existed in the tropical wilderness.": 16 Before these paintings, Heade mostly painted marshes and coastlines. The landscape element of his paintings of hummingbirds is often overlooked. Even though the landscape is not the focal point, it still takes up a majority of the painting. Heade was known to be fond of hummingbirds, even feeding his own hummingbirds sugar water.While Heade pioneered the portrayal of hummingbirds in art during his trip to South America, writers such as Mabel Loomis Todd and Emily Dickinson depicted them in their work as well. Hummingbirds are classically symbolic of American identity and exemplary of European fasciation with the exotic wildlife in the Americas. A mutual love for the exoticism of hummingbirds also fostered a relationship between Heade and Pedro II of Brazil.Heade has painted over 100 depictions of hummingbirds in their tropical abodes. Heade's depictions of these exotic birds are small, "measuring only about twenty inches on their longest edge," giving the work a feeling of intimacy. The paintings lack negative space, instead depicting the surrounding landscape in minute detail.
|
[
"Mabel Loomis Todd",
"Emily Dickinson",
"Pedro II of Brazil"
] |
|
14048_NT
|
Orchid and Hummingbirds near a Mountain Lake
|
In the context of this artwork, explain the Hummingbirds in art of the Background.
|
Heade was the first artist to paint live hummingbirds in their natural environment as opposed to dead hummingbirds in a studio setting. According to Stebbins, "during the early 1870s Heade moved from conventional still-life compositions, in which he would typically paint a vase of flowers resting on a table indoors, to a highly unusual format–hardly a 'still-life' at all–where he would depict orchids and hummingbirds as they existed in the tropical wilderness.": 16 Before these paintings, Heade mostly painted marshes and coastlines. The landscape element of his paintings of hummingbirds is often overlooked. Even though the landscape is not the focal point, it still takes up a majority of the painting. Heade was known to be fond of hummingbirds, even feeding his own hummingbirds sugar water.While Heade pioneered the portrayal of hummingbirds in art during his trip to South America, writers such as Mabel Loomis Todd and Emily Dickinson depicted them in their work as well. Hummingbirds are classically symbolic of American identity and exemplary of European fasciation with the exotic wildlife in the Americas. A mutual love for the exoticism of hummingbirds also fostered a relationship between Heade and Pedro II of Brazil.Heade has painted over 100 depictions of hummingbirds in their tropical abodes. Heade's depictions of these exotic birds are small, "measuring only about twenty inches on their longest edge," giving the work a feeling of intimacy. The paintings lack negative space, instead depicting the surrounding landscape in minute detail.
|
[
"Mabel Loomis Todd",
"Emily Dickinson",
"Pedro II of Brazil"
] |
|
14049_T
|
Orchid and Hummingbirds near a Mountain Lake
|
Explore the Orchids in art about the Background of this artwork, Orchid and Hummingbirds near a Mountain Lake.
|
Many scholars believe that the orchid depicted in Heade's art is symbolic of women and sexuality because of how intensely it was painted. The orchid has roots in sensual symbolism, as the word orchid is derived from the Greek word for testicles, "orchis.": 91 This symbolism of the orchid is corroborated because, according to art historian Barbara Novak, "the flowers themselves are suggestively configured and painted with a variety of stroking and touches.": 19 Since Heade was not married until later in his life, it is possible, according to scholars, that the orchid is used to symbolize the sublimation of his own sexual desires.The orchid in the scope of Heade's works could also be symbolic of the struggle of survival in the wild. According to Timothy A. Eaton, as Darwin's ideas were becoming more popular at the time, "the orchid was held up as an example of his theory’s validity because of its remarkable diversity attributed to the need for adaptation in the struggle for survival." The orchid and hummingbird are similar in their depiction as an exotic piece of nature with complex anatomy, so the Orchid and Hummingbird Near a Mountain Lake could be pinning the two against one another in a fight.
|
[] |
|
14049_NT
|
Orchid and Hummingbirds near a Mountain Lake
|
Explore the Orchids in art about the Background of this artwork.
|
Many scholars believe that the orchid depicted in Heade's art is symbolic of women and sexuality because of how intensely it was painted. The orchid has roots in sensual symbolism, as the word orchid is derived from the Greek word for testicles, "orchis.": 91 This symbolism of the orchid is corroborated because, according to art historian Barbara Novak, "the flowers themselves are suggestively configured and painted with a variety of stroking and touches.": 19 Since Heade was not married until later in his life, it is possible, according to scholars, that the orchid is used to symbolize the sublimation of his own sexual desires.The orchid in the scope of Heade's works could also be symbolic of the struggle of survival in the wild. According to Timothy A. Eaton, as Darwin's ideas were becoming more popular at the time, "the orchid was held up as an example of his theory’s validity because of its remarkable diversity attributed to the need for adaptation in the struggle for survival." The orchid and hummingbird are similar in their depiction as an exotic piece of nature with complex anatomy, so the Orchid and Hummingbird Near a Mountain Lake could be pinning the two against one another in a fight.
|
[] |
|
14050_T
|
Orchid and Hummingbirds near a Mountain Lake
|
In Orchid and Hummingbirds near a Mountain Lake, how is the Heade's technique of the Painting elucidated?
|
Heade typically forwent preparatory sketches in favor of painting directly onto his canvas. Heade employed many motifs in his paintings, two of them being hummingbirds and orchids. Once he perfected the craft of painting each motif, he tended to add them into many of his paintings, which is one of the reasons why he has so many paintings including orchids and hummingbirds. Heade tended to begin with a tentative background before adding in the finer details of each painting. Heade also used a variety of colors as they became available, as well as an array of glazing techniques to add light to his paintings. Heade's hummingbirds are executed with a level of detail similar to Pre-Raphaelite paintings.
|
[] |
|
14050_NT
|
Orchid and Hummingbirds near a Mountain Lake
|
In this artwork, how is the Heade's technique of the Painting elucidated?
|
Heade typically forwent preparatory sketches in favor of painting directly onto his canvas. Heade employed many motifs in his paintings, two of them being hummingbirds and orchids. Once he perfected the craft of painting each motif, he tended to add them into many of his paintings, which is one of the reasons why he has so many paintings including orchids and hummingbirds. Heade tended to begin with a tentative background before adding in the finer details of each painting. Heade also used a variety of colors as they became available, as well as an array of glazing techniques to add light to his paintings. Heade's hummingbirds are executed with a level of detail similar to Pre-Raphaelite paintings.
|
[] |
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