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14051_T
|
Orchid and Hummingbirds near a Mountain Lake
|
Describe the characteristics of the Comparison to Church in Orchid and Hummingbirds near a Mountain Lake's Comparison.
|
Heade was greatly influenced by artists in the 10th Street Studio in New York City. One of these artists was Frederic Edwin Church. Church was considered to be one of the greatest painters in America, and Heade greatly admired Church's landscape paintings, especially Niagara. Many of Heade's paintings appear to be influenced by the landscapes of Church, most notably with Heade's Study of an Orchid, which has waterfalls and a cliff, two features common to Church's paintings.
|
[
"Frederic Edwin Church"
] |
|
14051_NT
|
Orchid and Hummingbirds near a Mountain Lake
|
Describe the characteristics of the Comparison to Church in this artwork's Comparison.
|
Heade was greatly influenced by artists in the 10th Street Studio in New York City. One of these artists was Frederic Edwin Church. Church was considered to be one of the greatest painters in America, and Heade greatly admired Church's landscape paintings, especially Niagara. Many of Heade's paintings appear to be influenced by the landscapes of Church, most notably with Heade's Study of an Orchid, which has waterfalls and a cliff, two features common to Church's paintings.
|
[
"Frederic Edwin Church"
] |
|
14052_T
|
Orchid and Hummingbirds near a Mountain Lake
|
Focus on Orchid and Hummingbirds near a Mountain Lake and explore the Display.
|
Orchid and Hummingbirds on a Mountain Lake is not currently on view, but is in the collection of the McMullen Museum at Boston College as part of Peter S. Lynch's donation of 27 paintings and 3 drawings. Lynch and his wife Carolyn were fond of nature paintings, especially Orchid and Hummingbirds Near a Mountain Lake, which Stebbins referred to as one of the "masterpieces of the collection."
|
[
"Boston College",
"Peter S. Lynch",
"Boston"
] |
|
14052_NT
|
Orchid and Hummingbirds near a Mountain Lake
|
Focus on this artwork and explore the Display.
|
Orchid and Hummingbirds on a Mountain Lake is not currently on view, but is in the collection of the McMullen Museum at Boston College as part of Peter S. Lynch's donation of 27 paintings and 3 drawings. Lynch and his wife Carolyn were fond of nature paintings, especially Orchid and Hummingbirds Near a Mountain Lake, which Stebbins referred to as one of the "masterpieces of the collection."
|
[
"Boston College",
"Peter S. Lynch",
"Boston"
] |
|
14053_T
|
Antipodes (sculpture)
|
Focus on Antipodes (sculpture) and explain the Description.
|
This sculpture consists of two copper curved pieces attached to a piece of petrified wood by steel bands. The "scrolls" have letters punched into them, one piece is in English and the other piece is "coded" in Cyrillic.
|
[
"petrified wood",
"Cyrillic"
] |
|
14053_NT
|
Antipodes (sculpture)
|
Focus on this artwork and explain the Description.
|
This sculpture consists of two copper curved pieces attached to a piece of petrified wood by steel bands. The "scrolls" have letters punched into them, one piece is in English and the other piece is "coded" in Cyrillic.
|
[
"petrified wood",
"Cyrillic"
] |
|
14054_T
|
Antipodes (sculpture)
|
Explore the Acquisition of this artwork, Antipodes (sculpture).
|
The original Antipodes is a 6-foot high version of the Hirshhorn sculpture that was created in 1992 which was purchased by art collectors Gilbert and Ann Kinney. The small piece was displayed on the terrace of the Kinney home and upon moving the couple donated the piece to the Hirshhorn. In 1997 the Neuberger Museum of Art commissioned a large scale version of Antipodes for the Neuberger Biennial. After the Biennial, Sanborn traded the large piece for the smaller version to the Hirshhorn, hence it now residing outside the Washington-based museum. The smaller version of Antipodes has since been sold to a private collector in California via L.A. Louver.
|
[
"L.A. Louver",
"Neuberger Museum of Art"
] |
|
14054_NT
|
Antipodes (sculpture)
|
Explore the Acquisition of this artwork.
|
The original Antipodes is a 6-foot high version of the Hirshhorn sculpture that was created in 1992 which was purchased by art collectors Gilbert and Ann Kinney. The small piece was displayed on the terrace of the Kinney home and upon moving the couple donated the piece to the Hirshhorn. In 1997 the Neuberger Museum of Art commissioned a large scale version of Antipodes for the Neuberger Biennial. After the Biennial, Sanborn traded the large piece for the smaller version to the Hirshhorn, hence it now residing outside the Washington-based museum. The smaller version of Antipodes has since been sold to a private collector in California via L.A. Louver.
|
[
"L.A. Louver",
"Neuberger Museum of Art"
] |
|
14055_T
|
Antipodes (sculpture)
|
Focus on Antipodes (sculpture) and discuss the Information.
|
This sculpture was inspired by Sanborn's Kryptos installation. The two texts refer to CIA and KGB covert operations. The English side of the sculpture repeats the text seen on Kryptos. The Kryptos code is in four parts, three have been solved. However, select differences do exist between the text seen on Antipodes versus Kryptos such as spacing, additional dots and letters.
The Cyrillic side has a large amount of text from another of Sanborn's pieces, Cyrillic Projector, as well as additional text; all of the Cyrillic text has since been solved.
|
[
"CIA",
"Cyrillic Projector",
"covert",
"Kryptos",
"Cyrillic",
"KGB"
] |
|
14055_NT
|
Antipodes (sculpture)
|
Focus on this artwork and discuss the Information.
|
This sculpture was inspired by Sanborn's Kryptos installation. The two texts refer to CIA and KGB covert operations. The English side of the sculpture repeats the text seen on Kryptos. The Kryptos code is in four parts, three have been solved. However, select differences do exist between the text seen on Antipodes versus Kryptos such as spacing, additional dots and letters.
The Cyrillic side has a large amount of text from another of Sanborn's pieces, Cyrillic Projector, as well as additional text; all of the Cyrillic text has since been solved.
|
[
"CIA",
"Cyrillic Projector",
"covert",
"Kryptos",
"Cyrillic",
"KGB"
] |
|
14056_T
|
Wrestling Titans
|
How does Wrestling Titans elucidate its abstract?
|
Wrestling Titans (Czech: Sousoší Souboj Titánů), also known as Fighting Giants and Giants' Gate, is a pair of outdoor sculptures leading to the first courtyard of Prague Castle, in the Czech Republic.
|
[
"Czech Republic",
"Prague Castle",
"first courtyard"
] |
|
14056_NT
|
Wrestling Titans
|
How does this artwork elucidate its abstract?
|
Wrestling Titans (Czech: Sousoší Souboj Titánů), also known as Fighting Giants and Giants' Gate, is a pair of outdoor sculptures leading to the first courtyard of Prague Castle, in the Czech Republic.
|
[
"Czech Republic",
"Prague Castle",
"first courtyard"
] |
|
14057_T
|
An Evening River Landscape with a Ferry
|
Focus on An Evening River Landscape with a Ferry and analyze the abstract.
|
An Evening River Landscape with a Ferry (other title: River Landscape) is a 1643 painting by the Dutch painter Jan van Goyen. The painting was bought in 1890 in Paris by Wilhelm von Bode. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 221.Not without pride, the 2009 catalogue of the Flemish and Dutch paintings of the Musée des Beaux-Arts calls Van Goyen's painting "indisputably one of the most beautiful landscape paintings of the Dutch school" (sans conteste l′un des plus beaux paysages de la peinture hollandaise).
|
[
"Wilhelm von Bode",
"Dutch",
"Ferry",
"Musée des Beaux-Arts",
"River",
"Strasbourg",
"Paris",
"Jan van Goyen"
] |
|
14057_NT
|
An Evening River Landscape with a Ferry
|
Focus on this artwork and analyze the abstract.
|
An Evening River Landscape with a Ferry (other title: River Landscape) is a 1643 painting by the Dutch painter Jan van Goyen. The painting was bought in 1890 in Paris by Wilhelm von Bode. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 221.Not without pride, the 2009 catalogue of the Flemish and Dutch paintings of the Musée des Beaux-Arts calls Van Goyen's painting "indisputably one of the most beautiful landscape paintings of the Dutch school" (sans conteste l′un des plus beaux paysages de la peinture hollandaise).
|
[
"Wilhelm von Bode",
"Dutch",
"Ferry",
"Musée des Beaux-Arts",
"River",
"Strasbourg",
"Paris",
"Jan van Goyen"
] |
|
14058_T
|
David and Goliath (Artemisia Gentileschi)
|
In David and Goliath (Artemisia Gentileschi), how is the abstract discussed?
|
David and Goliath is a painting of David and Goliath by the seventeenth-century artist Artemisia Gentileschi. It is held by a private collection in the United Kingdom.
The painting was only identified as being by Artemisia in 2020, after work done by art historian Gianni Papi and restorer Simon Gillespie. The painting features Artemisia's name painted along the blade of David's sword. Previously, the painting was attributed to Giovanni Francesco Guerrieri, a student of Artemisia's father, Orazio Gentileschi. Recent research has indicated that this work was once part of Charles I's collection.
|
[
"Artemisia Gentileschi",
"Goliath",
"David",
"Orazio Gentileschi",
"Giovanni Francesco Guerrieri",
"Charles I"
] |
|
14058_NT
|
David and Goliath (Artemisia Gentileschi)
|
In this artwork, how is the abstract discussed?
|
David and Goliath is a painting of David and Goliath by the seventeenth-century artist Artemisia Gentileschi. It is held by a private collection in the United Kingdom.
The painting was only identified as being by Artemisia in 2020, after work done by art historian Gianni Papi and restorer Simon Gillespie. The painting features Artemisia's name painted along the blade of David's sword. Previously, the painting was attributed to Giovanni Francesco Guerrieri, a student of Artemisia's father, Orazio Gentileschi. Recent research has indicated that this work was once part of Charles I's collection.
|
[
"Artemisia Gentileschi",
"Goliath",
"David",
"Orazio Gentileschi",
"Giovanni Francesco Guerrieri",
"Charles I"
] |
|
14059_T
|
Gabrielle d'Estrées et une de ses sœurs
|
Focus on Gabrielle d'Estrées et une de ses sœurs and explore the abstract.
|
Gabrielle d'Estrées et une de ses soeurs (Gabrielle d'Estrées and one of her sisters) is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.
|
[
"Fontainebleau School",
"Louvre",
"Gabrielle d'Estrées"
] |
|
14059_NT
|
Gabrielle d'Estrées et une de ses sœurs
|
Focus on this artwork and explore the abstract.
|
Gabrielle d'Estrées et une de ses soeurs (Gabrielle d'Estrées and one of her sisters) is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.
|
[
"Fontainebleau School",
"Louvre",
"Gabrielle d'Estrées"
] |
|
14060_T
|
Gabrielle d'Estrées et une de ses sœurs
|
Focus on Gabrielle d'Estrées et une de ses sœurs and explain the Description.
|
The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.
|
[
"Julienne-Hyppolite-Joséphine",
"Gabrielle d'Estrées",
"Henry IV of France"
] |
|
14060_NT
|
Gabrielle d'Estrées et une de ses sœurs
|
Focus on this artwork and explain the Description.
|
The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.
|
[
"Julienne-Hyppolite-Joséphine",
"Gabrielle d'Estrées",
"Henry IV of France"
] |
|
14061_T
|
Gabrielle d'Estrées et une de ses sœurs
|
Explore the History of this artwork, Gabrielle d'Estrées et une de ses sœurs.
|
In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de Lacey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de Lacey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."
|
[
"Pierre de Bourdeille, seigneur de Brantôme",
"Gabrielle d'Estrées"
] |
|
14061_NT
|
Gabrielle d'Estrées et une de ses sœurs
|
Explore the History of this artwork.
|
In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de Lacey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de Lacey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."
|
[
"Pierre de Bourdeille, seigneur de Brantôme",
"Gabrielle d'Estrées"
] |
|
14062_T
|
Gabrielle d'Estrées et une de ses sœurs
|
In Gabrielle d'Estrées et une de ses sœurs, how is the Traditional: announcing Gabrielle's pregnancy of the Interpretations elucidated?
|
The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.
|
[
"layette",
"Louvre",
"Gabrielle d'Estrées",
"César de Bourbon"
] |
|
14062_NT
|
Gabrielle d'Estrées et une de ses sœurs
|
In this artwork, how is the Traditional: announcing Gabrielle's pregnancy of the Interpretations elucidated?
|
The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.
|
[
"layette",
"Louvre",
"Gabrielle d'Estrées",
"César de Bourbon"
] |
|
14063_T
|
Gabrielle d'Estrées et une de ses sœurs
|
In the context of Gabrielle d'Estrées et une de ses sœurs, analyze the Modern interpretation of the Interpretations.
|
In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.
|
[
"homosexuality",
"same-sex marriage",
"Bonnie Zimmerman",
"LGBT",
"Gabrielle d'Estrées",
"German Green Party"
] |
|
14063_NT
|
Gabrielle d'Estrées et une de ses sœurs
|
In the context of this artwork, analyze the Modern interpretation of the Interpretations.
|
In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.
|
[
"homosexuality",
"same-sex marriage",
"Bonnie Zimmerman",
"LGBT",
"Gabrielle d'Estrées",
"German Green Party"
] |
|
14064_T
|
Saint Bernardino of Siena (El Greco)
|
In Saint Bernardino of Siena (El Greco), how is the abstract discussed?
|
Saint Bernardino of Siena is a 1603 work by El Greco. It is owned by the Museo del Prado but displayed at the El Greco Museum in Toledo, Spain. Showing Bernardino of Siena in a Franciscan habit, holding a cane topped with the monogram IHS and with a book under his left arm, it was commissioned for the university college of San Bernardino in Toledo. He was paid 3,000 reales for it in February 1603 and it was ready the following September. In the left background is a landscape of the city of Toledo, featuring the monastery of San Bartolomé de la Vega, destroyed during the Peninsular War, and the Montero Chapel, which has also disappeared. In the right foreground are three mitres, each representing one of the bishoprics the saint declined (Siena, Urbino and Ferrara).
|
[
"El Greco",
"IHS",
"Ferrara",
"Urbino",
"El Greco Museum",
"Siena",
"Bernardino of Siena",
"Toledo, Spain",
"Museo del Prado",
"reales"
] |
|
14064_NT
|
Saint Bernardino of Siena (El Greco)
|
In this artwork, how is the abstract discussed?
|
Saint Bernardino of Siena is a 1603 work by El Greco. It is owned by the Museo del Prado but displayed at the El Greco Museum in Toledo, Spain. Showing Bernardino of Siena in a Franciscan habit, holding a cane topped with the monogram IHS and with a book under his left arm, it was commissioned for the university college of San Bernardino in Toledo. He was paid 3,000 reales for it in February 1603 and it was ready the following September. In the left background is a landscape of the city of Toledo, featuring the monastery of San Bartolomé de la Vega, destroyed during the Peninsular War, and the Montero Chapel, which has also disappeared. In the right foreground are three mitres, each representing one of the bishoprics the saint declined (Siena, Urbino and Ferrara).
|
[
"El Greco",
"IHS",
"Ferrara",
"Urbino",
"El Greco Museum",
"Siena",
"Bernardino of Siena",
"Toledo, Spain",
"Museo del Prado",
"reales"
] |
|
14065_T
|
Play (Jonker)
|
Focus on Play (Jonker) and explain the abstract.
|
Play is an abstract sculpture by Lars Jonker. It is located in Hendricks Park, in the historic Bates-Hendricks neighborhood, south of downtown Indianapolis, Indiana.
|
[
"Lars Jonker",
"Indianapolis",
"Indianapolis, Indiana",
"Indiana",
"Bates-Hendricks",
"Hendricks Park"
] |
|
14065_NT
|
Play (Jonker)
|
Focus on this artwork and explain the abstract.
|
Play is an abstract sculpture by Lars Jonker. It is located in Hendricks Park, in the historic Bates-Hendricks neighborhood, south of downtown Indianapolis, Indiana.
|
[
"Lars Jonker",
"Indianapolis",
"Indianapolis, Indiana",
"Indiana",
"Bates-Hendricks",
"Hendricks Park"
] |
|
14066_T
|
Play (Jonker)
|
Explore the Information of this artwork, Play (Jonker).
|
Lars Jonker, a local steel artist at the nearby Wheeler Arts Community, created Play for Hendricks Park, as part of the park's ongoing development. It was commissioned by Keep Indy Beautiful in 2002.Jonker moved from his hometown of Wichita, Kansas to Indianapolis in 1998. Upon relocation, he worked as a designer for Danish Inspirations, a furniture company. He started welding after gaining experience at Danish Inspirations working on prototypes.
|
[
"Wichita, Kansas",
"Lars Jonker",
"Indianapolis",
"Indiana",
"Wheeler Arts Community",
"Hendricks Park"
] |
|
14066_NT
|
Play (Jonker)
|
Explore the Information of this artwork.
|
Lars Jonker, a local steel artist at the nearby Wheeler Arts Community, created Play for Hendricks Park, as part of the park's ongoing development. It was commissioned by Keep Indy Beautiful in 2002.Jonker moved from his hometown of Wichita, Kansas to Indianapolis in 1998. Upon relocation, he worked as a designer for Danish Inspirations, a furniture company. He started welding after gaining experience at Danish Inspirations working on prototypes.
|
[
"Wichita, Kansas",
"Lars Jonker",
"Indianapolis",
"Indiana",
"Wheeler Arts Community",
"Hendricks Park"
] |
|
14067_T
|
Play (Jonker)
|
Focus on Play (Jonker) and discuss the Location history.
|
The sculpture was installed in Hendricks Park, a collaborative project between the Bates-Hendricks Neighborhood Association, Keep Indianapolis Beautiful, Baker & Daniels, Eli Lilly and Company, and Southeast Neighborhood Development that began in 2000 and was completed in 2002. Despite occasional vandalism and some restoration, the sculpture remains in the park, on Madison Avenue, just south of downtown Indianapolis. This small park in the Bates-Hendricks neighborhood is operated by Indy Parks and owned by the City of Indianapolis.
|
[
"Indianapolis",
"Eli Lilly and Company",
"Indiana",
"Baker & Daniels",
"Bates-Hendricks",
"Hendricks Park"
] |
|
14067_NT
|
Play (Jonker)
|
Focus on this artwork and discuss the Location history.
|
The sculpture was installed in Hendricks Park, a collaborative project between the Bates-Hendricks Neighborhood Association, Keep Indianapolis Beautiful, Baker & Daniels, Eli Lilly and Company, and Southeast Neighborhood Development that began in 2000 and was completed in 2002. Despite occasional vandalism and some restoration, the sculpture remains in the park, on Madison Avenue, just south of downtown Indianapolis. This small park in the Bates-Hendricks neighborhood is operated by Indy Parks and owned by the City of Indianapolis.
|
[
"Indianapolis",
"Eli Lilly and Company",
"Indiana",
"Baker & Daniels",
"Bates-Hendricks",
"Hendricks Park"
] |
|
14068_T
|
La barca de Aqueronte
|
How does La barca de Aqueronte elucidate its Description?
|
La Barca de Aqueronte is a Neoclassic-style painting based by Hidalgo on his reading of Dante's Inferno while in Italy. It is Hidalgo’s interpretation of damned souls journeying across the River Acheron towards the gates of hell or Hades. The protagonist of the painting is the boatman of classical mythology named Charon, who is depicted as the personification of the merciless harvester of condemned souls with "eyes of coal" glaring forebodingly from the shadows at the boarding commuters. Charon is presented at the right side of the canvas as a lone figure with a shroud. He was positioned in opposition to a red-colored sky. Charon’s facade is forbidding and obscured in the shadows and his oar is glinting like the rapier of a slayer. An offset on the left side of the image is the "diagonal disturbance" composed of plummeting and helpless unclothed bodies heading into Charon’s water vessel. The “diagonal movement” on the left-side of the painting is described to be subdued shades of pink and blue in "strong tension" with the right side of the work of art. This portion of the painting is the steady "solitary form" in black color going against the shimmering red backdrop. Measuring 80.65 cm x 108.59 cm, La barca de Aqueronte is a "companion piece" to Hidalgo’s other painting, La Laguna Estigia (The River Styx).
|
[
"River Acheron",
"Styx",
"The River Styx",
"Charon",
"oar",
"Italy",
"Hades",
"rapier",
"offset",
"La Laguna Estigia",
"Acheron",
"Neoclassic"
] |
|
14068_NT
|
La barca de Aqueronte
|
How does this artwork elucidate its Description?
|
La Barca de Aqueronte is a Neoclassic-style painting based by Hidalgo on his reading of Dante's Inferno while in Italy. It is Hidalgo’s interpretation of damned souls journeying across the River Acheron towards the gates of hell or Hades. The protagonist of the painting is the boatman of classical mythology named Charon, who is depicted as the personification of the merciless harvester of condemned souls with "eyes of coal" glaring forebodingly from the shadows at the boarding commuters. Charon is presented at the right side of the canvas as a lone figure with a shroud. He was positioned in opposition to a red-colored sky. Charon’s facade is forbidding and obscured in the shadows and his oar is glinting like the rapier of a slayer. An offset on the left side of the image is the "diagonal disturbance" composed of plummeting and helpless unclothed bodies heading into Charon’s water vessel. The “diagonal movement” on the left-side of the painting is described to be subdued shades of pink and blue in "strong tension" with the right side of the work of art. This portion of the painting is the steady "solitary form" in black color going against the shimmering red backdrop. Measuring 80.65 cm x 108.59 cm, La barca de Aqueronte is a "companion piece" to Hidalgo’s other painting, La Laguna Estigia (The River Styx).
|
[
"River Acheron",
"Styx",
"The River Styx",
"Charon",
"oar",
"Italy",
"Hades",
"rapier",
"offset",
"La Laguna Estigia",
"Acheron",
"Neoclassic"
] |
|
14069_T
|
La barca de Aqueronte
|
Focus on La barca de Aqueronte and analyze the Historical background.
|
Hidalgo finished La barca de Aqueronte in 1887 when he was thirty-four years old. Hidalgo made charcoal studies of Charon that are representative of the divine and nude Greco-Roman heroes molded in the Renaissance style. These studies can also be found in the Lopez Museum and Library collection. On the same year, José Rizal, key leader of the Propaganda Movement, published the novel Noli Me Tangere.
|
[
"Noli Me Tangere",
"Charon",
"Renaissance",
"José Rizal",
"Lopez Museum",
"Propaganda Movement",
"Greco-Roman"
] |
|
14069_NT
|
La barca de Aqueronte
|
Focus on this artwork and analyze the Historical background.
|
Hidalgo finished La barca de Aqueronte in 1887 when he was thirty-four years old. Hidalgo made charcoal studies of Charon that are representative of the divine and nude Greco-Roman heroes molded in the Renaissance style. These studies can also be found in the Lopez Museum and Library collection. On the same year, José Rizal, key leader of the Propaganda Movement, published the novel Noli Me Tangere.
|
[
"Noli Me Tangere",
"Charon",
"Renaissance",
"José Rizal",
"Lopez Museum",
"Propaganda Movement",
"Greco-Roman"
] |
|
14070_T
|
Origin and Destination
|
In Origin and Destination, how is the abstract discussed?
|
Origin and Destination (Spanish: "Origen y destino") is a 2011 sculpture by Pedro Tello, installed along Puerto Vallarta's Malecón, in the Mexican state of Jalisco. According to Fodor's, the installation's five sculptures "represent the beginnings of humanity. The boat represents humanity’s search for new horizons; the chimera depicts the rise of machines; the whale shows the rise of humanity in the new millennium; and the obelisk represents the work of humanity through time and history."
|
[
"Pedro Tello",
"Fodor's",
"Puerto Vallarta",
"Jalisco",
"Malecón"
] |
|
14070_NT
|
Origin and Destination
|
In this artwork, how is the abstract discussed?
|
Origin and Destination (Spanish: "Origen y destino") is a 2011 sculpture by Pedro Tello, installed along Puerto Vallarta's Malecón, in the Mexican state of Jalisco. According to Fodor's, the installation's five sculptures "represent the beginnings of humanity. The boat represents humanity’s search for new horizons; the chimera depicts the rise of machines; the whale shows the rise of humanity in the new millennium; and the obelisk represents the work of humanity through time and history."
|
[
"Pedro Tello",
"Fodor's",
"Puerto Vallarta",
"Jalisco",
"Malecón"
] |
|
14071_T
|
Visitation (van der Weyden)
|
Focus on Visitation (van der Weyden) and explore the abstract.
|
Visitation is a c.1445 oil on panel painting of the Visitation by Rogier van der Weyden, now in the Museum der bildenden Künste in Leipzig. It is linked to Luke 1:40.
|
[
"Rogier van der Weyden",
"Museum der bildenden Künste",
"Leipzig",
"Visitation"
] |
|
14071_NT
|
Visitation (van der Weyden)
|
Focus on this artwork and explore the abstract.
|
Visitation is a c.1445 oil on panel painting of the Visitation by Rogier van der Weyden, now in the Museum der bildenden Künste in Leipzig. It is linked to Luke 1:40.
|
[
"Rogier van der Weyden",
"Museum der bildenden Künste",
"Leipzig",
"Visitation"
] |
|
14072_T
|
Visitation (van der Weyden)
|
Focus on Visitation (van der Weyden) and explain the Composition.
|
Mary's posture is used to symbolize her status as the Mother of Christ. The view behind Mary is panoramic, suggesting that she has walked a long distance. Mary's posture is straight, in comparison to Elizabeth, who has her knee slightly bent towards the ground. Both of the women have a hand placed upon the stomach of the other. Near the door of the mansion, Zachary, the husband of Elizabeth, plays with a dog.
|
[
"posture",
"Mother of Christ",
"symbolize",
"has her knee slightly bent towards the ground"
] |
|
14072_NT
|
Visitation (van der Weyden)
|
Focus on this artwork and explain the Composition.
|
Mary's posture is used to symbolize her status as the Mother of Christ. The view behind Mary is panoramic, suggesting that she has walked a long distance. Mary's posture is straight, in comparison to Elizabeth, who has her knee slightly bent towards the ground. Both of the women have a hand placed upon the stomach of the other. Near the door of the mansion, Zachary, the husband of Elizabeth, plays with a dog.
|
[
"posture",
"Mother of Christ",
"symbolize",
"has her knee slightly bent towards the ground"
] |
|
14073_T
|
The Trinity and Mystic Pietà
|
Explore the abstract of this artwork, The Trinity and Mystic Pietà.
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The Trinity and Mystic Pietà is an oil-on-oak painting produced in 1512 by German artist Hans Baldung.
|
[
"Hans Baldung",
"oil-on-oak",
"Trinity"
] |
|
14073_NT
|
The Trinity and Mystic Pietà
|
Explore the abstract of this artwork.
|
The Trinity and Mystic Pietà is an oil-on-oak painting produced in 1512 by German artist Hans Baldung.
|
[
"Hans Baldung",
"oil-on-oak",
"Trinity"
] |
|
14074_T
|
The Trinity and Mystic Pietà
|
Focus on The Trinity and Mystic Pietà and discuss the Painting.
|
The painting shows God the Father supporting his son, Jesus, with the Holy Spirit above them, represented by a dove; the Trinity is joined by the weeping figures of the Virgin Mary and St. John. The inclusion of God supporting his crucified son within the picture was popular during the late fourteenth and early fifteenth centuries, but is otherwise rare in art history. Beneath the holy figures are a series of smaller individuals, who are assumed by art historians to be the family who commissioned the painting; this is likely to be the Bettschold and Rothschild families, given the coats of arms present in the lower corners. The donors were often depicted during the Middle Ages as much smaller than the holy figures, in order to emphasise the difference between them.The painting was acquired in 1894 by the National Gallery, London. The gallery considers that "Baldung's painting invites our imaginative participation by stressing the human emotions of the mourners, and presenting even God the Father simply as a grieving parent."
|
[
"Jesus",
"Holy Spirit",
"Trinity",
"St. John",
"God the Father",
"National Gallery",
"Virgin Mary"
] |
|
14074_NT
|
The Trinity and Mystic Pietà
|
Focus on this artwork and discuss the Painting.
|
The painting shows God the Father supporting his son, Jesus, with the Holy Spirit above them, represented by a dove; the Trinity is joined by the weeping figures of the Virgin Mary and St. John. The inclusion of God supporting his crucified son within the picture was popular during the late fourteenth and early fifteenth centuries, but is otherwise rare in art history. Beneath the holy figures are a series of smaller individuals, who are assumed by art historians to be the family who commissioned the painting; this is likely to be the Bettschold and Rothschild families, given the coats of arms present in the lower corners. The donors were often depicted during the Middle Ages as much smaller than the holy figures, in order to emphasise the difference between them.The painting was acquired in 1894 by the National Gallery, London. The gallery considers that "Baldung's painting invites our imaginative participation by stressing the human emotions of the mourners, and presenting even God the Father simply as a grieving parent."
|
[
"Jesus",
"Holy Spirit",
"Trinity",
"St. John",
"God the Father",
"National Gallery",
"Virgin Mary"
] |
|
14075_T
|
Saint Lanfranc Enthroned Between Saints John the Baptist and Liberius
|
How does Saint Lanfranc Enthroned Between Saints John the Baptist and Liberius elucidate its abstract?
|
Saint Lanfranc Enthroned Between Saints John the Baptist and Liberius is an oil painting by Cima da Conegliano dating to c. 1515–1516. It is now in the Fitzwilliam Museum, Cambridge. It shows Saint Lanfranc on a throne, between John the Baptist and Saint Liberius.
|
[
"Saint Lanfranc",
"Lanfranc",
"John the Baptist",
"Cima da Conegliano",
"Saint Liberius",
"Fitzwilliam Museum"
] |
|
14075_NT
|
Saint Lanfranc Enthroned Between Saints John the Baptist and Liberius
|
How does this artwork elucidate its abstract?
|
Saint Lanfranc Enthroned Between Saints John the Baptist and Liberius is an oil painting by Cima da Conegliano dating to c. 1515–1516. It is now in the Fitzwilliam Museum, Cambridge. It shows Saint Lanfranc on a throne, between John the Baptist and Saint Liberius.
|
[
"Saint Lanfranc",
"Lanfranc",
"John the Baptist",
"Cima da Conegliano",
"Saint Liberius",
"Fitzwilliam Museum"
] |
|
14076_T
|
Man Enters the Cosmos
|
Focus on Man Enters the Cosmos and analyze the abstract.
|
Man Enters the Cosmos is a cast bronze sculpture by Henry Moore located on the Lake Michigan lakefront outside the Adler Planetarium in the Museum Campus area of downtown Chicago, Illinois.
The sculpture is a functional bowstring equatorial sundial created in 1980 measuring approximately 13 feet (4.0 m). The sundial was formerly located slightly further south at the steps of the main entry plaza to the Planetarium, but it now sits directly on the lakefront. The work is a later copy of a composition first created in the 1960s for the offices of The Times newspaper at Printing House Square in London, and according to the Henry Moore Foundation is titled Sundial 1965–66.
|
[
"Henry Moore Foundation",
"Illinois",
"bronze sculpture",
"Adler Planetarium",
"Henry Moore",
"Lake Michigan",
"sundial",
"Sundial",
"Printing House Square",
"The Times",
"Chicago",
"Museum Campus",
"Sun"
] |
|
14076_NT
|
Man Enters the Cosmos
|
Focus on this artwork and analyze the abstract.
|
Man Enters the Cosmos is a cast bronze sculpture by Henry Moore located on the Lake Michigan lakefront outside the Adler Planetarium in the Museum Campus area of downtown Chicago, Illinois.
The sculpture is a functional bowstring equatorial sundial created in 1980 measuring approximately 13 feet (4.0 m). The sundial was formerly located slightly further south at the steps of the main entry plaza to the Planetarium, but it now sits directly on the lakefront. The work is a later copy of a composition first created in the 1960s for the offices of The Times newspaper at Printing House Square in London, and according to the Henry Moore Foundation is titled Sundial 1965–66.
|
[
"Henry Moore Foundation",
"Illinois",
"bronze sculpture",
"Adler Planetarium",
"Henry Moore",
"Lake Michigan",
"sundial",
"Sundial",
"Printing House Square",
"The Times",
"Chicago",
"Museum Campus",
"Sun"
] |
|
14077_T
|
Man Enters the Cosmos
|
In Man Enters the Cosmos, how is the Moore in Chicago discussed?
|
Moore took pride in viewing his sculptures in their open-air environments. He once said he would prefer to see his sculptures in any open landscape than in even the most beautiful buildings he knew. Including this sculpture, Moore has a total of four public sculptures that are listed in the Smithsonian Institution's Research Information System (SIRIS) on display outdoors, in Chicago. All of them are bronze. His Nuclear Energy is situated on the campus of the University of Chicago at the site of the first self-sustaining nuclear reaction, which is listed in the National Register of Historic Places. The site is also listed as a National Historic Landmark, and Chicago Landmark. Other Chicago works include Large Interior Form, which is located in the north garden at the Art Institute of Chicago, and Reclining Figure, which is on loan to the University of Chicago and which is located in the Cochrane-Woods Art Center courtyard. The Henry Moore Foundation lists several other indoor Chicago works at locations such as the Art Institute of Chicago and The Smart Museum.
|
[
"National Register of Historic Places",
"Art Institute of Chicago",
"Smart Museum",
"Henry Moore Foundation",
"Henry Moore",
"University of Chicago",
"Nuclear Energy",
"Large Interior Form",
"Smithsonian Institution",
"National Historic Landmark",
"Chicago Landmark",
"Chicago",
"site of the first self-sustaining nuclear reaction"
] |
|
14077_NT
|
Man Enters the Cosmos
|
In this artwork, how is the Moore in Chicago discussed?
|
Moore took pride in viewing his sculptures in their open-air environments. He once said he would prefer to see his sculptures in any open landscape than in even the most beautiful buildings he knew. Including this sculpture, Moore has a total of four public sculptures that are listed in the Smithsonian Institution's Research Information System (SIRIS) on display outdoors, in Chicago. All of them are bronze. His Nuclear Energy is situated on the campus of the University of Chicago at the site of the first self-sustaining nuclear reaction, which is listed in the National Register of Historic Places. The site is also listed as a National Historic Landmark, and Chicago Landmark. Other Chicago works include Large Interior Form, which is located in the north garden at the Art Institute of Chicago, and Reclining Figure, which is on loan to the University of Chicago and which is located in the Cochrane-Woods Art Center courtyard. The Henry Moore Foundation lists several other indoor Chicago works at locations such as the Art Institute of Chicago and The Smart Museum.
|
[
"National Register of Historic Places",
"Art Institute of Chicago",
"Smart Museum",
"Henry Moore Foundation",
"Henry Moore",
"University of Chicago",
"Nuclear Energy",
"Large Interior Form",
"Smithsonian Institution",
"National Historic Landmark",
"Chicago Landmark",
"Chicago",
"site of the first self-sustaining nuclear reaction"
] |
|
14078_T
|
High Noon (Hopper)
|
Focus on High Noon (Hopper) and explain the abstract.
|
High Noon is an 1949 oil painting by the American Realist artist Edward Hopper, created in 1949. The work depicts a woman standing and staring outward from the doorway of a home, with the sun casting a split shadow over the home.
|
[
"Edward Hopper",
"American Realist"
] |
|
14078_NT
|
High Noon (Hopper)
|
Focus on this artwork and explain the abstract.
|
High Noon is an 1949 oil painting by the American Realist artist Edward Hopper, created in 1949. The work depicts a woman standing and staring outward from the doorway of a home, with the sun casting a split shadow over the home.
|
[
"Edward Hopper",
"American Realist"
] |
|
14079_T
|
High Noon (Hopper)
|
Explore the Description of this artwork, High Noon (Hopper).
|
At first glance, the features in the painting seem clear enough. A half-dressed girl stands at the front door, apparently waiting for someone or something. But the painting is complex, both psychologically and aesthetically. Hopper uses the image of a girl for an aesthetic exploration of light and shadow: the shadows on her body are an extension of the geometric shadows in the house. On the other hand, the light gives the impression of detachment: the white walls contrast sharply with the blue sky and the red chimney and foundation of the house, and in this light the woman is illuminated like if focused by a spotlight. The effect is almost obscene. Her dressing gown is not wrapped, which gives an almost complete picture of her nakedness, and the verticals of the dressing gown and its opening correspond to the verticals of the doorway and the door and the gap in the curtains by the window above.
|
[] |
|
14079_NT
|
High Noon (Hopper)
|
Explore the Description of this artwork.
|
At first glance, the features in the painting seem clear enough. A half-dressed girl stands at the front door, apparently waiting for someone or something. But the painting is complex, both psychologically and aesthetically. Hopper uses the image of a girl for an aesthetic exploration of light and shadow: the shadows on her body are an extension of the geometric shadows in the house. On the other hand, the light gives the impression of detachment: the white walls contrast sharply with the blue sky and the red chimney and foundation of the house, and in this light the woman is illuminated like if focused by a spotlight. The effect is almost obscene. Her dressing gown is not wrapped, which gives an almost complete picture of her nakedness, and the verticals of the dressing gown and its opening correspond to the verticals of the doorway and the door and the gap in the curtains by the window above.
|
[] |
|
14080_T
|
Indians on Horseback
|
Focus on Indians on Horseback and discuss the abstract.
|
Indians on Horseback is an oil-on-canvas painting executed in 1911 by the German Expressionist painter August Macke. It was created when the artist was under the influence of Cubism and had joined Der Blaue Reiter group through his friend Franz Marc. The painting belongs to the collection of the Städtische Galerie im Lenbachhaus, in Munich. It was donated by the Bernhard and Elly Koehler Foundation in 1965.
|
[
"Franz Marc",
"Lenbachhaus",
"Städtische Galerie im Lenbachhaus",
"August Macke",
"Cubism",
"Expressionist",
"Blaue Reiter",
"Munich",
"Der Blaue Reiter"
] |
|
14080_NT
|
Indians on Horseback
|
Focus on this artwork and discuss the abstract.
|
Indians on Horseback is an oil-on-canvas painting executed in 1911 by the German Expressionist painter August Macke. It was created when the artist was under the influence of Cubism and had joined Der Blaue Reiter group through his friend Franz Marc. The painting belongs to the collection of the Städtische Galerie im Lenbachhaus, in Munich. It was donated by the Bernhard and Elly Koehler Foundation in 1965.
|
[
"Franz Marc",
"Lenbachhaus",
"Städtische Galerie im Lenbachhaus",
"August Macke",
"Cubism",
"Expressionist",
"Blaue Reiter",
"Munich",
"Der Blaue Reiter"
] |
|
14081_T
|
Indians on Horseback
|
How does Indians on Horseback elucidate its Description?
|
The paintings landscape shows three people and two horses. In the background, there are sharp, round mountains with a dark yellow sky, in front of which there are huts. The figures are "Indians" as Macke imagined them to be. Two are mounted on horses, and the third is holding a spear adorned with blue, white and red feathers. The outlines are painted sharply, but the colors run in the flat areas, as is typical of Macke's painting. Some things are reminiscent of Franz Marc's influence, such as the dark and shiny fantasy landscape, the formula-shaped surfaces and the trees leaning to the left. But Macke also used Cubist influences here for the first time, albeit in a "moderate way." According to art historian Johannes Langner, there is also the "schematic plastic form" characteristic of Cubism and "a wave of energies that pushes to the left", recognizable by the diagonal elements of the composition. Macke's conception of Cubism was softer and more pictorial than that of his colleagues; in contrast to Marc's images, it is more reminiscent of Fauvism style, represented by the Neue Künstlervereinigung München painters until about 1910. The motif of Macke's painting, the "noble savage", is also related to Cubism. It is the craving for paradise that has been in the consciousness of European avant-gardes since Paul Gauguin and who had the desire to break with European artistic traditions and deal with the exotic. Art historian Rosel Gollek quotes August Macke as saying that painting is "a joy in nature" for him. While his fellow Blaue Reiter artists had "an intellectual claim difficult to convey", Macke had the "magic of a humorous, fairy tale, mythical sound filled with poetry".
|
[
"Fauvism",
"Franz Marc",
"Neue Künstlervereinigung München",
"August Macke",
"Paul Gauguin",
"Cubism",
"Blaue Reiter"
] |
|
14081_NT
|
Indians on Horseback
|
How does this artwork elucidate its Description?
|
The paintings landscape shows three people and two horses. In the background, there are sharp, round mountains with a dark yellow sky, in front of which there are huts. The figures are "Indians" as Macke imagined them to be. Two are mounted on horses, and the third is holding a spear adorned with blue, white and red feathers. The outlines are painted sharply, but the colors run in the flat areas, as is typical of Macke's painting. Some things are reminiscent of Franz Marc's influence, such as the dark and shiny fantasy landscape, the formula-shaped surfaces and the trees leaning to the left. But Macke also used Cubist influences here for the first time, albeit in a "moderate way." According to art historian Johannes Langner, there is also the "schematic plastic form" characteristic of Cubism and "a wave of energies that pushes to the left", recognizable by the diagonal elements of the composition. Macke's conception of Cubism was softer and more pictorial than that of his colleagues; in contrast to Marc's images, it is more reminiscent of Fauvism style, represented by the Neue Künstlervereinigung München painters until about 1910. The motif of Macke's painting, the "noble savage", is also related to Cubism. It is the craving for paradise that has been in the consciousness of European avant-gardes since Paul Gauguin and who had the desire to break with European artistic traditions and deal with the exotic. Art historian Rosel Gollek quotes August Macke as saying that painting is "a joy in nature" for him. While his fellow Blaue Reiter artists had "an intellectual claim difficult to convey", Macke had the "magic of a humorous, fairy tale, mythical sound filled with poetry".
|
[
"Fauvism",
"Franz Marc",
"Neue Künstlervereinigung München",
"August Macke",
"Paul Gauguin",
"Cubism",
"Blaue Reiter"
] |
|
14082_T
|
The Wood (Max Ernst)
|
Focus on The Wood (Max Ernst) and analyze the abstract.
|
The Wood (1927) is a painting by the German surrealist Max Ernst.
Ernst was haunted by the atmosphere of forests and by the birds which inhabit them. Here, the herring-bone effect of the trees and the grainy sky reveal his technique of grattage. Layers of paint were applied to the canvas, which was pressed against a sheet of stamped metal and a rough plank and scraped. This work was given to the Contemporary Art Society by Miss A.F. Brown in 1940, and was acquired by the National Museum of Wales in 1991, where it is currently on display.
|
[
"Max Ernst",
"surrealist",
"Contemporary Art Society",
"German",
"grattage",
"National Museum of Wales"
] |
|
14082_NT
|
The Wood (Max Ernst)
|
Focus on this artwork and analyze the abstract.
|
The Wood (1927) is a painting by the German surrealist Max Ernst.
Ernst was haunted by the atmosphere of forests and by the birds which inhabit them. Here, the herring-bone effect of the trees and the grainy sky reveal his technique of grattage. Layers of paint were applied to the canvas, which was pressed against a sheet of stamped metal and a rough plank and scraped. This work was given to the Contemporary Art Society by Miss A.F. Brown in 1940, and was acquired by the National Museum of Wales in 1991, where it is currently on display.
|
[
"Max Ernst",
"surrealist",
"Contemporary Art Society",
"German",
"grattage",
"National Museum of Wales"
] |
|
14083_T
|
Diana and Actaeon (Titian)
|
In Diana and Actaeon (Titian), how is the abstract discussed?
|
Diana and Actaeon is a painting by the Italian Renaissance master Titian, finished in 1556–1559, and is considered amongst Titian's greatest works. It portrays the moment in which the hunter Actaeon bursts in where the goddess Diana and her nymphs are bathing. Diana is furious, and will turn Actaeon into a stag, who is then pursued and killed by his own hounds, a scene Titian later painted in his The Death of Actaeon (National Gallery).
Diana is the pale woman second from the right. She is wearing a crown with a crescent moon on it and is being covered by the dark skinned woman at the extreme right who may be her servant. The nymphs display a variety of reactions, and a variety of nude poses.
In 2008–2009, the National Gallery, London and National Galleries of Scotland successfully campaigned to acquire the painting from the Bridgewater Collection for £50 million. As a result, Diana and Actaeon will remain on display in the UK, and will alternate between the two galleries on five-year terms.
|
[
"Titian",
"National Gallery",
"Scotland",
"National Gallery, London",
"Diana and Actaeon",
"Bridgewater Collection",
"Italian Renaissance",
"Diana",
"Actaeon",
"National Galleries of Scotland",
"London",
"The Death of Actaeon"
] |
|
14083_NT
|
Diana and Actaeon (Titian)
|
In this artwork, how is the abstract discussed?
|
Diana and Actaeon is a painting by the Italian Renaissance master Titian, finished in 1556–1559, and is considered amongst Titian's greatest works. It portrays the moment in which the hunter Actaeon bursts in where the goddess Diana and her nymphs are bathing. Diana is furious, and will turn Actaeon into a stag, who is then pursued and killed by his own hounds, a scene Titian later painted in his The Death of Actaeon (National Gallery).
Diana is the pale woman second from the right. She is wearing a crown with a crescent moon on it and is being covered by the dark skinned woman at the extreme right who may be her servant. The nymphs display a variety of reactions, and a variety of nude poses.
In 2008–2009, the National Gallery, London and National Galleries of Scotland successfully campaigned to acquire the painting from the Bridgewater Collection for £50 million. As a result, Diana and Actaeon will remain on display in the UK, and will alternate between the two galleries on five-year terms.
|
[
"Titian",
"National Gallery",
"Scotland",
"National Gallery, London",
"Diana and Actaeon",
"Bridgewater Collection",
"Italian Renaissance",
"Diana",
"Actaeon",
"National Galleries of Scotland",
"London",
"The Death of Actaeon"
] |
|
14084_T
|
Diana and Actaeon (Titian)
|
Focus on Diana and Actaeon (Titian) and explore the To 2005.
|
Diana and Actaeon is part of a series of seven famous canvases, the "poesies", depicting mythological scenes from Ovid's Metamorphoses painted for Philip II of Spain (after Maximilian II, Holy Roman Emperor had declined Titian's offer to paint them for him). The work remained in the Spanish royal collection until 1704, when King Philip V gave it to the French ambassador. It was soon acquired by Philippe II, Duke of Orléans, nephew of Louis XIV, and Regent of France during the minority of Louis XV, for his collection, one of the finest ever assembled. After the French Revolution, the Orleans collection was sold to a Brussels dealer by Louis Philippe II, Duke of Orléans in 1791, two years before he was guillotined. This dealer then exhibited many pictures from the collection (including the Titians) in London.The largest share of the collection was thus bought in 1798 by the coal-magnate Francis Egerton, 3rd Duke of Bridgewater, including this painting, Titian's Diana and Callisto (from the same mythological series of seven paintings), eight paintings by Poussin, three Raphaels and Rembrandt's Self-Portrait, aged 51.The third Duke of Bridgewater was probably inspired to buy the paintings by his nephew, Earl Gower, the ancestor of the Dukes of Sutherland. Certainly, on Bridgewater's death five years after the purchase, he bequeathed the Titians and the rest of the collection to Gower, who put it on display to the public in his London house – it has been on public display ever since. On first seeing the collection there, William Hazlitt wrote "I was staggered when I saw the works ... A new sense came upon me, a new heaven and a new Earth stood before me.". On the outbreak of the Second World War in September 1939, the collection was moved from London to Scotland. Between 1945 and 2009, the Diana and Actaeon and Diana and Callisto (with other paintings from the collection, known collectively as "the Bridgewater loan" or "the Sutherland Loan") were on long-term display at the National Gallery of Scotland, in Edinburgh. As well as Hazlitt, during their time on public display they have inspired artists such as J. M. W. Turner and Lucian Freud – Freud described the pair as "simply the most beautiful pictures in the world".
|
[
"Louis XV",
"Raphael",
"Louis XIV",
"William Hazlitt",
"Titian",
"Spanish royal collection",
"Edinburgh",
"Poussin",
"National Gallery",
"Scotland",
"Metamorphoses",
"National Gallery of Scotland",
"London house",
"Orleans collection",
"Diana and Actaeon",
"Philip II of Spain",
"Maximilian II, Holy Roman Emperor",
"Louis Philippe II, Duke of Orléans",
"Brussels",
"Ovid",
"Diana",
"Actaeon",
"Rembrandt",
"Francis Egerton, 3rd Duke of Bridgewater",
"London",
"J. M. W. Turner",
"collection",
"Second World War",
"Philippe II, Duke of Orléans",
"Diana and Callisto",
"Earl Gower",
"Lucian Freud",
"French Revolution",
"Philip V"
] |
|
14084_NT
|
Diana and Actaeon (Titian)
|
Focus on this artwork and explore the To 2005.
|
Diana and Actaeon is part of a series of seven famous canvases, the "poesies", depicting mythological scenes from Ovid's Metamorphoses painted for Philip II of Spain (after Maximilian II, Holy Roman Emperor had declined Titian's offer to paint them for him). The work remained in the Spanish royal collection until 1704, when King Philip V gave it to the French ambassador. It was soon acquired by Philippe II, Duke of Orléans, nephew of Louis XIV, and Regent of France during the minority of Louis XV, for his collection, one of the finest ever assembled. After the French Revolution, the Orleans collection was sold to a Brussels dealer by Louis Philippe II, Duke of Orléans in 1791, two years before he was guillotined. This dealer then exhibited many pictures from the collection (including the Titians) in London.The largest share of the collection was thus bought in 1798 by the coal-magnate Francis Egerton, 3rd Duke of Bridgewater, including this painting, Titian's Diana and Callisto (from the same mythological series of seven paintings), eight paintings by Poussin, three Raphaels and Rembrandt's Self-Portrait, aged 51.The third Duke of Bridgewater was probably inspired to buy the paintings by his nephew, Earl Gower, the ancestor of the Dukes of Sutherland. Certainly, on Bridgewater's death five years after the purchase, he bequeathed the Titians and the rest of the collection to Gower, who put it on display to the public in his London house – it has been on public display ever since. On first seeing the collection there, William Hazlitt wrote "I was staggered when I saw the works ... A new sense came upon me, a new heaven and a new Earth stood before me.". On the outbreak of the Second World War in September 1939, the collection was moved from London to Scotland. Between 1945 and 2009, the Diana and Actaeon and Diana and Callisto (with other paintings from the collection, known collectively as "the Bridgewater loan" or "the Sutherland Loan") were on long-term display at the National Gallery of Scotland, in Edinburgh. As well as Hazlitt, during their time on public display they have inspired artists such as J. M. W. Turner and Lucian Freud – Freud described the pair as "simply the most beautiful pictures in the world".
|
[
"Louis XV",
"Raphael",
"Louis XIV",
"William Hazlitt",
"Titian",
"Spanish royal collection",
"Edinburgh",
"Poussin",
"National Gallery",
"Scotland",
"Metamorphoses",
"National Gallery of Scotland",
"London house",
"Orleans collection",
"Diana and Actaeon",
"Philip II of Spain",
"Maximilian II, Holy Roman Emperor",
"Louis Philippe II, Duke of Orléans",
"Brussels",
"Ovid",
"Diana",
"Actaeon",
"Rembrandt",
"Francis Egerton, 3rd Duke of Bridgewater",
"London",
"J. M. W. Turner",
"collection",
"Second World War",
"Philippe II, Duke of Orléans",
"Diana and Callisto",
"Earl Gower",
"Lucian Freud",
"French Revolution",
"Philip V"
] |
|
14085_T
|
Diana and Actaeon (Titian)
|
Focus on Diana and Actaeon (Titian) and explain the 2008–present.
|
The Sutherland collection has passed by descent to the 7th Duke of Sutherland, (most of whose wealth is contained in the paintings collection), but in late August 2008 the 7th Duke announced that he wished to sell some of the collection in order to diversify his assets. He had offered them as a pair to the British national galleries at £100 million (a third of their overall estimated market price) if they could demonstrate, by the end of 2008, the ability to raise that sum – if not, the pair or other paintings from the Bridgewater collection would be put on public auction early in 2009. Within days of the Duke's decision, the NGS and the National Gallery, London had announced they would combine forces to raise the sum, initially in the form of £50 million (or a demonstration that this money could be raised) to purchase Diana and Actaeon and paid over three years in installments and then £50 million for Diana and Callisto paid for similarly from 2013.Though the campaign received some criticism for the Duke's motives or (from John Tusa and Nigel Carrington of the University of the Arts London) for distracting from funding art students, it gained press support from both the tabloid and broadsheet print media in the UK – imitative nude photoshoots of it were featured in both The Sun (using the newspaper's Page 3 models photoshopped onto the painting) and The Mirror (including the actor Kim Cattrall and featured in a piece by Andrew Graham-Dixon on The Culture Show). On 14 October 2008 the appeal received £1 million from the Art Fund and on 19 November this was followed by £10 million from the National Heritage Memorial Fund. From 22 October to 14 December 2008 it was put on display in Room 1 of the National Gallery in London to aid the public appeal – the only other painting in this temporary exhibition was the related The Death of Actaeon from the London National Gallery's collection, and they were illustrated by the relevant passages from Book 3 of Ovid's Metamorphoses in the John Dryden translation.Speculation began when the original 31 December deadline passed without definite news and the Scottish Government's announcement of a contribution of £17.5 million in January 2009 triggered a political row, with Ian Davidson questioning the deal at a time of economic hardship. There was also controversy over attempts to dilute the guarantee that the duke would sell no other of the paintings from the Sutherland Loan should the two Titians be bought. However, on 2 February 2009 it was announced that, thanks to the deadline being extended to raise more funds and finalize the payment plan for Diana and Callisto, the £50 million had been raised and Diana and Actaeon would be acquired. The final sum was made up of £12.5 million from the Scottish Government, £7.4 million from public donations, £12.5 million from the National Galleries in London, £10 million from the National Heritage Memorial Fund, £2 million from the Monument Trust, £4.6 million from the National Galleries of Scotland and £1 million was secured from the Art Fund. Diana and Actaeon will thus be displayed in Scotland for five years, then in London alongside The Death of Actaeon for five years, on an alternating basis.
|
[
"The Mirror",
"economic hardship",
"Titian",
"National Gallery",
"photoshoot",
"The Sun",
"Scotland",
"Metamorphoses",
"National Gallery, London",
"Diana and Actaeon",
"Andrew Graham-Dixon",
"Nigel Carrington",
"Page 3",
"The Culture Show",
"Art Fund",
"Ovid",
"Diana",
"Actaeon",
"John Dryden",
"National Galleries of Scotland",
"London",
"National Heritage Memorial Fund",
"The Death of Actaeon",
"Ian Davidson",
"collection",
"photoshop",
"John Tusa",
"Diana and Callisto",
"University of the Arts London",
"7th Duke of Sutherland",
"Kim Cattrall",
"auction"
] |
|
14085_NT
|
Diana and Actaeon (Titian)
|
Focus on this artwork and explain the 2008–present.
|
The Sutherland collection has passed by descent to the 7th Duke of Sutherland, (most of whose wealth is contained in the paintings collection), but in late August 2008 the 7th Duke announced that he wished to sell some of the collection in order to diversify his assets. He had offered them as a pair to the British national galleries at £100 million (a third of their overall estimated market price) if they could demonstrate, by the end of 2008, the ability to raise that sum – if not, the pair or other paintings from the Bridgewater collection would be put on public auction early in 2009. Within days of the Duke's decision, the NGS and the National Gallery, London had announced they would combine forces to raise the sum, initially in the form of £50 million (or a demonstration that this money could be raised) to purchase Diana and Actaeon and paid over three years in installments and then £50 million for Diana and Callisto paid for similarly from 2013.Though the campaign received some criticism for the Duke's motives or (from John Tusa and Nigel Carrington of the University of the Arts London) for distracting from funding art students, it gained press support from both the tabloid and broadsheet print media in the UK – imitative nude photoshoots of it were featured in both The Sun (using the newspaper's Page 3 models photoshopped onto the painting) and The Mirror (including the actor Kim Cattrall and featured in a piece by Andrew Graham-Dixon on The Culture Show). On 14 October 2008 the appeal received £1 million from the Art Fund and on 19 November this was followed by £10 million from the National Heritage Memorial Fund. From 22 October to 14 December 2008 it was put on display in Room 1 of the National Gallery in London to aid the public appeal – the only other painting in this temporary exhibition was the related The Death of Actaeon from the London National Gallery's collection, and they were illustrated by the relevant passages from Book 3 of Ovid's Metamorphoses in the John Dryden translation.Speculation began when the original 31 December deadline passed without definite news and the Scottish Government's announcement of a contribution of £17.5 million in January 2009 triggered a political row, with Ian Davidson questioning the deal at a time of economic hardship. There was also controversy over attempts to dilute the guarantee that the duke would sell no other of the paintings from the Sutherland Loan should the two Titians be bought. However, on 2 February 2009 it was announced that, thanks to the deadline being extended to raise more funds and finalize the payment plan for Diana and Callisto, the £50 million had been raised and Diana and Actaeon would be acquired. The final sum was made up of £12.5 million from the Scottish Government, £7.4 million from public donations, £12.5 million from the National Galleries in London, £10 million from the National Heritage Memorial Fund, £2 million from the Monument Trust, £4.6 million from the National Galleries of Scotland and £1 million was secured from the Art Fund. Diana and Actaeon will thus be displayed in Scotland for five years, then in London alongside The Death of Actaeon for five years, on an alternating basis.
|
[
"The Mirror",
"economic hardship",
"Titian",
"National Gallery",
"photoshoot",
"The Sun",
"Scotland",
"Metamorphoses",
"National Gallery, London",
"Diana and Actaeon",
"Andrew Graham-Dixon",
"Nigel Carrington",
"Page 3",
"The Culture Show",
"Art Fund",
"Ovid",
"Diana",
"Actaeon",
"John Dryden",
"National Galleries of Scotland",
"London",
"National Heritage Memorial Fund",
"The Death of Actaeon",
"Ian Davidson",
"collection",
"photoshop",
"John Tusa",
"Diana and Callisto",
"University of the Arts London",
"7th Duke of Sutherland",
"Kim Cattrall",
"auction"
] |
|
14086_T
|
Diana and Actaeon (Titian)
|
Explore the Titian's poesie series for Philip II of this artwork, Diana and Actaeon (Titian).
|
Danaë, delivered to Philip 1553, now Wellington Collection, with earlier and later versions.
Venus and Adonis, Museo del Prado, delivered 1554, and several other versions
The Rape of Europa, c. 1560–1562, Isabella Stewart Gardner Museum
Diana and Actaeon, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh
Diana and Callisto, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh
Perseus and Andromeda, Wallace Collection, c. 1553–1562
The Death of Actaeon, National Gallery, never delivered and not always counted in the series, c. 1559 onwards
|
[
"Titian",
"Edinburgh",
"National Gallery",
"Scotland",
"National Gallery of Scotland",
"Wallace Collection",
"Diana and Actaeon",
"Venus and Adonis",
"Diana",
"Actaeon",
"The Rape of Europa",
"London",
"The Death of Actaeon",
"Diana and Callisto",
"Perseus and Andromeda"
] |
|
14086_NT
|
Diana and Actaeon (Titian)
|
Explore the Titian's poesie series for Philip II of this artwork.
|
Danaë, delivered to Philip 1553, now Wellington Collection, with earlier and later versions.
Venus and Adonis, Museo del Prado, delivered 1554, and several other versions
The Rape of Europa, c. 1560–1562, Isabella Stewart Gardner Museum
Diana and Actaeon, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh
Diana and Callisto, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh
Perseus and Andromeda, Wallace Collection, c. 1553–1562
The Death of Actaeon, National Gallery, never delivered and not always counted in the series, c. 1559 onwards
|
[
"Titian",
"Edinburgh",
"National Gallery",
"Scotland",
"National Gallery of Scotland",
"Wallace Collection",
"Diana and Actaeon",
"Venus and Adonis",
"Diana",
"Actaeon",
"The Rape of Europa",
"London",
"The Death of Actaeon",
"Diana and Callisto",
"Perseus and Andromeda"
] |
|
14087_T
|
Statue of Joseph Henry
|
Focus on Statue of Joseph Henry and discuss the abstract.
|
Professor Joseph Henry is an outdoor bronze sculpture by William Wetmore Story, depicting Joseph Henry, located in front of Washington, D.C.'s Smithsonian Institution Building, in the United States. The sculpture is nine feet tall, with a base made from Maine red granite and Quincy gray granite. It was modeled in 1881, cast the following year, and dedicated on April 19, 1883.
|
[
"bronze sculpture",
"Washington, D.C.",
"William Wetmore Story",
"Smithsonian Institution",
"Smithsonian Institution Building",
"Joseph Henry"
] |
|
14087_NT
|
Statue of Joseph Henry
|
Focus on this artwork and discuss the abstract.
|
Professor Joseph Henry is an outdoor bronze sculpture by William Wetmore Story, depicting Joseph Henry, located in front of Washington, D.C.'s Smithsonian Institution Building, in the United States. The sculpture is nine feet tall, with a base made from Maine red granite and Quincy gray granite. It was modeled in 1881, cast the following year, and dedicated on April 19, 1883.
|
[
"bronze sculpture",
"Washington, D.C.",
"William Wetmore Story",
"Smithsonian Institution",
"Smithsonian Institution Building",
"Joseph Henry"
] |
|
14088_T
|
Vault (sculpture)
|
How does Vault (sculpture) elucidate its abstract?
|
Vault (popularly known as The Yellow Peril) is a public sculpture located in Melbourne, Victoria, Australia. The work of sculptor Ron Robertson-Swann, Vault is an abstract, minimalist sculpture built of large thick flat polygonal sheets of prefabricated steel, assembled in a way that suggests dynamic movement. It is painted yellow.
Presently located outside the Australian Centre for Contemporary Art, it is a key work in Melbourne's public art collection, and of considerable historical importance to the city.
Vault has weathered much controversy throughout its existence. Commissioned by the Melbourne City Council after winning a competition in May 1978, for the newly built Melbourne City Square, the sculpture was not even built before it began to attract criticism from certain media and council factions, on the grounds that its modern form was felt to be unsympathetic to the location. The cost of $70,000 was also felt to be excessive.
The sculpture had no official name for over two years, and acquired a number of nicknames during this time. Robertson-Swann himself called it The Thing. The steelworkers who constructed it called it Steelhenge. Newspapers gave it the derogatory nickname The Yellow Peril, a name which has stuck. Robertson-Swann eventually officially named the sculpture Vault in September 1980.Installed in the City Square in May 1980, Vault lasted until December of that year, when its dismantling coincided with the State Government's sacking of the City Council. The Builders Labourers Federation consequently placed bans on further City Square work projects.
In 1981, the Vault was re-erected at Batman Park, a less prominent part of the city. It remained there until 2002 when it was moved to a position outside the Australian Centre for Contemporary Art in Southbank.In 2017, the sculpture was recommended for heritage protection, through inclusion in the City of Melbourne Planning Scheme Heritage Overlay, following a heritage study of the Southbank Area.Vault has been inspirational for some built and propositional architectural projects designed in Melbourne. Several of Denton Corker Marshall's works have "adopted peril's yellow almost as a point of pride and solidarity" while its form has been manipulated in some works by ARM Architecture (Ashton Raggatt McDougall).
|
[
"Melbourne City Square",
"Yellow Peril",
"Australia",
"Victoria",
"ARM Architecture (Ashton Raggatt McDougall)",
"Melbourne City Council",
"Melbourne",
"Ron Robertson-Swann",
"Southbank",
"Denton Corker Marshall",
"Batman Park",
"abstract",
"Builders Labourers Federation",
"minimalist",
"City of Melbourne",
"State Government",
"Australian Centre for Contemporary Art"
] |
|
14088_NT
|
Vault (sculpture)
|
How does this artwork elucidate its abstract?
|
Vault (popularly known as The Yellow Peril) is a public sculpture located in Melbourne, Victoria, Australia. The work of sculptor Ron Robertson-Swann, Vault is an abstract, minimalist sculpture built of large thick flat polygonal sheets of prefabricated steel, assembled in a way that suggests dynamic movement. It is painted yellow.
Presently located outside the Australian Centre for Contemporary Art, it is a key work in Melbourne's public art collection, and of considerable historical importance to the city.
Vault has weathered much controversy throughout its existence. Commissioned by the Melbourne City Council after winning a competition in May 1978, for the newly built Melbourne City Square, the sculpture was not even built before it began to attract criticism from certain media and council factions, on the grounds that its modern form was felt to be unsympathetic to the location. The cost of $70,000 was also felt to be excessive.
The sculpture had no official name for over two years, and acquired a number of nicknames during this time. Robertson-Swann himself called it The Thing. The steelworkers who constructed it called it Steelhenge. Newspapers gave it the derogatory nickname The Yellow Peril, a name which has stuck. Robertson-Swann eventually officially named the sculpture Vault in September 1980.Installed in the City Square in May 1980, Vault lasted until December of that year, when its dismantling coincided with the State Government's sacking of the City Council. The Builders Labourers Federation consequently placed bans on further City Square work projects.
In 1981, the Vault was re-erected at Batman Park, a less prominent part of the city. It remained there until 2002 when it was moved to a position outside the Australian Centre for Contemporary Art in Southbank.In 2017, the sculpture was recommended for heritage protection, through inclusion in the City of Melbourne Planning Scheme Heritage Overlay, following a heritage study of the Southbank Area.Vault has been inspirational for some built and propositional architectural projects designed in Melbourne. Several of Denton Corker Marshall's works have "adopted peril's yellow almost as a point of pride and solidarity" while its form has been manipulated in some works by ARM Architecture (Ashton Raggatt McDougall).
|
[
"Melbourne City Square",
"Yellow Peril",
"Australia",
"Victoria",
"ARM Architecture (Ashton Raggatt McDougall)",
"Melbourne City Council",
"Melbourne",
"Ron Robertson-Swann",
"Southbank",
"Denton Corker Marshall",
"Batman Park",
"abstract",
"Builders Labourers Federation",
"minimalist",
"City of Melbourne",
"State Government",
"Australian Centre for Contemporary Art"
] |
|
14089_T
|
Saint Catherine of Alexandria (Artemisia Gentileschi)
|
Focus on Saint Catherine of Alexandria (Artemisia Gentileschi) and analyze the abstract.
|
Saint Catherine of Alexandra is a painting by the Italian Baroque artist Artemisia Gentileschi. It is in the collection of the Uffizi, Florence. Gentileschi likely used the same cartoon or preparatory drawing to create both this painting and the Self-Portrait as Saint Catherine of Alexandria (1615–1617), now in the National Gallery, London.
|
[
"Artemisia Gentileschi",
"Florence",
"Catherine",
"Uffizi",
"Baroque",
"Saint Catherine",
"cartoon",
"Self-Portrait as Saint Catherine of Alexandria",
"Catherine of Alexandria",
"National Gallery",
"London"
] |
|
14089_NT
|
Saint Catherine of Alexandria (Artemisia Gentileschi)
|
Focus on this artwork and analyze the abstract.
|
Saint Catherine of Alexandra is a painting by the Italian Baroque artist Artemisia Gentileschi. It is in the collection of the Uffizi, Florence. Gentileschi likely used the same cartoon or preparatory drawing to create both this painting and the Self-Portrait as Saint Catherine of Alexandria (1615–1617), now in the National Gallery, London.
|
[
"Artemisia Gentileschi",
"Florence",
"Catherine",
"Uffizi",
"Baroque",
"Saint Catherine",
"cartoon",
"Self-Portrait as Saint Catherine of Alexandria",
"Catherine of Alexandria",
"National Gallery",
"London"
] |
|
14090_T
|
Saint Catherine of Alexandria (Artemisia Gentileschi)
|
In Saint Catherine of Alexandria (Artemisia Gentileschi), how is the Subject Matter discussed?
|
The painting is a representation of Catherine, the daughter of King Costus of Alexandria, who defied the emperor Maxentius with her staunch defense of her Christian faith. She was sentenced to death by use of a spiked wheel, but was saved when the instrument miraculously broke. She was subsequently beheaded and later recognized as a Christian martyr, with the broken spiked wheel as her symbol. She is portrayed in a striking red gown with gold embellishment, holding the martyr's palm frond and wearing an elaborate gem-encrusted crown.
|
[
"spiked wheel",
"Catherine",
"martyr",
"palm frond",
"Maxentius"
] |
|
14090_NT
|
Saint Catherine of Alexandria (Artemisia Gentileschi)
|
In this artwork, how is the Subject Matter discussed?
|
The painting is a representation of Catherine, the daughter of King Costus of Alexandria, who defied the emperor Maxentius with her staunch defense of her Christian faith. She was sentenced to death by use of a spiked wheel, but was saved when the instrument miraculously broke. She was subsequently beheaded and later recognized as a Christian martyr, with the broken spiked wheel as her symbol. She is portrayed in a striking red gown with gold embellishment, holding the martyr's palm frond and wearing an elaborate gem-encrusted crown.
|
[
"spiked wheel",
"Catherine",
"martyr",
"palm frond",
"Maxentius"
] |
|
14091_T
|
Paintings from Sant Joan in Boí
|
Focus on Paintings from Sant Joan in Boí and explore the Description.
|
The paintings from Sant Joan in Boí make up what is considered one of the finest groups in Catalan Romanesque painting. The paintings have been dated to around 1100, established indirectly on the basis of the architecture of the building and from comparison with the paintings in other churches in the valley of Boí: Sant Climent and Santa Maria in Taüll. Their study has led to comparison with those of Saint Martin de Vicq (Nohant-Vicq, Indre, central France) from the second half of the twelfth century, in which has been found not so much a certain interdependence but the use of common, possibly Carolingian European models.
Of the whole, what remains is basically the painting from the aisles and the arches separating the nave and the aisles, enough to reveal a rich iconographic programme with ample references to the story of the Redemption.
Exemplary scenes are depicted from the lives of saints, of which the most important fragment is the Lapidation of Saint Stephen, a vast repertory of animals of a moralistic nature (mainly on the intradoses of the arches) and a scene with minstrels, something very unusual, which in this case must be taken as being in praise of the Lord. There was also a representation of the Day of Judgement from which the surviving fragments of Paradise, Hell and the apocalyptic dragon came.
The paintings from Boí must be considered an example of an underlying French influence in Catalonia which was different from the Italian influence that was to dominate the Romanesque pictorial scenario in Catalonia after the paintings of the Pedret Circle.
|
[
"Pedret Circle",
"Nohant-Vic",
"France",
"Romanesque",
"Indre",
"Sant Joan",
"Santa Maria in Taüll",
"Redemption",
"Saint Martin de Vicq",
"Vicq",
"Boí",
"Sant Climent",
"Nohant"
] |
|
14091_NT
|
Paintings from Sant Joan in Boí
|
Focus on this artwork and explore the Description.
|
The paintings from Sant Joan in Boí make up what is considered one of the finest groups in Catalan Romanesque painting. The paintings have been dated to around 1100, established indirectly on the basis of the architecture of the building and from comparison with the paintings in other churches in the valley of Boí: Sant Climent and Santa Maria in Taüll. Their study has led to comparison with those of Saint Martin de Vicq (Nohant-Vicq, Indre, central France) from the second half of the twelfth century, in which has been found not so much a certain interdependence but the use of common, possibly Carolingian European models.
Of the whole, what remains is basically the painting from the aisles and the arches separating the nave and the aisles, enough to reveal a rich iconographic programme with ample references to the story of the Redemption.
Exemplary scenes are depicted from the lives of saints, of which the most important fragment is the Lapidation of Saint Stephen, a vast repertory of animals of a moralistic nature (mainly on the intradoses of the arches) and a scene with minstrels, something very unusual, which in this case must be taken as being in praise of the Lord. There was also a representation of the Day of Judgement from which the surviving fragments of Paradise, Hell and the apocalyptic dragon came.
The paintings from Boí must be considered an example of an underlying French influence in Catalonia which was different from the Italian influence that was to dominate the Romanesque pictorial scenario in Catalonia after the paintings of the Pedret Circle.
|
[
"Pedret Circle",
"Nohant-Vic",
"France",
"Romanesque",
"Indre",
"Sant Joan",
"Santa Maria in Taüll",
"Redemption",
"Saint Martin de Vicq",
"Vicq",
"Boí",
"Sant Climent",
"Nohant"
] |
|
14092_T
|
Beethoven–Haydn–Mozart Memorial
|
Focus on Beethoven–Haydn–Mozart Memorial and explain the abstract.
|
The Beethoven–Haydn–Mozart Memorial (German: Komponistendenkmal) is an outdoor memorial of 1904 to the classical composers Ludwig van Beethoven, Joseph Haydn and Wolfgang Amadeus Mozart, designed by Rudolf and Wolfgang Siemering and located in Tiergarten, Berlin, Germany. The monument was commissioned by Kaiser Wilhelm II. It suffered considerable damage during World War II and was only fully restored in 2005–2007.
|
[
"Wolfgang Amadeus Mozart",
"Tiergarten",
"Kaiser Wilhelm II",
"Ludwig van Beethoven",
"Berlin",
"Joseph Haydn",
"Rudolf",
"World War II"
] |
|
14092_NT
|
Beethoven–Haydn–Mozart Memorial
|
Focus on this artwork and explain the abstract.
|
The Beethoven–Haydn–Mozart Memorial (German: Komponistendenkmal) is an outdoor memorial of 1904 to the classical composers Ludwig van Beethoven, Joseph Haydn and Wolfgang Amadeus Mozart, designed by Rudolf and Wolfgang Siemering and located in Tiergarten, Berlin, Germany. The monument was commissioned by Kaiser Wilhelm II. It suffered considerable damage during World War II and was only fully restored in 2005–2007.
|
[
"Wolfgang Amadeus Mozart",
"Tiergarten",
"Kaiser Wilhelm II",
"Ludwig van Beethoven",
"Berlin",
"Joseph Haydn",
"Rudolf",
"World War II"
] |
|
14093_T
|
The First Supper
|
Explore the abstract of this artwork, The First Supper.
|
The First Supper (1988) is a work of art by Susan Dorothea White, based on Leonardo da Vinci's 1490s painting The Last Supper. White's painting is acrylic on a large wood panel (1.2 x 2.4 m) and, in a challenge to the patriarchal concept of thirteen men on one side of a table, shows 13 women from all regions of the world; the woman in the position of Leonardo's Christ figure is an Australian aboriginal wearing a T-shirt with the Australian Aboriginal Flag. One woman seen is in the position of Judas. She dines on a Coca-Cola and a hamburger, while all the other women are seen with a bread roll and glass of water. The painting toured Australia in the Blake Prize for Religious Art exhibition in 1988, where it was ridiculed, before being exhibited in the artist's solo exhibition in Amsterdam, where it featured in the Dutch art journal Kunstbeeld: "The work shows clearly Susan White's thinking about human rights. It should be mentioned here that she sometimes places her many faceted talent at the service of the struggle for human rights".
|
[
"Leonardo da Vinci",
"Christ",
"Blake Prize",
"Judas",
"Blake Prize for Religious Art",
"Susan Dorothea White",
"The Last Supper",
"Australian Aboriginal Flag"
] |
|
14093_NT
|
The First Supper
|
Explore the abstract of this artwork.
|
The First Supper (1988) is a work of art by Susan Dorothea White, based on Leonardo da Vinci's 1490s painting The Last Supper. White's painting is acrylic on a large wood panel (1.2 x 2.4 m) and, in a challenge to the patriarchal concept of thirteen men on one side of a table, shows 13 women from all regions of the world; the woman in the position of Leonardo's Christ figure is an Australian aboriginal wearing a T-shirt with the Australian Aboriginal Flag. One woman seen is in the position of Judas. She dines on a Coca-Cola and a hamburger, while all the other women are seen with a bread roll and glass of water. The painting toured Australia in the Blake Prize for Religious Art exhibition in 1988, where it was ridiculed, before being exhibited in the artist's solo exhibition in Amsterdam, where it featured in the Dutch art journal Kunstbeeld: "The work shows clearly Susan White's thinking about human rights. It should be mentioned here that she sometimes places her many faceted talent at the service of the struggle for human rights".
|
[
"Leonardo da Vinci",
"Christ",
"Blake Prize",
"Judas",
"Blake Prize for Religious Art",
"Susan Dorothea White",
"The Last Supper",
"Australian Aboriginal Flag"
] |
|
14094_T
|
Shepherd with a Flute
|
Focus on Shepherd with a Flute and discuss the abstract.
|
Shepherd with a flute, or Boy with a Pipe, is a painting in oil on canvas of perhaps 1510–1515, in recent decades usually attributed to Titian, though in the past often to Giorgione. It is now in the Royal Collection in the King's Closet at Windsor Castle. Since at least 1983 it has been called Boy with a Pipe ('The Shepherd') by the Royal Collection; previous titles the collection recognise include Shepherd with a pipe, and The Shepherd.A boy or young man now in a loose white shirt looks away from the viewer out of the picture space, apparently "lost in thought". He holds a woodwind instrument, as though he has just been playing it. X-ray radiography reveals that the figure "originally wore a more formal style of white shirt with continuous gathers under a slate-blue doublet". This has implications for the question of whether the painting was ever intended as a portrait of an individual, or, as is generally thought more likely, is an idealized and generalized image of a type. This type of painting can be traced back to Leonardo da Vinci but was taken up by several Venetian artists in the early 16th century.Though now not generally thought to be painted by Giorgione, the composition and subject are certainly very much in his style, and this may be a copy of a lost original by him. It is very similar in composition and mood to the Boy with an Arrow, (1506?) in the Kunsthistorisches Museum, Vienna, which is "a rare example of a painting still universally attributed to Giorgione". This is partly because it was mentioned by Marcantonio Michiel in 1531, along with a lost "shepherd who holds fruit in his hand".
|
[
"Kunsthistorisches Museum",
"woodwind",
"Marcantonio Michiel",
"X-ray radiography",
"Titian",
"Royal Collection",
"Leonardo da Vinci",
"Giorgione",
"Windsor Castle"
] |
|
14094_NT
|
Shepherd with a Flute
|
Focus on this artwork and discuss the abstract.
|
Shepherd with a flute, or Boy with a Pipe, is a painting in oil on canvas of perhaps 1510–1515, in recent decades usually attributed to Titian, though in the past often to Giorgione. It is now in the Royal Collection in the King's Closet at Windsor Castle. Since at least 1983 it has been called Boy with a Pipe ('The Shepherd') by the Royal Collection; previous titles the collection recognise include Shepherd with a pipe, and The Shepherd.A boy or young man now in a loose white shirt looks away from the viewer out of the picture space, apparently "lost in thought". He holds a woodwind instrument, as though he has just been playing it. X-ray radiography reveals that the figure "originally wore a more formal style of white shirt with continuous gathers under a slate-blue doublet". This has implications for the question of whether the painting was ever intended as a portrait of an individual, or, as is generally thought more likely, is an idealized and generalized image of a type. This type of painting can be traced back to Leonardo da Vinci but was taken up by several Venetian artists in the early 16th century.Though now not generally thought to be painted by Giorgione, the composition and subject are certainly very much in his style, and this may be a copy of a lost original by him. It is very similar in composition and mood to the Boy with an Arrow, (1506?) in the Kunsthistorisches Museum, Vienna, which is "a rare example of a painting still universally attributed to Giorgione". This is partly because it was mentioned by Marcantonio Michiel in 1531, along with a lost "shepherd who holds fruit in his hand".
|
[
"Kunsthistorisches Museum",
"woodwind",
"Marcantonio Michiel",
"X-ray radiography",
"Titian",
"Royal Collection",
"Leonardo da Vinci",
"Giorgione",
"Windsor Castle"
] |
|
14095_T
|
Shepherd with a Flute
|
How does Shepherd with a Flute elucidate its Attribution?
|
Bernard Berenson was a strong supporter of the attribution to Giorgione, which still has some support. If by Giorgione, who died in 1510, it would probably date to around 1508. Crowe and Cavalcaselle had already doubted the attribution in the later 19th century. The attribution to Titian was most fully stated by John Shearman in his catalogue of this period in the Royal Collection, and has been agreed by many, including S. J. Freedberg. Despite the similarity in the subject, the painting technique is regarded as very different from Giorgione's and close to undoubted early Titians.Other possibilities include Francesco Torbido and Morto da Feltre, suggested by various scholars in the 20th century. The painting, in particular the composition of the head, also relates closely to another Giorgionesque bust figure in Vienna, David with the Head of Goliath; both may have a common model. X-rays reveal that the Vienna "David" originally held a lute, and the attributes of David were added later.
|
[
"Crowe and Cavalcaselle",
"John Shearman",
"S. J. Freedberg",
"Francesco Torbido",
"David",
"Morto da Feltre",
"Titian",
"Bernard Berenson",
"Royal Collection",
"Giorgione"
] |
|
14095_NT
|
Shepherd with a Flute
|
How does this artwork elucidate its Attribution?
|
Bernard Berenson was a strong supporter of the attribution to Giorgione, which still has some support. If by Giorgione, who died in 1510, it would probably date to around 1508. Crowe and Cavalcaselle had already doubted the attribution in the later 19th century. The attribution to Titian was most fully stated by John Shearman in his catalogue of this period in the Royal Collection, and has been agreed by many, including S. J. Freedberg. Despite the similarity in the subject, the painting technique is regarded as very different from Giorgione's and close to undoubted early Titians.Other possibilities include Francesco Torbido and Morto da Feltre, suggested by various scholars in the 20th century. The painting, in particular the composition of the head, also relates closely to another Giorgionesque bust figure in Vienna, David with the Head of Goliath; both may have a common model. X-rays reveal that the Vienna "David" originally held a lute, and the attributes of David were added later.
|
[
"Crowe and Cavalcaselle",
"John Shearman",
"S. J. Freedberg",
"Francesco Torbido",
"David",
"Morto da Feltre",
"Titian",
"Bernard Berenson",
"Royal Collection",
"Giorgione"
] |
|
14096_T
|
Shepherd with a Flute
|
Focus on Shepherd with a Flute and analyze the Provenance.
|
It was bought at an unknown date by Charles I of England as a work by Giorgione. Following the execution of the king, it was valued at £30 and sold in 1650 to De Critz and Co. In 1660, on the English Restoration, it was recovered by Charles II of England. It was hung at Whitehall Palace then Kensington Palace, before being moved to Hampton Court Palace in 1833, which was already open to the public, and for long displayed most of the Italian Renaissance paintings in the Royal Collection. It remained there until the Italian Renaissance paintings were moved out in recent years.
|
[
"Kensington Palace",
"English Restoration",
"Charles II of England",
"Royal Collection",
"Hampton Court Palace",
"Giorgione",
"Whitehall Palace",
"Charles I of England"
] |
|
14096_NT
|
Shepherd with a Flute
|
Focus on this artwork and analyze the Provenance.
|
It was bought at an unknown date by Charles I of England as a work by Giorgione. Following the execution of the king, it was valued at £30 and sold in 1650 to De Critz and Co. In 1660, on the English Restoration, it was recovered by Charles II of England. It was hung at Whitehall Palace then Kensington Palace, before being moved to Hampton Court Palace in 1833, which was already open to the public, and for long displayed most of the Italian Renaissance paintings in the Royal Collection. It remained there until the Italian Renaissance paintings were moved out in recent years.
|
[
"Kensington Palace",
"English Restoration",
"Charles II of England",
"Royal Collection",
"Hampton Court Palace",
"Giorgione",
"Whitehall Palace",
"Charles I of England"
] |
|
14097_T
|
Shepherd with a Flute
|
In Shepherd with a Flute, how is the In literature discussed?
|
The painting was the subject of a poem by "Michael Field", in fact Katharine Harris Bradley (1846–1914) and her niece, ward and lover Edith Emma Cooper (1862–1913). Their volume Sight and Song, published in 1892, was a collection of poems on individual paintings, most from the Italian Renaissance.
|
[
"Michael Field"
] |
|
14097_NT
|
Shepherd with a Flute
|
In this artwork, how is the In literature discussed?
|
The painting was the subject of a poem by "Michael Field", in fact Katharine Harris Bradley (1846–1914) and her niece, ward and lover Edith Emma Cooper (1862–1913). Their volume Sight and Song, published in 1892, was a collection of poems on individual paintings, most from the Italian Renaissance.
|
[
"Michael Field"
] |
|
14098_T
|
The Pelkus Gate near Utrecht
|
Focus on The Pelkus Gate near Utrecht and explore the abstract.
|
The Pelkus Gate near Utrecht is an oil painting by Jan van Goyen, completed in 1646. It is one of about a dozen paintings by Van Goyen that depicted the Pelkus gate, a freestanding tower on the river Vecht that disappeared by the 18th century. It is currently on display at the Metropolitan Museum of Art.
|
[
"Vecht",
"Jan van Goyen",
"Metropolitan Museum of Art"
] |
|
14098_NT
|
The Pelkus Gate near Utrecht
|
Focus on this artwork and explore the abstract.
|
The Pelkus Gate near Utrecht is an oil painting by Jan van Goyen, completed in 1646. It is one of about a dozen paintings by Van Goyen that depicted the Pelkus gate, a freestanding tower on the river Vecht that disappeared by the 18th century. It is currently on display at the Metropolitan Museum of Art.
|
[
"Vecht",
"Jan van Goyen",
"Metropolitan Museum of Art"
] |
|
14099_T
|
Mount Hood (painting)
|
Focus on Mount Hood (painting) and explain the abstract.
|
Mount Hood is an 1869 painting by Albert Bierstadt, and part of the collection of the Portland Art Museum in Portland, Oregon, in the United States. It portrays a view of the mountain in Oregon with the same name.
To Bierstadt, communicating the metaphor of the monumentality of the American West was more important than making the painting geographically accurate. As a result, many features of the painting were modified from the real landscape, such as the exaggerated height Mount Hood and different landscape components that could not all be viewed at the same time in a single place along the Columbia River Gorge. An example of this is that the view of the mountain face seen in the picture is as it would be seen from Portland, but the landscape is painted as if the viewer was looking from Multnomah Falls and the northern shore of the Columbia River.
|
[
"Mount Hood",
"Multnomah Falls",
"Columbia River",
"Albert Bierstadt",
"Columbia River Gorge",
"Portland, Oregon",
"Portland Art Museum",
"American West",
"the mountain in Oregon with the same name"
] |
|
14099_NT
|
Mount Hood (painting)
|
Focus on this artwork and explain the abstract.
|
Mount Hood is an 1869 painting by Albert Bierstadt, and part of the collection of the Portland Art Museum in Portland, Oregon, in the United States. It portrays a view of the mountain in Oregon with the same name.
To Bierstadt, communicating the metaphor of the monumentality of the American West was more important than making the painting geographically accurate. As a result, many features of the painting were modified from the real landscape, such as the exaggerated height Mount Hood and different landscape components that could not all be viewed at the same time in a single place along the Columbia River Gorge. An example of this is that the view of the mountain face seen in the picture is as it would be seen from Portland, but the landscape is painted as if the viewer was looking from Multnomah Falls and the northern shore of the Columbia River.
|
[
"Mount Hood",
"Multnomah Falls",
"Columbia River",
"Albert Bierstadt",
"Columbia River Gorge",
"Portland, Oregon",
"Portland Art Museum",
"American West",
"the mountain in Oregon with the same name"
] |
|
14100_T
|
Algorithm Queen
|
Explore the abstract of this artwork, Algorithm Queen.
|
Algorithm Queen is a 2022 painting of Queen Elizabeth II by Ai-Da, a humanoid robot credited with being the world's first ultra-realistic robot artist. Ai-Da painted the Queen in celebration of her Platinum Jubilee.
|
[
"Platinum Jubilee",
"Queen Elizabeth II",
"Elizabeth II",
"humanoid robot",
"Ai-Da"
] |
|
14100_NT
|
Algorithm Queen
|
Explore the abstract of this artwork.
|
Algorithm Queen is a 2022 painting of Queen Elizabeth II by Ai-Da, a humanoid robot credited with being the world's first ultra-realistic robot artist. Ai-Da painted the Queen in celebration of her Platinum Jubilee.
|
[
"Platinum Jubilee",
"Queen Elizabeth II",
"Elizabeth II",
"humanoid robot",
"Ai-Da"
] |
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