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|---|---|---|---|---|---|
14101_T
|
Algorithm Queen
|
Focus on Algorithm Queen and discuss the Description.
|
Algorithm Queen was layered and scaled to produce the final multi-dimensional portrait of the monarch. The portrait will be exhibited publicly in London later in 2022.Ai-Da said, "I'd like to thank Her Majesty the Queen for her dedication, and for the service she gives to so many people. She is an outstanding, courageous woman who is utterly committed to public service. I think she's an amazing human being, and I wish The Queen a very happy Platinum Jubilee".Aidan Meller, the robot's creator, said the first portrait of the Queen by a robot provided an opportunity to think about "all that has changed during the Queen's life”. He said, "We are excited Ai-Da Robot has made history just in time for the Queen's Jubilee".Jonathan Jones, The Guardian's art critic, said the painting showed the Queen's eyes with "a vacant, not quite human look. The mixture of leaden accuracy and, at the same time, complete lack of emphasis, feeling or conviction in Ai-Da's depiction of Her Maj is a telling glimpse of the limits of the AI 'art' genre. The machine records, but does not see. Because it has no conscious mind, let alone emotions".
|
[
"Platinum Jubilee",
"Ai-Da"
] |
|
14101_NT
|
Algorithm Queen
|
Focus on this artwork and discuss the Description.
|
Algorithm Queen was layered and scaled to produce the final multi-dimensional portrait of the monarch. The portrait will be exhibited publicly in London later in 2022.Ai-Da said, "I'd like to thank Her Majesty the Queen for her dedication, and for the service she gives to so many people. She is an outstanding, courageous woman who is utterly committed to public service. I think she's an amazing human being, and I wish The Queen a very happy Platinum Jubilee".Aidan Meller, the robot's creator, said the first portrait of the Queen by a robot provided an opportunity to think about "all that has changed during the Queen's life”. He said, "We are excited Ai-Da Robot has made history just in time for the Queen's Jubilee".Jonathan Jones, The Guardian's art critic, said the painting showed the Queen's eyes with "a vacant, not quite human look. The mixture of leaden accuracy and, at the same time, complete lack of emphasis, feeling or conviction in Ai-Da's depiction of Her Maj is a telling glimpse of the limits of the AI 'art' genre. The machine records, but does not see. Because it has no conscious mind, let alone emotions".
|
[
"Platinum Jubilee",
"Ai-Da"
] |
|
14102_T
|
Molecule Man (sculpture)
|
How does Molecule Man (sculpture) elucidate its abstract?
|
Molecule Man is a series of aluminium sculptures, designed by American artist Jonathan Borofsky, installed at various locations around the world, including Germany and the United States. Borofsky made the first Molecule Man sculptures for locations in Los Angeles in 1977 and 1978. They were installed later in 1981 and 1983 (in Los Angeles and Beverly Hills, respectively).The sculpture model depicts three human form silhouettes with hundreds of holes, leaning toward each other. According to Borofsky, the holes represent "the molecules of all human beings coming together to create our existence."A related sculpture is Borofsky's Hammering Man.
|
[
"Hammering Man",
"Borofsky",
"molecule",
"human being",
"Jonathan Borofsky",
"aluminium",
"Molecule"
] |
|
14102_NT
|
Molecule Man (sculpture)
|
How does this artwork elucidate its abstract?
|
Molecule Man is a series of aluminium sculptures, designed by American artist Jonathan Borofsky, installed at various locations around the world, including Germany and the United States. Borofsky made the first Molecule Man sculptures for locations in Los Angeles in 1977 and 1978. They were installed later in 1981 and 1983 (in Los Angeles and Beverly Hills, respectively).The sculpture model depicts three human form silhouettes with hundreds of holes, leaning toward each other. According to Borofsky, the holes represent "the molecules of all human beings coming together to create our existence."A related sculpture is Borofsky's Hammering Man.
|
[
"Hammering Man",
"Borofsky",
"molecule",
"human being",
"Jonathan Borofsky",
"aluminium",
"Molecule"
] |
|
14103_T
|
The Banks of the Oise
|
Focus on The Banks of the Oise and analyze the abstract.
|
The Banks of the Oise is an 1877-1878 painting by Alfred Sisley. Previously owned by three private galleries (the Bernheim-Jeune in Paris, the Dilenn in Brussels and finally the Galerie Jacques Dubourg in Paris) it was sold to Chester Dale on 9 June 1926. It is now owned by the National Gallery of Art in Washington, D.C., which acquired it with the rest of Dale's collection - it is now on display in section 88 (French Impressionist landscapes).
|
[
"Washington, D.C.",
"Chester Dale",
"Alfred Sisley",
"Paris",
"Bernheim-Jeune",
"National Gallery of Art",
"Brussels"
] |
|
14103_NT
|
The Banks of the Oise
|
Focus on this artwork and analyze the abstract.
|
The Banks of the Oise is an 1877-1878 painting by Alfred Sisley. Previously owned by three private galleries (the Bernheim-Jeune in Paris, the Dilenn in Brussels and finally the Galerie Jacques Dubourg in Paris) it was sold to Chester Dale on 9 June 1926. It is now owned by the National Gallery of Art in Washington, D.C., which acquired it with the rest of Dale's collection - it is now on display in section 88 (French Impressionist landscapes).
|
[
"Washington, D.C.",
"Chester Dale",
"Alfred Sisley",
"Paris",
"Bernheim-Jeune",
"National Gallery of Art",
"Brussels"
] |
|
14104_T
|
The Eternal Feminine (Cézanne)
|
In The Eternal Feminine (Cézanne), how is the abstract discussed?
|
The Eternal Feminine is an 1877 oil-on-canvas painting by the French Post-Impressionist artist Paul Cézanne. The ambiguous work shows men gathered around a single female figure. A range of professions are represented: writers, lawyers, and a painter (possibly Eugène Delacroix or Cézanne himself).
The painting may have been inspired by both Christian and Pagan art representing deified women.The painting has been compared to works done by Eugène Delacroix, Gustave Courbet, and other 19th-century artists. It also was a turning point in Cézanne's techniques.
|
[
"Gustave Courbet",
"Eugène Delacroix",
"Cézanne",
"Post-Impressionist",
"oil-on-canvas",
"Paul Cézanne"
] |
|
14104_NT
|
The Eternal Feminine (Cézanne)
|
In this artwork, how is the abstract discussed?
|
The Eternal Feminine is an 1877 oil-on-canvas painting by the French Post-Impressionist artist Paul Cézanne. The ambiguous work shows men gathered around a single female figure. A range of professions are represented: writers, lawyers, and a painter (possibly Eugène Delacroix or Cézanne himself).
The painting may have been inspired by both Christian and Pagan art representing deified women.The painting has been compared to works done by Eugène Delacroix, Gustave Courbet, and other 19th-century artists. It also was a turning point in Cézanne's techniques.
|
[
"Gustave Courbet",
"Eugène Delacroix",
"Cézanne",
"Post-Impressionist",
"oil-on-canvas",
"Paul Cézanne"
] |
|
14105_T
|
The Eternal Feminine (Cézanne)
|
Focus on The Eternal Feminine (Cézanne) and explore the Analysis.
|
Scholars regard the composition as distinctive. The canopy and the drapes placed above the woman's head is in the shape of a triangle. This creates a halo effect around the woman. This full body halo, also known as a mandorla, is in a diamond shape. The placement of the clouds allows light to spill onto the woman.
|
[
"mandorla"
] |
|
14105_NT
|
The Eternal Feminine (Cézanne)
|
Focus on this artwork and explore the Analysis.
|
Scholars regard the composition as distinctive. The canopy and the drapes placed above the woman's head is in the shape of a triangle. This creates a halo effect around the woman. This full body halo, also known as a mandorla, is in a diamond shape. The placement of the clouds allows light to spill onto the woman.
|
[
"mandorla"
] |
|
14106_T
|
The Eternal Feminine (Cézanne)
|
In the context of The Eternal Feminine (Cézanne), explain the Female figure of the Analysis.
|
A naked, golden-haired woman lies on a bed at the center of the painting. She has attracted an excited crowd, for whom her body is a spectacle. She has a blank face and appears blinded with her eyeballs clotted, and her open pose suggests vulnerability.Scholars have sometimes seen the painting as a commentary on the political and symbolic role of women. The woman has been compared to the Virgin Mary, a saint, or Venus, evoking other depictions of deified women on an elevated surface. Cézanne may also have drawn on populist ideas about the role of women, referring to the depiction of women in popular prints.The female figure has also been described as an extension of Cézanne's recurring interest in nudity and facelessness.The suggestion of a halo through the canopy over the woman's head has sometimes been seen as an allusion to Saint Anthony's temptress. Alternatively, the woman has been seen as an allusion to Liberty in Delacroix's Liberty Leading the People (1830).
|
[
"populist",
"Liberty Leading the People",
"Cézanne"
] |
|
14106_NT
|
The Eternal Feminine (Cézanne)
|
In the context of this artwork, explain the Female figure of the Analysis.
|
A naked, golden-haired woman lies on a bed at the center of the painting. She has attracted an excited crowd, for whom her body is a spectacle. She has a blank face and appears blinded with her eyeballs clotted, and her open pose suggests vulnerability.Scholars have sometimes seen the painting as a commentary on the political and symbolic role of women. The woman has been compared to the Virgin Mary, a saint, or Venus, evoking other depictions of deified women on an elevated surface. Cézanne may also have drawn on populist ideas about the role of women, referring to the depiction of women in popular prints.The female figure has also been described as an extension of Cézanne's recurring interest in nudity and facelessness.The suggestion of a halo through the canopy over the woman's head has sometimes been seen as an allusion to Saint Anthony's temptress. Alternatively, the woman has been seen as an allusion to Liberty in Delacroix's Liberty Leading the People (1830).
|
[
"populist",
"Liberty Leading the People",
"Cézanne"
] |
|
14107_T
|
The Eternal Feminine (Cézanne)
|
Explore the Relation to Courbet about the Analysis of this artwork, The Eternal Feminine (Cézanne).
|
Art historians have compared the work to Gustave Courbet's The Painter's Studio (1855). In Courbet's work, an artist is depicted painting a landscape before a group. A woman, thought to be the artist's mistress, stands behind him, but he does not look at her. In The Eternal Feminine, by contrast, Cézanne places the woman in the center of the canvas, and she displays her body with no shame, unlike the woman in Courbet's painting, who holds a drape to partially cover her body.
Cézanne's painting nonetheless resembles Courbet's composition in dividing the figures into a left and right group. The men on the right represent the art world, with the figures consisting of a painter, a conductor and entertainers. The men on the left represent a social world, with the figures including a financier, soldier, bishop, and banker. A man in the foreground of the painting seems representative of Cézanne himself, with his hat floating off into the air.
|
[
"The Painter's Studio",
"Gustave Courbet's",
"Gustave Courbet",
"Cézanne"
] |
|
14107_NT
|
The Eternal Feminine (Cézanne)
|
Explore the Relation to Courbet about the Analysis of this artwork.
|
Art historians have compared the work to Gustave Courbet's The Painter's Studio (1855). In Courbet's work, an artist is depicted painting a landscape before a group. A woman, thought to be the artist's mistress, stands behind him, but he does not look at her. In The Eternal Feminine, by contrast, Cézanne places the woman in the center of the canvas, and she displays her body with no shame, unlike the woman in Courbet's painting, who holds a drape to partially cover her body.
Cézanne's painting nonetheless resembles Courbet's composition in dividing the figures into a left and right group. The men on the right represent the art world, with the figures consisting of a painter, a conductor and entertainers. The men on the left represent a social world, with the figures including a financier, soldier, bishop, and banker. A man in the foreground of the painting seems representative of Cézanne himself, with his hat floating off into the air.
|
[
"The Painter's Studio",
"Gustave Courbet's",
"Gustave Courbet",
"Cézanne"
] |
|
14108_T
|
The Eternal Feminine (Cézanne)
|
In the context of The Eternal Feminine (Cézanne), discuss the Relation to Delacroix of the Analysis.
|
Art historians have observed that Cézanne struggled to live up to Delacroix's reputation, and his adoration for his predecessor became almost humiliating. Curators Christopher Riopelle and Françoise Cachin have proposed that The Eternal Feminine may be an attempt to reinterpret Delacroix's The Death of Sardanapalus (1827).Delacroix's painting shows Sardanapalus in his palace reclining on his bed after ordering his family and animals to be killed. The preparatory drawing for The Eternal Feminine shows that Cézanne initially arranged the composition in the same structure as Delacroix's painting. Significantly, however, Cézanne's painting inverts the gender roles of Sardanapalus. The female figure replaces Sardanapalus, while male figures take the place occupied by the victims. In the final version of the Eternal Feminine, the woman can be seen as a kind of ruler, controlling her subjects' attention.
|
[
"Françoise Cachin",
"The Death of Sardanapalus",
"Cézanne"
] |
|
14108_NT
|
The Eternal Feminine (Cézanne)
|
In the context of this artwork, discuss the Relation to Delacroix of the Analysis.
|
Art historians have observed that Cézanne struggled to live up to Delacroix's reputation, and his adoration for his predecessor became almost humiliating. Curators Christopher Riopelle and Françoise Cachin have proposed that The Eternal Feminine may be an attempt to reinterpret Delacroix's The Death of Sardanapalus (1827).Delacroix's painting shows Sardanapalus in his palace reclining on his bed after ordering his family and animals to be killed. The preparatory drawing for The Eternal Feminine shows that Cézanne initially arranged the composition in the same structure as Delacroix's painting. Significantly, however, Cézanne's painting inverts the gender roles of Sardanapalus. The female figure replaces Sardanapalus, while male figures take the place occupied by the victims. In the final version of the Eternal Feminine, the woman can be seen as a kind of ruler, controlling her subjects' attention.
|
[
"Françoise Cachin",
"The Death of Sardanapalus",
"Cézanne"
] |
|
14109_T
|
The Eternal Feminine (Cézanne)
|
How does The Eternal Feminine (Cézanne) elucidate its Cézanne's depiction of women?
|
Throughout Cézanne's career, he returned to the subject of the female body. In some works, the woman is represented as the femme fatale. In works such as The Eternal Feminine and Modern Olympia, the woman can be seen as a temptress, drawing men away from their artistic and intellectual careers.Changes in Cézanne's personal life led to increased anxiety towards women. When he first used the femme fatale in his paintings in 1870, he also began sexual relations with a young, tall model known as Hortense Fiquet. This was probably one of his earliest sexual experiences, whose psychological effects he may have worked through in his paintings. According to one interpretation, Cézanne shows himself in The Eternal Feminine gazing upon the woman but overcoming the temptation of her physical beauty.As he aged, Cézanne focused less on the femme fatale.
|
[
"Cézanne",
"femme fatale"
] |
|
14109_NT
|
The Eternal Feminine (Cézanne)
|
How does this artwork elucidate its Cézanne's depiction of women?
|
Throughout Cézanne's career, he returned to the subject of the female body. In some works, the woman is represented as the femme fatale. In works such as The Eternal Feminine and Modern Olympia, the woman can be seen as a temptress, drawing men away from their artistic and intellectual careers.Changes in Cézanne's personal life led to increased anxiety towards women. When he first used the femme fatale in his paintings in 1870, he also began sexual relations with a young, tall model known as Hortense Fiquet. This was probably one of his earliest sexual experiences, whose psychological effects he may have worked through in his paintings. According to one interpretation, Cézanne shows himself in The Eternal Feminine gazing upon the woman but overcoming the temptation of her physical beauty.As he aged, Cézanne focused less on the femme fatale.
|
[
"Cézanne",
"femme fatale"
] |
|
14110_T
|
The Eternal Feminine (Cézanne)
|
Focus on The Eternal Feminine (Cézanne) and analyze the New techniques.
|
The painting has sometimes been described as the end of the Romantic and Baroque techniques of Cézanne's early career. The structure and rhythm of the painting are shaped via parallel brush strokes that converge towards the central nude figure, unifying the painting and imposing order. The Eternal Feminine was one of the first paintings in which Cézanne used these consecutive strokes, which became prevalent in his work in the following years. The technique inspired younger artists like Paul Signac and Gauguin.
|
[
"Cézanne"
] |
|
14110_NT
|
The Eternal Feminine (Cézanne)
|
Focus on this artwork and analyze the New techniques.
|
The painting has sometimes been described as the end of the Romantic and Baroque techniques of Cézanne's early career. The structure and rhythm of the painting are shaped via parallel brush strokes that converge towards the central nude figure, unifying the painting and imposing order. The Eternal Feminine was one of the first paintings in which Cézanne used these consecutive strokes, which became prevalent in his work in the following years. The technique inspired younger artists like Paul Signac and Gauguin.
|
[
"Cézanne"
] |
|
14111_T
|
The Eternal Feminine (Cézanne)
|
In The Eternal Feminine (Cézanne), how is the Provenance discussed?
|
The painting was first purchased by Ambroise Vollard when it was shown in the Cézanne Exhibition in November of 1899. The painting has been in the permanent collection of the J. Paul Getty Museum in Los Angeles since 1987.
|
[
"Los Angeles",
"J. Paul Getty Museum",
"Cézanne"
] |
|
14111_NT
|
The Eternal Feminine (Cézanne)
|
In this artwork, how is the Provenance discussed?
|
The painting was first purchased by Ambroise Vollard when it was shown in the Cézanne Exhibition in November of 1899. The painting has been in the permanent collection of the J. Paul Getty Museum in Los Angeles since 1987.
|
[
"Los Angeles",
"J. Paul Getty Museum",
"Cézanne"
] |
|
14112_T
|
Statue of Lenin (Seattle)
|
Focus on Statue of Lenin (Seattle) and explore the abstract.
|
The Statue of Lenin is a 16 ft (5 m) bronze statue of Russian communist revolutionary Vladimir Lenin in the Fremont neighborhood of Seattle, Washington, United States. It was created by Bulgarian-born Slovak sculptor Emil Venkov and initially put on display in the Czechoslovak Socialist Republic in 1988, the year before the Velvet Revolution. After the dissolution of the Soviet Union, a wave of de-Leninization brought about the fall of many monuments in the former Soviet sphere. In 1993, the statue was bought by an American who had found it lying in a scrapyard. He brought it home with him to Washington State but died before he could carry out his plans to formally display it.
Since 1995, the statue has been held in trust waiting for a buyer, standing on temporary display for the last 29 years on a prominent street corner in Fremont. It has become a local landmark, frequently being either decorated or vandalized. The statue has sparked political controversy, including criticism for being communist chic and not taking the historic meaning of Leninism and communism seriously (or taking it too seriously), or by comparing the purported acceptance of such a charged political symbol to the removal of Confederate monuments and memorials. Much of the debate ignores the statue's private ownership and installation on private property, with the public and government having virtually no say in the matter.
|
[
"Bulgaria",
"Washington State",
"Russian",
"Leninism",
"Velvet Revolution",
"bronze statue",
"Slovak",
"Statue",
"Seattle",
"removal of Confederate monuments and memorials",
"Bulgarian-born",
"Czechoslovak Socialist Republic",
"Fremont",
"de-Leninization",
"communist chic",
"Emil Venkov",
"Seattle, Washington",
"Vladimir Lenin",
"fall of many monuments",
"dissolution of the Soviet Union",
"communist"
] |
|
14112_NT
|
Statue of Lenin (Seattle)
|
Focus on this artwork and explore the abstract.
|
The Statue of Lenin is a 16 ft (5 m) bronze statue of Russian communist revolutionary Vladimir Lenin in the Fremont neighborhood of Seattle, Washington, United States. It was created by Bulgarian-born Slovak sculptor Emil Venkov and initially put on display in the Czechoslovak Socialist Republic in 1988, the year before the Velvet Revolution. After the dissolution of the Soviet Union, a wave of de-Leninization brought about the fall of many monuments in the former Soviet sphere. In 1993, the statue was bought by an American who had found it lying in a scrapyard. He brought it home with him to Washington State but died before he could carry out his plans to formally display it.
Since 1995, the statue has been held in trust waiting for a buyer, standing on temporary display for the last 29 years on a prominent street corner in Fremont. It has become a local landmark, frequently being either decorated or vandalized. The statue has sparked political controversy, including criticism for being communist chic and not taking the historic meaning of Leninism and communism seriously (or taking it too seriously), or by comparing the purported acceptance of such a charged political symbol to the removal of Confederate monuments and memorials. Much of the debate ignores the statue's private ownership and installation on private property, with the public and government having virtually no say in the matter.
|
[
"Bulgaria",
"Washington State",
"Russian",
"Leninism",
"Velvet Revolution",
"bronze statue",
"Slovak",
"Statue",
"Seattle",
"removal of Confederate monuments and memorials",
"Bulgarian-born",
"Czechoslovak Socialist Republic",
"Fremont",
"de-Leninization",
"communist chic",
"Emil Venkov",
"Seattle, Washington",
"Vladimir Lenin",
"fall of many monuments",
"dissolution of the Soviet Union",
"communist"
] |
|
14113_T
|
Statue of Lenin (Seattle)
|
Focus on Statue of Lenin (Seattle) and explain the Commission and construction.
|
The statue was constructed by Bulgarian-born Slovak sculptor Emil Venkov (1937–2017) under a 1981 commission from the Communist Party of Czechoslovakia. While following the bounds of his commission, Venkov intended to portray Lenin as a bringer of revolution, in contrast to the traditional portrayals of Lenin as a philosopher and educator.Venkov's work was completed and installed in Poprad, Czechoslovak Socialist Republic (now Slovakia), in 1988 at a cost of 334,000 Kčs, (equivalent to US$230,000 in 2022), shortly before the fall of the Czechoslovak Socialist Republic during the 1989 Velvet Revolution.
|
[
"Bulgaria",
"Communist Party of Czechoslovakia",
"Velvet Revolution",
"Slovak",
"Bulgarian-born",
"Czechoslovak Socialist Republic",
"Slovakia",
"Emil Venkov",
"Kčs",
"Poprad"
] |
|
14113_NT
|
Statue of Lenin (Seattle)
|
Focus on this artwork and explain the Commission and construction.
|
The statue was constructed by Bulgarian-born Slovak sculptor Emil Venkov (1937–2017) under a 1981 commission from the Communist Party of Czechoslovakia. While following the bounds of his commission, Venkov intended to portray Lenin as a bringer of revolution, in contrast to the traditional portrayals of Lenin as a philosopher and educator.Venkov's work was completed and installed in Poprad, Czechoslovak Socialist Republic (now Slovakia), in 1988 at a cost of 334,000 Kčs, (equivalent to US$230,000 in 2022), shortly before the fall of the Czechoslovak Socialist Republic during the 1989 Velvet Revolution.
|
[
"Bulgaria",
"Communist Party of Czechoslovakia",
"Velvet Revolution",
"Slovak",
"Bulgarian-born",
"Czechoslovak Socialist Republic",
"Slovakia",
"Emil Venkov",
"Kčs",
"Poprad"
] |
|
14114_T
|
Statue of Lenin (Seattle)
|
Explore the Sale and move to Seattle of this artwork, Statue of Lenin (Seattle).
|
Lewis E. Carpenter, an English teacher in Poprad originally from Issaquah, Washington, found the hollow monumental statue lying in a scrapyard with a homeless man living inside it. The Lenin statue was waiting to be cut up and sold for the price of the bronze. Carpenter had met and befriended Venkov in an earlier visit to Czechoslovakia. Carpenter's initial interest in buying the statue was to preserve it for its historic and artistic merit. Later he intended to use it to attract customers for an ethnic Slovak restaurant he wanted to open in Issaquah.In close collaboration with a local journalist and good friend, Tomáš Fülöpp, Carpenter approached Poprad city officials, saying that despite its current unpopularity, the statue was still a work of art worth preserving, and offered to buy it for US$13,000 (equivalent to US$30,000 in 2022). After bureaucratic hurdles, he signed a contract with the Mayor of Poprad on March 16, 1993. The Mayor then began to reconsider, and asked the City Council to vote on the sale. After voting to approve it, the Poprad council reconsidered and asked the Slovak Ministry of Culture for its blessing, which was given four months later.After final approval to buy and move the statue out of the country, Carpenter consulted with both Venkov and the architect who had overseen the original casting of the bronze before deciding to cut the statue into three pieces and ship it 1,500 miles (2,400 km) to Rotterdam, and then on to the United States, all of which ultimately cost US$40,000 (equivalent to US$80,000 in 2022). Carpenter financed much of that by mortgaging his home. The statue arrived in Issaquah in August 1993, and Carpenter planned to install it in front of a Slovak restaurant. He died in a car collision in February 1994, during public debates on whether to display the statue in Issaquah that ended in rejection from the suburb's residents. After Carpenter's death, his family planned to sell the statue to a Fremont foundry to be melted down and repurposed into a new piece. The foundry's founder, Peter Bevis, sought instead to display the statue in Fremont, and agreed to have the Fremont Chamber of Commerce hold the statue in trust for 5 years or until a buyer was found. The statue was unveiled on June 3, 1995, at the corner of Evanston Avenue North and North 34th Street on private property, one block south of the Fremont Rocket, another artistic Fremont attraction.The owners moved the statue two blocks north to the intersection of Fremont Place North, North 36th Street and Evanston Avenue North in 1996, on a property with commercial retail spaces occupied by a Taco del Mar and a gelato shop at the time. The new location is three blocks west of the Fremont Troll, a Fremont art installation under the Aurora Bridge.The Carpenter family continues to seek a buyer for the statue. As of 2015, the asking price was US$250,000, up from the 1996 price of US$150,000 (equivalent to US$280,000 in 2022).
|
[
"Slovak",
"Seattle",
"Fremont Rocket",
"foundry",
"Fremont",
"Slovak Ministry of Culture",
"gelato",
"Fremont Troll",
"Issaquah, Washington",
"Aurora Bridge",
"Rotterdam",
"Taco del Mar",
"Poprad"
] |
|
14114_NT
|
Statue of Lenin (Seattle)
|
Explore the Sale and move to Seattle of this artwork.
|
Lewis E. Carpenter, an English teacher in Poprad originally from Issaquah, Washington, found the hollow monumental statue lying in a scrapyard with a homeless man living inside it. The Lenin statue was waiting to be cut up and sold for the price of the bronze. Carpenter had met and befriended Venkov in an earlier visit to Czechoslovakia. Carpenter's initial interest in buying the statue was to preserve it for its historic and artistic merit. Later he intended to use it to attract customers for an ethnic Slovak restaurant he wanted to open in Issaquah.In close collaboration with a local journalist and good friend, Tomáš Fülöpp, Carpenter approached Poprad city officials, saying that despite its current unpopularity, the statue was still a work of art worth preserving, and offered to buy it for US$13,000 (equivalent to US$30,000 in 2022). After bureaucratic hurdles, he signed a contract with the Mayor of Poprad on March 16, 1993. The Mayor then began to reconsider, and asked the City Council to vote on the sale. After voting to approve it, the Poprad council reconsidered and asked the Slovak Ministry of Culture for its blessing, which was given four months later.After final approval to buy and move the statue out of the country, Carpenter consulted with both Venkov and the architect who had overseen the original casting of the bronze before deciding to cut the statue into three pieces and ship it 1,500 miles (2,400 km) to Rotterdam, and then on to the United States, all of which ultimately cost US$40,000 (equivalent to US$80,000 in 2022). Carpenter financed much of that by mortgaging his home. The statue arrived in Issaquah in August 1993, and Carpenter planned to install it in front of a Slovak restaurant. He died in a car collision in February 1994, during public debates on whether to display the statue in Issaquah that ended in rejection from the suburb's residents. After Carpenter's death, his family planned to sell the statue to a Fremont foundry to be melted down and repurposed into a new piece. The foundry's founder, Peter Bevis, sought instead to display the statue in Fremont, and agreed to have the Fremont Chamber of Commerce hold the statue in trust for 5 years or until a buyer was found. The statue was unveiled on June 3, 1995, at the corner of Evanston Avenue North and North 34th Street on private property, one block south of the Fremont Rocket, another artistic Fremont attraction.The owners moved the statue two blocks north to the intersection of Fremont Place North, North 36th Street and Evanston Avenue North in 1996, on a property with commercial retail spaces occupied by a Taco del Mar and a gelato shop at the time. The new location is three blocks west of the Fremont Troll, a Fremont art installation under the Aurora Bridge.The Carpenter family continues to seek a buyer for the statue. As of 2015, the asking price was US$250,000, up from the 1996 price of US$150,000 (equivalent to US$280,000 in 2022).
|
[
"Slovak",
"Seattle",
"Fremont Rocket",
"foundry",
"Fremont",
"Slovak Ministry of Culture",
"gelato",
"Fremont Troll",
"Issaquah, Washington",
"Aurora Bridge",
"Rotterdam",
"Taco del Mar",
"Poprad"
] |
|
14115_T
|
Statue of Lenin (Seattle)
|
Focus on Statue of Lenin (Seattle) and discuss the Fremont curiosity.
|
The statue of Lenin became a Fremont landmark and object of curiosity, representing the quirky nature of the artistic neighborhood, whose motto is Libertas Quirkas – freedom to be peculiar. Like the Fremont Troll and the Waiting for the Interurban sculpture, the Lenin statue has often been decorated, appropriated, or vandalized with various intentions, both whimsical and serious.Knute Berger, acknowledging that "we are supposed to be amused" by the "hippie whimsy" of a Soviet symbol in the middle of an American city, said that seeing the statue cannot help but remind us of the killing and repression Lenin inspired. But Berger reflected that perhaps the meaning of this Soviet relic is the opposite, that it is "a trophy of Western triumphalism", representing the victory over communism and the fall of the Berlin Wall. By removing the statue from its original context where it was meant to keep the Slovak people in awe, given a new context where it oppresses no one and is used entirely in the service of free enterprise and profit making. Berger goes on to compare the Lenin statue with Native American totem poles, so many of which were once on display in the city that they became a "symbol of Seattle". Some of Seattle's most iconic 'totem poles' (actually Alaskan Tlingit carved house posts) were brazenly stolen from an Alaska village by respected members of the scientific and business community, the Harriman Alaska expedition, so immersed in the triumph of their own culture over that of Native Americans that little thought was given to what Dr. Robin K. Wright of the Burke Museum called "a very clear case of theft". Berger said the story of victory of one culture over another told by the totem pole, or the Lenin statue, make it "an icon, but if you know the story, a complicated one."A glowing Soviet-style red star or Christmas lights have been added to the statue during the holiday season since 2004. For the 2004 Solstice Parade, the statue was made to look like John Lennon. During Gay Pride Week, the statue is dressed in drag.The BBC highlighted Seattle's Lenin statue after protesters removed Lenin statues in Ukraine.The statue's hands are often painted (and repainted) red to protest what critics perceive as the glorification of what they see as a historical villain who has blood on his hands. The Taco del Mar restaurant, one of the retail property's tenants, constructed a monumental-scale burrito wrapped in foil for the statue to hold, which one Fremont publisher said did not turn out as intended, but rather "looked like a doobie."In June 2017, the statue's sculptor, Emil Venkov, died at age 79. The Association of Slovak Artists noted the loss of an artist whose long career helped define Slovak monumental and architectural sculpture, creating works distinctive for their subtext.Some groups have called for removal of Fremont's Lenin statue. On August 16, 2017, in the wake of the Charlottesville, Virginia Unite the Right rally, pro-Trump conspiracy theorist Jack Posobiec led a gathering of several protesters at the statue to demand its removal. The same day, Mayor Ed Murray said his office contacted Lake View Cemetery to "express our concerns" about the United Confederate Veterans Memorial there, and ask for its removal. On August 17, Murray added that he believed the Lenin statue should go as well, because we should "not idolize figures who have committed violent atrocities and sought to divide us", though he was aware the Lenin statue was also on private property. In the following days, a city staffer told The Washington Post off the record that the Seattle City Council was considering debating a symbolic resolution on removing the Lenin statue and the Confederate memorial, though the city government has no power to remove either against the wishes of the owners, since neither monument, nor the properties they are on, are city-owned. In an article discussing Confederate monuments in USA Today, Allen Guelzo said that there should be a movement of protesters asking that the statue be removed, as Lenin's "murderous ideas and deeds dwarf any of [the] sins" of Robert E. Lee.A bill introduced to the state legislature in early 2019 by a group of Republican representatives called for the statue's removal and replacement, in response to a bill reconsidering a statue of Marcus Whitman at the Washington State Capitol. One of Fremont's major landowners, businesswoman Suzie Burke, told KUOW radio that if any of the bill's sponsors actually lived in the Seattle area, she would have invited them to come to Fremont to discuss it, and she would have reminded them that the government does not have the authority to remove privately owned artwork on private property. One of the bill's sponsors said he would never infringe on private property rights, and that the bill was intended as a tongue-in-cheek reaction to State Senate opposition to the Whitman statue.In the midst of the 2020 George Floyd protests, the Confederate memorial in Lake View Cemetery was toppled by unknown persons. The statue had been criticized by protestors, and targeted with vandalism and graffiti in recent years.
|
[
"KUOW",
"Knute Berger",
"Solstice Parade",
"The Washington Post",
"Washington State",
"Marcus Whitman",
"totem poles",
"state legislature",
"Allen Guelzo",
"KUOW radio",
"Robert E. Lee",
"Jack Posobiec",
"doobie",
"Slovak",
"Seattle",
"Tlingit",
"USA Today",
"Slovak people",
"Harriman Alaska expedition",
"drag",
"BBC",
"Fremont",
"Washington State Capitol",
"John Lennon",
"Unite the Right rally",
"Emil Venkov",
"United Confederate Veterans Memorial",
"Ed Murray",
"red star",
"Lake View Cemetery",
"Waiting for the Interurban",
"Fremont Troll",
"George Floyd protests",
"Burke Museum",
"Taco del Mar",
"Republican",
"Gay Pride Week"
] |
|
14115_NT
|
Statue of Lenin (Seattle)
|
Focus on this artwork and discuss the Fremont curiosity.
|
The statue of Lenin became a Fremont landmark and object of curiosity, representing the quirky nature of the artistic neighborhood, whose motto is Libertas Quirkas – freedom to be peculiar. Like the Fremont Troll and the Waiting for the Interurban sculpture, the Lenin statue has often been decorated, appropriated, or vandalized with various intentions, both whimsical and serious.Knute Berger, acknowledging that "we are supposed to be amused" by the "hippie whimsy" of a Soviet symbol in the middle of an American city, said that seeing the statue cannot help but remind us of the killing and repression Lenin inspired. But Berger reflected that perhaps the meaning of this Soviet relic is the opposite, that it is "a trophy of Western triumphalism", representing the victory over communism and the fall of the Berlin Wall. By removing the statue from its original context where it was meant to keep the Slovak people in awe, given a new context where it oppresses no one and is used entirely in the service of free enterprise and profit making. Berger goes on to compare the Lenin statue with Native American totem poles, so many of which were once on display in the city that they became a "symbol of Seattle". Some of Seattle's most iconic 'totem poles' (actually Alaskan Tlingit carved house posts) were brazenly stolen from an Alaska village by respected members of the scientific and business community, the Harriman Alaska expedition, so immersed in the triumph of their own culture over that of Native Americans that little thought was given to what Dr. Robin K. Wright of the Burke Museum called "a very clear case of theft". Berger said the story of victory of one culture over another told by the totem pole, or the Lenin statue, make it "an icon, but if you know the story, a complicated one."A glowing Soviet-style red star or Christmas lights have been added to the statue during the holiday season since 2004. For the 2004 Solstice Parade, the statue was made to look like John Lennon. During Gay Pride Week, the statue is dressed in drag.The BBC highlighted Seattle's Lenin statue after protesters removed Lenin statues in Ukraine.The statue's hands are often painted (and repainted) red to protest what critics perceive as the glorification of what they see as a historical villain who has blood on his hands. The Taco del Mar restaurant, one of the retail property's tenants, constructed a monumental-scale burrito wrapped in foil for the statue to hold, which one Fremont publisher said did not turn out as intended, but rather "looked like a doobie."In June 2017, the statue's sculptor, Emil Venkov, died at age 79. The Association of Slovak Artists noted the loss of an artist whose long career helped define Slovak monumental and architectural sculpture, creating works distinctive for their subtext.Some groups have called for removal of Fremont's Lenin statue. On August 16, 2017, in the wake of the Charlottesville, Virginia Unite the Right rally, pro-Trump conspiracy theorist Jack Posobiec led a gathering of several protesters at the statue to demand its removal. The same day, Mayor Ed Murray said his office contacted Lake View Cemetery to "express our concerns" about the United Confederate Veterans Memorial there, and ask for its removal. On August 17, Murray added that he believed the Lenin statue should go as well, because we should "not idolize figures who have committed violent atrocities and sought to divide us", though he was aware the Lenin statue was also on private property. In the following days, a city staffer told The Washington Post off the record that the Seattle City Council was considering debating a symbolic resolution on removing the Lenin statue and the Confederate memorial, though the city government has no power to remove either against the wishes of the owners, since neither monument, nor the properties they are on, are city-owned. In an article discussing Confederate monuments in USA Today, Allen Guelzo said that there should be a movement of protesters asking that the statue be removed, as Lenin's "murderous ideas and deeds dwarf any of [the] sins" of Robert E. Lee.A bill introduced to the state legislature in early 2019 by a group of Republican representatives called for the statue's removal and replacement, in response to a bill reconsidering a statue of Marcus Whitman at the Washington State Capitol. One of Fremont's major landowners, businesswoman Suzie Burke, told KUOW radio that if any of the bill's sponsors actually lived in the Seattle area, she would have invited them to come to Fremont to discuss it, and she would have reminded them that the government does not have the authority to remove privately owned artwork on private property. One of the bill's sponsors said he would never infringe on private property rights, and that the bill was intended as a tongue-in-cheek reaction to State Senate opposition to the Whitman statue.In the midst of the 2020 George Floyd protests, the Confederate memorial in Lake View Cemetery was toppled by unknown persons. The statue had been criticized by protestors, and targeted with vandalism and graffiti in recent years.
|
[
"KUOW",
"Knute Berger",
"Solstice Parade",
"The Washington Post",
"Washington State",
"Marcus Whitman",
"totem poles",
"state legislature",
"Allen Guelzo",
"KUOW radio",
"Robert E. Lee",
"Jack Posobiec",
"doobie",
"Slovak",
"Seattle",
"Tlingit",
"USA Today",
"Slovak people",
"Harriman Alaska expedition",
"drag",
"BBC",
"Fremont",
"Washington State Capitol",
"John Lennon",
"Unite the Right rally",
"Emil Venkov",
"United Confederate Veterans Memorial",
"Ed Murray",
"red star",
"Lake View Cemetery",
"Waiting for the Interurban",
"Fremont Troll",
"George Floyd protests",
"Burke Museum",
"Taco del Mar",
"Republican",
"Gay Pride Week"
] |
|
14116_T
|
Huldschinsky Madonna (sculpture)
|
How does Huldschinsky Madonna (sculpture) elucidate its abstract?
|
The Huldschinsky Madonna is a terracotta sculpture from the beginning of the 15th century, most probably from around 1410–1415. It is attributed to Donatello, an attribution based on the structure of the drapery, which is no longer simply a means of expression and decoration as in Gothic art but is instead more naturalistic and observed from life, following a strict dialogue with the anatomical forms beneath it and obeying the rules of gravity. The work's attention to detail such as the fringes on the clothing also recalls the artist's other works such as the marble David. The sculpture was formerly painted. It has been in the Bode Museum in Berlin (the Kaiser Friedrich Museum at the time of the work's accession) since being donated by Oscar Huldschinsky in 1892 in Florence, who himself never owned it.
|
[
"David",
"Bode Museum",
"Donatello",
"Berlin",
"Gothic art",
"Oscar Huldschinsky"
] |
|
14116_NT
|
Huldschinsky Madonna (sculpture)
|
How does this artwork elucidate its abstract?
|
The Huldschinsky Madonna is a terracotta sculpture from the beginning of the 15th century, most probably from around 1410–1415. It is attributed to Donatello, an attribution based on the structure of the drapery, which is no longer simply a means of expression and decoration as in Gothic art but is instead more naturalistic and observed from life, following a strict dialogue with the anatomical forms beneath it and obeying the rules of gravity. The work's attention to detail such as the fringes on the clothing also recalls the artist's other works such as the marble David. The sculpture was formerly painted. It has been in the Bode Museum in Berlin (the Kaiser Friedrich Museum at the time of the work's accession) since being donated by Oscar Huldschinsky in 1892 in Florence, who himself never owned it.
|
[
"David",
"Bode Museum",
"Donatello",
"Berlin",
"Gothic art",
"Oscar Huldschinsky"
] |
|
14117_T
|
Princess with a Monkey
|
Focus on Princess with a Monkey and analyze the abstract.
|
Princess with a Monkey (Latvian: Princese ar pērtiķi) is a 1913 painting by Janis Rozentāls.
|
[
"Janis Rozentāls"
] |
|
14117_NT
|
Princess with a Monkey
|
Focus on this artwork and analyze the abstract.
|
Princess with a Monkey (Latvian: Princese ar pērtiķi) is a 1913 painting by Janis Rozentāls.
|
[
"Janis Rozentāls"
] |
|
14118_T
|
Princess with a Monkey
|
In Princess with a Monkey, how is the Description discussed?
|
Princess with a Monkey reflects a theme Rozentāls returned to repeatedly in the last years of his life. Some interpretations see the painting as an allegory of the relationship between an artist and society reflecting the power of money over the artist. Or perhaps the princess is ‘great, beautiful art’ and the monkey the artist: her servant and plaything, bound by golden chains. Rozentāls’ work included graphic art and in 1910 he worked on the decorative frieze of the newly built headquarters of the Riga Latvian Society. The painting is oil on canvas, with dimensions 145.5 x 69.5 centimeters.
It is located in the Latvian National Museum of Art, in Riga.
|
[
"Latvian National Museum of Art",
"Riga"
] |
|
14118_NT
|
Princess with a Monkey
|
In this artwork, how is the Description discussed?
|
Princess with a Monkey reflects a theme Rozentāls returned to repeatedly in the last years of his life. Some interpretations see the painting as an allegory of the relationship between an artist and society reflecting the power of money over the artist. Or perhaps the princess is ‘great, beautiful art’ and the monkey the artist: her servant and plaything, bound by golden chains. Rozentāls’ work included graphic art and in 1910 he worked on the decorative frieze of the newly built headquarters of the Riga Latvian Society. The painting is oil on canvas, with dimensions 145.5 x 69.5 centimeters.
It is located in the Latvian National Museum of Art, in Riga.
|
[
"Latvian National Museum of Art",
"Riga"
] |
|
14119_T
|
The Night Café
|
Focus on The Night Café and explore the Genesis.
|
In a jocular passage of a letter Van Gogh wrote to his brother, Theo, the artist said Ginoux had taken so much of his money that he'd told the cafe owner it was time to take his revenge by painting the place.In August 1888, the artist told his brother in a letter:Today I am probably going to begin on the interior of the café where I have a room, by gas light, in the evening. It is what they call here a “café de nuit” (they are fairly frequent here), staying open all night. “Night prowlers” can take refuge there when they have no money to pay for a lodging, or are too drunk to be taken in.
In the first days of September 1888, Van Gogh sat up for three consecutive nights to paint the picture, sleeping during the day.Van Gogh's Cafe Terrace at Night, showing outdoor tables, a street scene and the night sky, was painted in Arles at about the same time. It depicts a different cafe, a larger establishment on the Place du Forum.
|
[
"Cafe Terrace at Night",
"Arles"
] |
|
14119_NT
|
The Night Café
|
Focus on this artwork and explore the Genesis.
|
In a jocular passage of a letter Van Gogh wrote to his brother, Theo, the artist said Ginoux had taken so much of his money that he'd told the cafe owner it was time to take his revenge by painting the place.In August 1888, the artist told his brother in a letter:Today I am probably going to begin on the interior of the café where I have a room, by gas light, in the evening. It is what they call here a “café de nuit” (they are fairly frequent here), staying open all night. “Night prowlers” can take refuge there when they have no money to pay for a lodging, or are too drunk to be taken in.
In the first days of September 1888, Van Gogh sat up for three consecutive nights to paint the picture, sleeping during the day.Van Gogh's Cafe Terrace at Night, showing outdoor tables, a street scene and the night sky, was painted in Arles at about the same time. It depicts a different cafe, a larger establishment on the Place du Forum.
|
[
"Cafe Terrace at Night",
"Arles"
] |
|
14120_T
|
The Night Café
|
Explore the Van Gogh on the painting about the Critical reaction of this artwork, The Night Café.
|
Van Gogh wrote many letters to his brother, Theo van Gogh, and often included details of his latest work. The artist wrote his brother more than once about The Night Café. According to Meyer Schapiro, "there are few works on which [Van Gogh] has written with more conviction."
In one of the letters he describes this painting: I have tried to express the terrible passions of humanity by means of red and green. The room is blood red and dark yellow with a green billiard table in the middle; there are four lemon-yellow lamps with a glow of orange and green. Everywhere there is a clash and contrast of the most alien reds and greens, in the figures of little sleeping hooligans, in the empty dreary room, in violet and blue. The blood-red and the yellow-green of the billiard table, for instance, contrast with the soft tender Louis XV green of the counter, on which there is a rose nosegay. The white clothes of the landlord, watchful in a corner of that furnace, turn lemon-yellow, or pale luminous green.
The next day (September 9), he wrote Theo: "In my picture of the Night Café I have tried to express the idea that the café is a place where one can ruin oneself, go mad or commit a crime. So I have tried to express, as it were, the powers of darkness in a low public house, by soft Louis XV green and malachite, contrasting with yellow-green and harsh blue-greens, and all this in an atmosphere like a devil's furnace, of pale sulphur. And all with an appearance of Japanese gaiety, and the good nature of Tartarin."He also wrote: "It is color not locally true from the point of view of the stereoscopic realist, but color to suggest the emotion of an ardent temperament."The violent exaggeration of the colours and the thick texture of the paint made the picture "one of the ugliest pictures I have done", Van Gogh wrote at one point. He also called it "the equivalent, though different, of The Potato Eaters", which it resembles somewhat in its use of lamplight and concerns for the condition of people in need.Soon after its execution, Van Gogh incorporated this painting into his Décoration for the Yellow House.
|
[
"The Night Café",
"The Potato Eaters",
"Tartarin",
"Meyer Schapiro",
"Décoration for the Yellow House"
] |
|
14120_NT
|
The Night Café
|
Explore the Van Gogh on the painting about the Critical reaction of this artwork.
|
Van Gogh wrote many letters to his brother, Theo van Gogh, and often included details of his latest work. The artist wrote his brother more than once about The Night Café. According to Meyer Schapiro, "there are few works on which [Van Gogh] has written with more conviction."
In one of the letters he describes this painting: I have tried to express the terrible passions of humanity by means of red and green. The room is blood red and dark yellow with a green billiard table in the middle; there are four lemon-yellow lamps with a glow of orange and green. Everywhere there is a clash and contrast of the most alien reds and greens, in the figures of little sleeping hooligans, in the empty dreary room, in violet and blue. The blood-red and the yellow-green of the billiard table, for instance, contrast with the soft tender Louis XV green of the counter, on which there is a rose nosegay. The white clothes of the landlord, watchful in a corner of that furnace, turn lemon-yellow, or pale luminous green.
The next day (September 9), he wrote Theo: "In my picture of the Night Café I have tried to express the idea that the café is a place where one can ruin oneself, go mad or commit a crime. So I have tried to express, as it were, the powers of darkness in a low public house, by soft Louis XV green and malachite, contrasting with yellow-green and harsh blue-greens, and all this in an atmosphere like a devil's furnace, of pale sulphur. And all with an appearance of Japanese gaiety, and the good nature of Tartarin."He also wrote: "It is color not locally true from the point of view of the stereoscopic realist, but color to suggest the emotion of an ardent temperament."The violent exaggeration of the colours and the thick texture of the paint made the picture "one of the ugliest pictures I have done", Van Gogh wrote at one point. He also called it "the equivalent, though different, of The Potato Eaters", which it resembles somewhat in its use of lamplight and concerns for the condition of people in need.Soon after its execution, Van Gogh incorporated this painting into his Décoration for the Yellow House.
|
[
"The Night Café",
"The Potato Eaters",
"Tartarin",
"Meyer Schapiro",
"Décoration for the Yellow House"
] |
|
14121_T
|
The Night Café
|
In the context of The Night Café, discuss the Reaction of critics and scholars of the Critical reaction.
|
The work has been called one of Van Gogh's masterpieces and one of his most famous.Unlike typical Impressionist works, the painter does not project a neutral stance towards the world or an attitude of enjoyment of the beauty of nature or of the moment. The painting is an instance of Van Gogh's use of what he called "suggestive colour" or, as he would soon term it, "arbitrary colour" in which the artist infused his works with his emotions, typical of what was later called Expressionism.The red and green of the walls and ceiling are an "oppressive combination", and the lamps are "sinister features" with orange-and-green halos, according to Nathaniel Harris. "The top half of the canvas creates its basic mood, as any viewer can verify by looking at it with one or the other half of the reproduction covered up; the bottom half supplies the 'facts.'" The thick paint adds a surreal touch of waviness to the table tops, billiard table and floor. The viewer is left with a feeling of seediness and despair, Harris wrote. "The scene might easily be banal and dispiriting; instead, it is dispiriting but also terrible."The objects of pleasure (billiard table, wine bottles and glasses) are contrasted in the picture with the "few human beings absorbed in their individual loneliness and despair", Antonia Lant commented.The perspective of the scene is one of its most powerful effects, according to various critics. Schapiro described the painting's "absorbing perspective which draws us headlong past empty chairs and tables into hidden depths behind a distant doorway — an opening like the silhouette of the standing figure." Lant described it as a "shocking perspectival rush, which draws us, by the converging diagonals of floorboards and billiard table, towards the mysterious, courtained doorway beyond." Harris wrote that the perspective "pitches the viewer forward into the room, towards the half-curtained private quarters, and also creates a sense of vertigo and distorted vision, familiar from nightmares." Schapiro also noted, "To the impulsive rush of these converging lines he opposes the broad horizontal band of red, full of scattered objects [...]"
|
[
"Expressionism",
"Impressionist",
"distorted vision"
] |
|
14121_NT
|
The Night Café
|
In the context of this artwork, discuss the Reaction of critics and scholars of the Critical reaction.
|
The work has been called one of Van Gogh's masterpieces and one of his most famous.Unlike typical Impressionist works, the painter does not project a neutral stance towards the world or an attitude of enjoyment of the beauty of nature or of the moment. The painting is an instance of Van Gogh's use of what he called "suggestive colour" or, as he would soon term it, "arbitrary colour" in which the artist infused his works with his emotions, typical of what was later called Expressionism.The red and green of the walls and ceiling are an "oppressive combination", and the lamps are "sinister features" with orange-and-green halos, according to Nathaniel Harris. "The top half of the canvas creates its basic mood, as any viewer can verify by looking at it with one or the other half of the reproduction covered up; the bottom half supplies the 'facts.'" The thick paint adds a surreal touch of waviness to the table tops, billiard table and floor. The viewer is left with a feeling of seediness and despair, Harris wrote. "The scene might easily be banal and dispiriting; instead, it is dispiriting but also terrible."The objects of pleasure (billiard table, wine bottles and glasses) are contrasted in the picture with the "few human beings absorbed in their individual loneliness and despair", Antonia Lant commented.The perspective of the scene is one of its most powerful effects, according to various critics. Schapiro described the painting's "absorbing perspective which draws us headlong past empty chairs and tables into hidden depths behind a distant doorway — an opening like the silhouette of the standing figure." Lant described it as a "shocking perspectival rush, which draws us, by the converging diagonals of floorboards and billiard table, towards the mysterious, courtained doorway beyond." Harris wrote that the perspective "pitches the viewer forward into the room, towards the half-curtained private quarters, and also creates a sense of vertigo and distorted vision, familiar from nightmares." Schapiro also noted, "To the impulsive rush of these converging lines he opposes the broad horizontal band of red, full of scattered objects [...]"
|
[
"Expressionism",
"Impressionist",
"distorted vision"
] |
|
14122_T
|
The Night Café
|
How does The Night Café elucidate its Gauguin's competition piece?
|
Soon after his arrival in Arles, Paul Gauguin painted the same location, as a background to his portrait of Madame Ginoux. While the Van Gogh painting depicts the café as a room of isolation, Gauguin's Night Café at Arles mixes the concepts of isolation (to the painting's left) and spirited socializing (in the center), behind Madame Ginoux.It was also acquired by Ivan Morozov and now hangs in the Pushkin Museum of Fine Arts.
|
[
"Ivan Morozov",
"Paul Gauguin",
"Arles",
"Pushkin Museum",
"Pushkin Museum of Fine Arts"
] |
|
14122_NT
|
The Night Café
|
How does this artwork elucidate its Gauguin's competition piece?
|
Soon after his arrival in Arles, Paul Gauguin painted the same location, as a background to his portrait of Madame Ginoux. While the Van Gogh painting depicts the café as a room of isolation, Gauguin's Night Café at Arles mixes the concepts of isolation (to the painting's left) and spirited socializing (in the center), behind Madame Ginoux.It was also acquired by Ivan Morozov and now hangs in the Pushkin Museum of Fine Arts.
|
[
"Ivan Morozov",
"Paul Gauguin",
"Arles",
"Pushkin Museum",
"Pushkin Museum of Fine Arts"
] |
|
14123_T
|
The Night Café
|
Focus on The Night Café and analyze the History.
|
Van Gogh used the picture to settle debts with Ginoux, the landlord said to be depicted (standing) in it. Formerly a highlight of the Ivan Morozov collection in Moscow, the painting was nationalized and sold by the Soviet authorities in the 1930s. The painting was eventually acquired by Stephen Carlton Clark, who bequeathed it to the art gallery of Yale University.
On March 24, 2009, Yale sued Pierre Konowaloff, Morozov's purported great-grandson, to maintain the university's title to the work. Konowaloff had allegedly asserted a claim to own the painting on the grounds that the Soviets had invalidly nationalized it. Yale dropped its lawsuit in October of that year, in a motion which stated “it is well-established that a foreign nation’s taking of its own national’s property within its own borders does not violate international law,” claiming that both the Soviet and Yale acquisitions of the painting were therefore legal.On March 27, 2016 the United States Supreme Court rejected an appeal by Konowaloff regarding the case, siding with a federal appeals court in New York cited the “act of state” doctrine. The rejection means Yale's ownership is absolute.
|
[
"Ivan Morozov",
"the art gallery",
"Yale University",
"Moscow",
"United States Supreme Court",
"Stephen Carlton Clark",
"nationalized"
] |
|
14123_NT
|
The Night Café
|
Focus on this artwork and analyze the History.
|
Van Gogh used the picture to settle debts with Ginoux, the landlord said to be depicted (standing) in it. Formerly a highlight of the Ivan Morozov collection in Moscow, the painting was nationalized and sold by the Soviet authorities in the 1930s. The painting was eventually acquired by Stephen Carlton Clark, who bequeathed it to the art gallery of Yale University.
On March 24, 2009, Yale sued Pierre Konowaloff, Morozov's purported great-grandson, to maintain the university's title to the work. Konowaloff had allegedly asserted a claim to own the painting on the grounds that the Soviets had invalidly nationalized it. Yale dropped its lawsuit in October of that year, in a motion which stated “it is well-established that a foreign nation’s taking of its own national’s property within its own borders does not violate international law,” claiming that both the Soviet and Yale acquisitions of the painting were therefore legal.On March 27, 2016 the United States Supreme Court rejected an appeal by Konowaloff regarding the case, siding with a federal appeals court in New York cited the “act of state” doctrine. The rejection means Yale's ownership is absolute.
|
[
"Ivan Morozov",
"the art gallery",
"Yale University",
"Moscow",
"United States Supreme Court",
"Stephen Carlton Clark",
"nationalized"
] |
|
14124_T
|
The Night Café
|
In The Night Café, how is the Namesake discussed?
|
The Night Café, a British indie pop band formed in 2014, is named after the painting.
|
[
"The Night Café",
"indie pop"
] |
|
14124_NT
|
The Night Café
|
In this artwork, how is the Namesake discussed?
|
The Night Café, a British indie pop band formed in 2014, is named after the painting.
|
[
"The Night Café",
"indie pop"
] |
|
14125_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Focus on Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I) and explore the abstract.
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai is an ukiyo-e woodblock print dating to around 1801 by Edo period artist Utagawa Toyokuni I. Featuring two of the most prominent actors of the day as characters in a contemporary kabuki drama, it is a classic example of the kabuki-e or yakusha-e genre. The print is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.
|
[
"Royal Ontario Museum",
"Utagawa Toyokuni I",
"ukiyo-e",
"kabuki",
"yakusha-e",
"Edo period",
"Samurai",
"Utagawa Toyokuni"
] |
|
14125_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Focus on this artwork and explore the abstract.
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai is an ukiyo-e woodblock print dating to around 1801 by Edo period artist Utagawa Toyokuni I. Featuring two of the most prominent actors of the day as characters in a contemporary kabuki drama, it is a classic example of the kabuki-e or yakusha-e genre. The print is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.
|
[
"Royal Ontario Museum",
"Utagawa Toyokuni I",
"ukiyo-e",
"kabuki",
"yakusha-e",
"Edo period",
"Samurai",
"Utagawa Toyokuni"
] |
|
14126_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Focus on Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I) and explain the Toyokuni and kabuki.
|
Utagawa Toyokuni (歌川豐國), also known as Toyokuni I, was the second head of the Utagawa school, and one of the most influential print-makers of the Edo period. From early adolescence, he apprenticed with Utagawa Toyoharu, studying the style of his mentor, as well as those of Chōbunsai Eishi, Utamaro and Eishōsai Chōki.Although his initial attempts met with failure, Toyokuni achieved commercial success in 1786 with illustrations for the kibyōshi novelette Tsugamonai hanashi no oyadama (無束話親玉). He soon discovered his niches: bijinga and, more significantly, yakusha-e. Between 1794 and 1796, he created a series of prints entitled Yakusha butai no sugata-e ("Portraits of Actors in Various Roles" - 役者舞台の姿絵), which earned him "rapid recognition," and "marked the peak of his creative work." Toyokuni befriended prominent actors, and the "overwhelming majority" of his prints relate to kabuki.Toyokuni's style is admired for its "powerful and vivid lines," "striking color contrasts," "decorative bombast," and "bold, taut designs." He is credited with the innovation of polyptych formats, and with training many prominent pupils, including future masters Kunisada and Kuniyoshi.Toyokuni is often compared with Sharaku, an artist active during 1794 who specialized in yakusha-e. While Sharaku favoured an exaggerated, stylized approach, Toyokuni's depictions are more realistic, capturing actors "as they appear on stage" and idealizing them. His kabuki-e were more popular with contemporary audiences than those of his rival; however, modern critics tend to credit Sharaku with greater artistic acuity.Toyokuni was highly prolific, and, by 1800, the Utagawa school had supplanted the Katsukawa as the major producers of kabuki-e. His success appears to have come at a price, however, as the consensus is that the quality of his later work "shows a marked decline," and even "degenerated frequently into sheer grotesquerie." Some also contend Toyokuni's talent was "predominantly imitative," more the product of study than "intuitive genius."
|
[
"Utagawa Toyoharu",
"bijinga",
"kabuki",
"yakusha-e",
"kibyōshi",
"Kuniyoshi",
"Sharaku",
"Eishōsai Chōki",
"Edo period",
"Utagawa school",
"Kunisada",
"Utamaro",
"Utagawa Toyokuni"
] |
|
14126_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Focus on this artwork and explain the Toyokuni and kabuki.
|
Utagawa Toyokuni (歌川豐國), also known as Toyokuni I, was the second head of the Utagawa school, and one of the most influential print-makers of the Edo period. From early adolescence, he apprenticed with Utagawa Toyoharu, studying the style of his mentor, as well as those of Chōbunsai Eishi, Utamaro and Eishōsai Chōki.Although his initial attempts met with failure, Toyokuni achieved commercial success in 1786 with illustrations for the kibyōshi novelette Tsugamonai hanashi no oyadama (無束話親玉). He soon discovered his niches: bijinga and, more significantly, yakusha-e. Between 1794 and 1796, he created a series of prints entitled Yakusha butai no sugata-e ("Portraits of Actors in Various Roles" - 役者舞台の姿絵), which earned him "rapid recognition," and "marked the peak of his creative work." Toyokuni befriended prominent actors, and the "overwhelming majority" of his prints relate to kabuki.Toyokuni's style is admired for its "powerful and vivid lines," "striking color contrasts," "decorative bombast," and "bold, taut designs." He is credited with the innovation of polyptych formats, and with training many prominent pupils, including future masters Kunisada and Kuniyoshi.Toyokuni is often compared with Sharaku, an artist active during 1794 who specialized in yakusha-e. While Sharaku favoured an exaggerated, stylized approach, Toyokuni's depictions are more realistic, capturing actors "as they appear on stage" and idealizing them. His kabuki-e were more popular with contemporary audiences than those of his rival; however, modern critics tend to credit Sharaku with greater artistic acuity.Toyokuni was highly prolific, and, by 1800, the Utagawa school had supplanted the Katsukawa as the major producers of kabuki-e. His success appears to have come at a price, however, as the consensus is that the quality of his later work "shows a marked decline," and even "degenerated frequently into sheer grotesquerie." Some also contend Toyokuni's talent was "predominantly imitative," more the product of study than "intuitive genius."
|
[
"Utagawa Toyoharu",
"bijinga",
"kabuki",
"yakusha-e",
"kibyōshi",
"Kuniyoshi",
"Sharaku",
"Eishōsai Chōki",
"Edo period",
"Utagawa school",
"Kunisada",
"Utamaro",
"Utagawa Toyokuni"
] |
|
14127_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I), discuss the Genre of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
An image of two actors posing as characters from a play, this print belongs to the kabuki-e (歌舞伎絵) genre, also known as shibai-e (芝居絵), gekijou-e (劇場絵), gekiga (劇画). Literally 'kabuki pictures', kabuki-e began to be produced in the late 17th century. As kabuki grew in popularity, audiences became increasingly interested in the actors. The emergence of star actors led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually or, as in this print, in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).
|
[
"kabuki",
"yakusha-e",
"ehon"
] |
|
14127_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of this artwork, discuss the Genre of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
An image of two actors posing as characters from a play, this print belongs to the kabuki-e (歌舞伎絵) genre, also known as shibai-e (芝居絵), gekijou-e (劇場絵), gekiga (劇画). Literally 'kabuki pictures', kabuki-e began to be produced in the late 17th century. As kabuki grew in popularity, audiences became increasingly interested in the actors. The emergence of star actors led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually or, as in this print, in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).
|
[
"kabuki",
"yakusha-e",
"ehon"
] |
|
14128_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I), how is the Image of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai elucidated?
|
In this print, Toyokuni depicts a tableau of two of the most popular kabuki actors of the day in a scene from an unidentified play. The character in the foreground is a samurai. He wears waraji straw sandals, a casual black eboshi cap, and a two-piece kamishimo under a black haori coat. The handles of his two swords peak out behind him on the left, the customary position. His red kumadori makeup is typical of main characters, signifying "bravado and a forceful personality." Hanging down over his right knee is a handful of wheat or rice stalks, which are presumably an element of the drama.
The standing figure is in typical pilgrim or travelling priest garb: waraji, a grey robe, and light-coloured leggings and arm covers. In addition, he wears a gong around his waist and carries a shakujō (錫杖) pilgrim's staff. Behind him, the body and straps of a portable shrine are just visible. Heroes and their foes disguising themselves as pilgrims is a popular kabuki motif. The character's aggressive pose—right arm removed from his robe, menacing facial expression—indicates that he is likely not a benign pilgrim.
|
[
"samurai",
"haori",
"kumadori",
"kabuki",
"waraji",
"kamishimo",
"left",
"swords"
] |
|
14128_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In this artwork, how is the Image of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai elucidated?
|
In this print, Toyokuni depicts a tableau of two of the most popular kabuki actors of the day in a scene from an unidentified play. The character in the foreground is a samurai. He wears waraji straw sandals, a casual black eboshi cap, and a two-piece kamishimo under a black haori coat. The handles of his two swords peak out behind him on the left, the customary position. His red kumadori makeup is typical of main characters, signifying "bravado and a forceful personality." Hanging down over his right knee is a handful of wheat or rice stalks, which are presumably an element of the drama.
The standing figure is in typical pilgrim or travelling priest garb: waraji, a grey robe, and light-coloured leggings and arm covers. In addition, he wears a gong around his waist and carries a shakujō (錫杖) pilgrim's staff. Behind him, the body and straps of a portable shrine are just visible. Heroes and their foes disguising themselves as pilgrims is a popular kabuki motif. The character's aggressive pose—right arm removed from his robe, menacing facial expression—indicates that he is likely not a benign pilgrim.
|
[
"samurai",
"haori",
"kumadori",
"kabuki",
"waraji",
"kamishimo",
"left",
"swords"
] |
|
14129_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I), analyze the Play of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
Beyond the names of two of the actors involved, there is very little in this print to identify the play it documents. Although some kabuki-e and yakusha-e include character or play names, this print offers neither. In addition, having no date stamp or censor seal makes it difficult to identify the play by date.
Records of Edo period kabuki reveal that early in 1798 Yaozō and Omezō appeared together in the play "Tomioka koi no yamabiraki" (also known as "Ninin Shimbei"). Extant images by Toyokuni known to be from this performance—including one featuring Yaozō—however, are very different in style and format from the ROM's print.In 1803, Yaozō is known to have appeared in Yoshitsune Sembon Zakura, a drama featuring priest and monk characters. As the cast list has been lost, it is unknown whether Omezō also appeared. One Toyokuni print of Yaozō from this play is done in a similar style as the ROM's print, however, the costume is quite different.
|
[
"kabuki",
"yakusha-e",
"Edo period",
"Yoshitsune Sembon Zakura"
] |
|
14129_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of this artwork, analyze the Play of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
Beyond the names of two of the actors involved, there is very little in this print to identify the play it documents. Although some kabuki-e and yakusha-e include character or play names, this print offers neither. In addition, having no date stamp or censor seal makes it difficult to identify the play by date.
Records of Edo period kabuki reveal that early in 1798 Yaozō and Omezō appeared together in the play "Tomioka koi no yamabiraki" (also known as "Ninin Shimbei"). Extant images by Toyokuni known to be from this performance—including one featuring Yaozō—however, are very different in style and format from the ROM's print.In 1803, Yaozō is known to have appeared in Yoshitsune Sembon Zakura, a drama featuring priest and monk characters. As the cast list has been lost, it is unknown whether Omezō also appeared. One Toyokuni print of Yaozō from this play is done in a similar style as the ROM's print, however, the costume is quite different.
|
[
"kabuki",
"yakusha-e",
"Edo period",
"Yoshitsune Sembon Zakura"
] |
|
14130_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Describe the characteristics of the Ichikawa Yaozō III in Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)'s Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
Both the name cartouche in the upper left-hand corner and the kaemon (替紋) personal crest appearing on the kimono arms of the crouching figure in the foreground identify him as Ichikawa Yaozō III (市川八百蔵) (1747–1818). Yaozō, whose professional debut was in 1760, came from a family of kabuki performers. He trained with two very different masters: celebrated onnagata (female role actor) Segawa Kikunojō II, and aragoto ('rough style') master Ichikawa Danjūrō V. He was particularly admired for his performance of wajitsu (calm, clever male hero) roles, and for his portrayal of young women. He appears in several prints by Toyokuni, as well as in prints by Katsukawa Shunkō, Katsukawa Shun'ei and Sharaku.
|
[
"kabuki",
"Ichikawa Danjūrō V",
"Sharaku",
"onnagata",
"Katsukawa Shun'ei",
"left",
"Katsukawa Shunkō",
"aragoto"
] |
|
14130_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Describe the characteristics of the Ichikawa Yaozō III in this artwork's Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
Both the name cartouche in the upper left-hand corner and the kaemon (替紋) personal crest appearing on the kimono arms of the crouching figure in the foreground identify him as Ichikawa Yaozō III (市川八百蔵) (1747–1818). Yaozō, whose professional debut was in 1760, came from a family of kabuki performers. He trained with two very different masters: celebrated onnagata (female role actor) Segawa Kikunojō II, and aragoto ('rough style') master Ichikawa Danjūrō V. He was particularly admired for his performance of wajitsu (calm, clever male hero) roles, and for his portrayal of young women. He appears in several prints by Toyokuni, as well as in prints by Katsukawa Shunkō, Katsukawa Shun'ei and Sharaku.
|
[
"kabuki",
"Ichikawa Danjūrō V",
"Sharaku",
"onnagata",
"Katsukawa Shun'ei",
"left",
"Katsukawa Shunkō",
"aragoto"
] |
|
14131_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I), explore the Ichikawa Omezō I of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
According to the name cartouche, the standing figure is Ichikawa Omezō I (市川男女蔵) (1781-1833), the first actor in a line of 6 generations continuing to the present day. He specialized in dramatic male tachiyaku (立役) and in jitsuaku (実悪) evil warrior roles. Not surprisingly, given his stature as a kabuki star, he was a popular subject for Toyokuni. One of his most famous portraits is Toyokuni's of him in the famous drama Shibaraku
|
[
"kabuki",
"tachiyaku",
"Shibaraku"
] |
|
14131_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of this artwork, explore the Ichikawa Omezō I of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
According to the name cartouche, the standing figure is Ichikawa Omezō I (市川男女蔵) (1781-1833), the first actor in a line of 6 generations continuing to the present day. He specialized in dramatic male tachiyaku (立役) and in jitsuaku (実悪) evil warrior roles. Not surprisingly, given his stature as a kabuki star, he was a popular subject for Toyokuni. One of his most famous portraits is Toyokuni's of him in the famous drama Shibaraku
|
[
"kabuki",
"tachiyaku",
"Shibaraku"
] |
|
14132_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I), explain the Date of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
The ROM labels the print as c. 1801. Although the print has no discernible date or censor seals, Several factors indicate that the print most likely dates to between 1800 and 1804:Toyokuni began working with printer Iseya Magobei in 1795, and did a series of "oblong prints of actor pairs" for the publisher in the early 1800s
Ichikawa Yaozō III took the name Suketakaya Takasuke II in 1804 and ceased to be known as Ichikawa Yaozō
|
[] |
|
14132_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
In the context of this artwork, explain the Date of the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai.
|
The ROM labels the print as c. 1801. Although the print has no discernible date or censor seals, Several factors indicate that the print most likely dates to between 1800 and 1804:Toyokuni began working with printer Iseya Magobei in 1795, and did a series of "oblong prints of actor pairs" for the publisher in the early 1800s
Ichikawa Yaozō III took the name Suketakaya Takasuke II in 1804 and ceased to be known as Ichikawa Yaozō
|
[] |
|
14133_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Explore the Provenance about the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai of this artwork, Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I).
|
The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.
|
[
"Sir Edmund Walker",
"Canadian Bank of Commerce"
] |
|
14133_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Explore the Provenance about the Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai of this artwork.
|
The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.
|
[
"Sir Edmund Walker",
"Canadian Bank of Commerce"
] |
|
14134_T
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Focus on Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I) and discuss the Print details.
|
Medium: nishiki-e woodblock print on paper
Size: chūban
Format: tate-e
Japanese title: none
Exhibit title: Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai
Subject: scene from an unspecified kabuki play
Signature: Toyokuni ga (豊国画), left centre edge
Publisher: Iseya Magobei (伊勢屋孫兵衛)
Publisher's mark: Isemago/ Iseson, below signature
Censor seal: none
Date seal: none
Genre: yakusha-e, kabuki-e
Credit line: Gift of Sir Edmund Walker
|
[
"Sir Edmund Walker",
"kabuki",
"yakusha-e",
"nishiki-e",
"left",
"Samurai"
] |
|
14134_NT
|
Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)
|
Focus on this artwork and discuss the Print details.
|
Medium: nishiki-e woodblock print on paper
Size: chūban
Format: tate-e
Japanese title: none
Exhibit title: Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai
Subject: scene from an unspecified kabuki play
Signature: Toyokuni ga (豊国画), left centre edge
Publisher: Iseya Magobei (伊勢屋孫兵衛)
Publisher's mark: Isemago/ Iseson, below signature
Censor seal: none
Date seal: none
Genre: yakusha-e, kabuki-e
Credit line: Gift of Sir Edmund Walker
|
[
"Sir Edmund Walker",
"kabuki",
"yakusha-e",
"nishiki-e",
"left",
"Samurai"
] |
|
14135_T
|
Oliver P. Morton (monument)
|
Focus on Oliver P. Morton (monument) and analyze the abstract.
|
Oliver P. Morton and Reliefs is a public artwork by Austrian artist Rudolph Schwarz, located on the east side of the Indiana Statehouse in Indianapolis, Indiana, at the intersection of North Capitol Avenue and West Market Street.
|
[
"Rudolph Schwarz",
"Indianapolis",
"Indiana Statehouse",
"Indianapolis, Indiana",
"Austria",
"Indiana",
"Relief",
"Oliver P. Morton"
] |
|
14135_NT
|
Oliver P. Morton (monument)
|
Focus on this artwork and analyze the abstract.
|
Oliver P. Morton and Reliefs is a public artwork by Austrian artist Rudolph Schwarz, located on the east side of the Indiana Statehouse in Indianapolis, Indiana, at the intersection of North Capitol Avenue and West Market Street.
|
[
"Rudolph Schwarz",
"Indianapolis",
"Indiana Statehouse",
"Indianapolis, Indiana",
"Austria",
"Indiana",
"Relief",
"Oliver P. Morton"
] |
|
14136_T
|
Oliver P. Morton (monument)
|
In Oliver P. Morton (monument), how is the Description discussed?
|
The Oliver P. Morton memorial is composed of three bronze statues and two bronze reliefs, one plaque on the front, and two plaques on the rear, also of bronze. The pedestals on which the statues stand are made of granite. Oliver Perry Morton stands positioned in the center, raised above the other two figures by a full figure's height. Two Union soldiers flank either side of Morton. The soldiers on the proper left is uniformed and holding a bayonet. The soldier on the proper right is holding a rifle and wearing a sword on his left; this figure is uniformed as well. Below the figures at the base of the pedestals are two flags crossed with olive branches, and there is an oak wreath of leaves and acorns in the center.
The reliefs are located on the sides of the soldiers' pedestals. The relief that faces south depicts Oliver P. Morton giving a speech. The relief that faces north shows him standing in an infirmary tent.
On the rear of the memorial are two plaques. The top plaque is located on the pedestal of Morton. It reads:Oliver Perry Morton
Born in Wayne Co. Indiana August 4, 1823.
Died in Indianapolis November 1, 1877.
Aged 54 years 2 months and 25 days.
Admitted to the Bar in 1847.
Served as Governor of Indiana from January 18, 1861 to March 4, 1867.
Served as U.S. Senator from Indiana from March 4, 1867 until his death November 1, 1877.
In all ways and at all times the friend of the Union soldier. The friend of the country.
The upholder of Abraham Lincoln.
The defender of the flag and the Union of the States. Patriot. Statesman.
Lover of Liberty. Heroic in heart.
Inflexible in purpose and ever to be known in history as
The Great War Governor
On the plaque below the first on the lower part of the pedestal are the words:The annual meeting held in June, 1904, The Department of Indiana.
Grand Army of the Republic.
An organization of the honorably discharged soldier and sailors who served in the Army and Navy to preserve the integrity of the Republic of the United States of America, in the Great Civil War from A.D. 1861 to 1865, memorialized the legislature of the State of Indiana to appropriate sufficient money to erect this monument to perpetuate the memory of
Oliver Perry MortonThe Great War Governor of Indiana during that period.
|
[
"bayonet",
"bronze",
"Indianapolis",
"granite",
"Wayne Co. Indiana",
"reliefs",
"Indiana",
"Civil War",
"Abraham Lincoln",
"Union",
"Oliver P. Morton"
] |
|
14136_NT
|
Oliver P. Morton (monument)
|
In this artwork, how is the Description discussed?
|
The Oliver P. Morton memorial is composed of three bronze statues and two bronze reliefs, one plaque on the front, and two plaques on the rear, also of bronze. The pedestals on which the statues stand are made of granite. Oliver Perry Morton stands positioned in the center, raised above the other two figures by a full figure's height. Two Union soldiers flank either side of Morton. The soldiers on the proper left is uniformed and holding a bayonet. The soldier on the proper right is holding a rifle and wearing a sword on his left; this figure is uniformed as well. Below the figures at the base of the pedestals are two flags crossed with olive branches, and there is an oak wreath of leaves and acorns in the center.
The reliefs are located on the sides of the soldiers' pedestals. The relief that faces south depicts Oliver P. Morton giving a speech. The relief that faces north shows him standing in an infirmary tent.
On the rear of the memorial are two plaques. The top plaque is located on the pedestal of Morton. It reads:Oliver Perry Morton
Born in Wayne Co. Indiana August 4, 1823.
Died in Indianapolis November 1, 1877.
Aged 54 years 2 months and 25 days.
Admitted to the Bar in 1847.
Served as Governor of Indiana from January 18, 1861 to March 4, 1867.
Served as U.S. Senator from Indiana from March 4, 1867 until his death November 1, 1877.
In all ways and at all times the friend of the Union soldier. The friend of the country.
The upholder of Abraham Lincoln.
The defender of the flag and the Union of the States. Patriot. Statesman.
Lover of Liberty. Heroic in heart.
Inflexible in purpose and ever to be known in history as
The Great War Governor
On the plaque below the first on the lower part of the pedestal are the words:The annual meeting held in June, 1904, The Department of Indiana.
Grand Army of the Republic.
An organization of the honorably discharged soldier and sailors who served in the Army and Navy to preserve the integrity of the Republic of the United States of America, in the Great Civil War from A.D. 1861 to 1865, memorialized the legislature of the State of Indiana to appropriate sufficient money to erect this monument to perpetuate the memory of
Oliver Perry MortonThe Great War Governor of Indiana during that period.
|
[
"bayonet",
"bronze",
"Indianapolis",
"granite",
"Wayne Co. Indiana",
"reliefs",
"Indiana",
"Civil War",
"Abraham Lincoln",
"Union",
"Oliver P. Morton"
] |
|
14137_T
|
Oliver P. Morton (monument)
|
Focus on Oliver P. Morton (monument) and explore the Historical information.
|
As seen on the memorial label, the memorial was installed in 1907. The work was commissioned by the Indiana General Assembly.The planning of the Morton memorial began in early 1906. On February 9, 1906, the Commission met and designs were presented by Franklin Simmons from Rome, Italy; Hugh A. Price from Chicago, Ill.; and Rudolph Schwarz from Indianapolis, Indiana, for bronze figures 12 feet high and the tablets for $9000. The designs for the pedestals were planned upon contract with John R. Lowe and if accepted, architect fees would be for the same. Plans by Lowe were accepted and after legal notice was given in the newspapers, bids for the pedestals were received on April 10, 1906. The Commission accepted bid of Chas. G. Blake & Co. of Chicago, Illinois of the $7,483 for Barre granite and $10,150 for Westerly granite.Soon after, officers of the state designated the space of the memorial as "Morton Plaza." The dimensions of the pedestals were then increased, for which the contractors were allowed an additional $935. On June 4, 1906, a contract in the amount of $7,500 was entered into for Schwarz to create the following components of the memorial: the letters of the name "Morton"; the 4.5 x 5 foot tablet that gives a brief history of life and services of Governor Morton; the Grand Army tablet that is two feet six inches by eight feet; and the two bronze statues of soldiers of the Civil War, each ten feet high.Two balustrades were then placed on the north and south ends of Morton Plaza. The Commission again chose Chas. G. Blake & Co. Rudolph Schwarz received another contract to provide and furnish the materials for two bronze bas-reliefs to be placed on the middle columns of the balustrades for $500 apiece.
The bas-relief of the south balustrade dedicates a scene to the women of the war. It states "... while some were supplying clothing and hospital supplies, others went down to the very border line of danger to help nurse back to health the sick and wounded, when possible." The north bas-relief portrays a familiar war scene of the reception of homecoming veterans.The materials for the foundation upon which the pedestals sit is deeply laid solid masonry of limestone and cement. The pedestal itself weighs 32 tons and required 16 horses to move it from the car to the place where it is now. The bronze of the monument weighs approximately 16,000 pounds (7,300 kg), of which 8,000 pounds (3,600 kg) is attributed to just the Morton figure. The bronze is composed of 90% copper, 8% tin, and 2% zinc; the bronze of the balustrades and reliefs has the same composition.Oliver Perry Throck Morton, Morton's grandson, unveiled the memorial at the age of 8. After the dedication, the only unfinished work was the paving of the plaza. Crushed granite and granite steps were installed soon thereafter at the cost of $1,139.75. The total amount that was spent on the project was $36,544.40.
|
[
"Rudolph Schwarz",
"bronze",
"Rome, Italy",
"Indianapolis",
"granite",
"Indianapolis, Indiana",
"Rome",
"Indiana General Assembly",
"reliefs",
"Indiana",
"Franklin Simmons",
"Civil War",
"Chicago"
] |
|
14137_NT
|
Oliver P. Morton (monument)
|
Focus on this artwork and explore the Historical information.
|
As seen on the memorial label, the memorial was installed in 1907. The work was commissioned by the Indiana General Assembly.The planning of the Morton memorial began in early 1906. On February 9, 1906, the Commission met and designs were presented by Franklin Simmons from Rome, Italy; Hugh A. Price from Chicago, Ill.; and Rudolph Schwarz from Indianapolis, Indiana, for bronze figures 12 feet high and the tablets for $9000. The designs for the pedestals were planned upon contract with John R. Lowe and if accepted, architect fees would be for the same. Plans by Lowe were accepted and after legal notice was given in the newspapers, bids for the pedestals were received on April 10, 1906. The Commission accepted bid of Chas. G. Blake & Co. of Chicago, Illinois of the $7,483 for Barre granite and $10,150 for Westerly granite.Soon after, officers of the state designated the space of the memorial as "Morton Plaza." The dimensions of the pedestals were then increased, for which the contractors were allowed an additional $935. On June 4, 1906, a contract in the amount of $7,500 was entered into for Schwarz to create the following components of the memorial: the letters of the name "Morton"; the 4.5 x 5 foot tablet that gives a brief history of life and services of Governor Morton; the Grand Army tablet that is two feet six inches by eight feet; and the two bronze statues of soldiers of the Civil War, each ten feet high.Two balustrades were then placed on the north and south ends of Morton Plaza. The Commission again chose Chas. G. Blake & Co. Rudolph Schwarz received another contract to provide and furnish the materials for two bronze bas-reliefs to be placed on the middle columns of the balustrades for $500 apiece.
The bas-relief of the south balustrade dedicates a scene to the women of the war. It states "... while some were supplying clothing and hospital supplies, others went down to the very border line of danger to help nurse back to health the sick and wounded, when possible." The north bas-relief portrays a familiar war scene of the reception of homecoming veterans.The materials for the foundation upon which the pedestals sit is deeply laid solid masonry of limestone and cement. The pedestal itself weighs 32 tons and required 16 horses to move it from the car to the place where it is now. The bronze of the monument weighs approximately 16,000 pounds (7,300 kg), of which 8,000 pounds (3,600 kg) is attributed to just the Morton figure. The bronze is composed of 90% copper, 8% tin, and 2% zinc; the bronze of the balustrades and reliefs has the same composition.Oliver Perry Throck Morton, Morton's grandson, unveiled the memorial at the age of 8. After the dedication, the only unfinished work was the paving of the plaza. Crushed granite and granite steps were installed soon thereafter at the cost of $1,139.75. The total amount that was spent on the project was $36,544.40.
|
[
"Rudolph Schwarz",
"bronze",
"Rome, Italy",
"Indianapolis",
"granite",
"Indianapolis, Indiana",
"Rome",
"Indiana General Assembly",
"reliefs",
"Indiana",
"Franklin Simmons",
"Civil War",
"Chicago"
] |
|
14138_T
|
Oliver P. Morton (monument)
|
Focus on Oliver P. Morton (monument) and explain the Oliver Perry Morton.
|
Oliver Perry Morton was the first Indiana native to be governor of Indiana. He was born in Salisbury, Indiana in Wayne County. The family's name was originally Throckmorton, known by the emigration of Morton's grandfather from England around the beginning of the Revolutionary War who settled in New Jersey. Oliver's father was James T. Morton from New Jersey; his mothers maiden name was Sarah Miller. When he was young Oliver worked as a hatter's apprentice for four years before attending college at Miami University in Ohio. He studied law in Centerville, Indiana and at law school in Cincinnati, Ohio. Morton began his legal career reading law in the office of Judge Newman of Centerville.
Morton was originally a Democrat and opposed to the extension of slavery, but he became one of the organizers of the Republican Party. In 1856, after he joined the Republicans, he was one of three delegates from Indiana that attended that party's organizational convention in Pittsburgh. In 1856 he was nominated by his new party for the position of governor of Indiana. In 1860 he was elected lieutenant governor on the ticket with Henry S. Lane. He became governor when Lane was elected to the United States Senate. Morton was re-elected in 1864 and served until 1867, in which time he was elected to the United States Senate. He was re-elected in 1873 to the Senate. As Senator he worked for the adoption of the Fifteenth Amendment, was involved in the impeachment of Andrew Johnson, and was a trusted advisor of the Republicans in the South. At the national Republican convention in 1876 he received the second-highest number of votes for the presidential nomination. He was considered a leading Radical Republican during his government career. He died on November 1, 1877.
|
[
"United States Senate",
"impeachment",
"Radical Republican",
"Democrat",
"Centerville, Indiana",
"national Republican convention in 1876",
"Andrew Johnson",
"Wayne County",
"Republican Party",
"Miami University",
"Indiana",
"Fifteenth Amendment",
"Cincinnati, Ohio",
"Cincinnati"
] |
|
14138_NT
|
Oliver P. Morton (monument)
|
Focus on this artwork and explain the Oliver Perry Morton.
|
Oliver Perry Morton was the first Indiana native to be governor of Indiana. He was born in Salisbury, Indiana in Wayne County. The family's name was originally Throckmorton, known by the emigration of Morton's grandfather from England around the beginning of the Revolutionary War who settled in New Jersey. Oliver's father was James T. Morton from New Jersey; his mothers maiden name was Sarah Miller. When he was young Oliver worked as a hatter's apprentice for four years before attending college at Miami University in Ohio. He studied law in Centerville, Indiana and at law school in Cincinnati, Ohio. Morton began his legal career reading law in the office of Judge Newman of Centerville.
Morton was originally a Democrat and opposed to the extension of slavery, but he became one of the organizers of the Republican Party. In 1856, after he joined the Republicans, he was one of three delegates from Indiana that attended that party's organizational convention in Pittsburgh. In 1856 he was nominated by his new party for the position of governor of Indiana. In 1860 he was elected lieutenant governor on the ticket with Henry S. Lane. He became governor when Lane was elected to the United States Senate. Morton was re-elected in 1864 and served until 1867, in which time he was elected to the United States Senate. He was re-elected in 1873 to the Senate. As Senator he worked for the adoption of the Fifteenth Amendment, was involved in the impeachment of Andrew Johnson, and was a trusted advisor of the Republicans in the South. At the national Republican convention in 1876 he received the second-highest number of votes for the presidential nomination. He was considered a leading Radical Republican during his government career. He died on November 1, 1877.
|
[
"United States Senate",
"impeachment",
"Radical Republican",
"Democrat",
"Centerville, Indiana",
"national Republican convention in 1876",
"Andrew Johnson",
"Wayne County",
"Republican Party",
"Miami University",
"Indiana",
"Fifteenth Amendment",
"Cincinnati, Ohio",
"Cincinnati"
] |
|
14139_T
|
Oliver P. Morton (monument)
|
Explore the Artist of this artwork, Oliver P. Morton (monument).
|
Rudolph Schwarz (June 1840 – 14 April 1912), was an Austrian sculptor who emigrated to Indianapolis in December 1897 to help complete the Soldiers' and Sailors' Monument in Indianapolis, Indiana.
|
[
"Rudolph Schwarz",
"Indianapolis",
"Indianapolis, Indiana",
"Austria",
"Indiana",
"sculptor",
"Soldiers' and Sailors' Monument"
] |
|
14139_NT
|
Oliver P. Morton (monument)
|
Explore the Artist of this artwork.
|
Rudolph Schwarz (June 1840 – 14 April 1912), was an Austrian sculptor who emigrated to Indianapolis in December 1897 to help complete the Soldiers' and Sailors' Monument in Indianapolis, Indiana.
|
[
"Rudolph Schwarz",
"Indianapolis",
"Indianapolis, Indiana",
"Austria",
"Indiana",
"sculptor",
"Soldiers' and Sailors' Monument"
] |
|
14140_T
|
Statue of María Izquierdo
|
Focus on Statue of María Izquierdo and discuss the abstract.
|
A statue of María Izquierdo is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
|
14140_NT
|
Statue of María Izquierdo
|
Focus on this artwork and discuss the abstract.
|
A statue of María Izquierdo is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
|
14141_T
|
Adoration of the Shepherds (Domenichino)
|
How does Adoration of the Shepherds (Domenichino) elucidate its abstract?
|
The Adoration of the Shepherds is an oil-on-canvas painting by the Italian master Domenichino, executed c. 1607–1610. It has been in the National Gallery of Scotland in Edinburgh since 1971, and was previously in the Dulwich Picture Gallery in London.
|
[
"Domenichino",
"Edinburgh",
"Adoration of the Shepherds",
"National Gallery of Scotland",
"London",
"Dulwich Picture Gallery"
] |
|
14141_NT
|
Adoration of the Shepherds (Domenichino)
|
How does this artwork elucidate its abstract?
|
The Adoration of the Shepherds is an oil-on-canvas painting by the Italian master Domenichino, executed c. 1607–1610. It has been in the National Gallery of Scotland in Edinburgh since 1971, and was previously in the Dulwich Picture Gallery in London.
|
[
"Domenichino",
"Edinburgh",
"Adoration of the Shepherds",
"National Gallery of Scotland",
"London",
"Dulwich Picture Gallery"
] |
|
14142_T
|
Adoration of the Shepherds (Domenichino)
|
Focus on Adoration of the Shepherds (Domenichino) and analyze the Description.
|
The painting shows a fairly conventional depiction of this very common scene, with some unusual details. The number of shepherds is rather large at nine, and the pose of the shepherd pointing at the baby Jesus while looking over his shoulder outside the picture space suggests that more are arriving. Or possibly he has seen the approaching Magi, the next arrivals in the traditional narrative. Saint Joseph, often a rather superfluous figure in paintings of the Nativity, is shown making himself useful by carrying hay, presumably to feed the ox and ass, in the background, so filling a gap in the composition, and perhaps distracting them from joining in with the bagpipe music. The relegation of the ox and ass to a dimly-lit background is typical of 17th century compositions.A prominently placed shepherd on the left side of the group is shown playing his bagpipes. Though the shepherds sometimes carry musical instruments, often including pipes (see gallery below), they are less often shown playing them at this solemn moment, as opposed to the earlier scene of the Annunciation to the Shepherds where an angel appears to them with their flocks. If music is shown being performed beside the crib it is more often by angels. A charming but atypical miniature in the 15th-century Flemish La Flora Hours in Naples shows a shepherd playing his bagpipes as his two companions dance for the infant Jesus and a delighted Virgin Mary sits to one side. Outside his painting, Domeninchino had a serious interest in musical instruments and their design, which his paintings sometimes reflect. He designed and himself constructed instruments intended to be suitable for playing ancient music.
The inclusion of the shepherd's dog, especially right by the crib, is unusual, though the shepherds very often have one in scenes of their annunciation, and sometimes bring a lamb to the crib as a gift; here the dove held by the boy in the foreground is intended to represent a gift. In the 17th century the shepherds often crowd round the crib, as here, and Mary actively displays her child to them. However her gesture of lifting a cloth, revealing a full view of a naked Jesus, including his penis, is unusual in art by this date. In the late medieval period pictures of the infant Jesus often made a point of displaying his genitals for theological reasons, but in the Counter-Reformation this was discouraged by clerical interpreters of the vague decrees on art of the Council of Trent, such as Saint Charles Borromeo.
|
[
"discouraged by clerical interpreters of the vague decrees on art",
"Naples",
"bagpipe",
"Council of Trent",
"Magi",
"Charles Borromeo",
"ancient music",
"very common scene",
"Annunciation to the Shepherds",
"Counter-Reformation",
"paintings of the Nativity",
"left",
"Saint Joseph"
] |
|
14142_NT
|
Adoration of the Shepherds (Domenichino)
|
Focus on this artwork and analyze the Description.
|
The painting shows a fairly conventional depiction of this very common scene, with some unusual details. The number of shepherds is rather large at nine, and the pose of the shepherd pointing at the baby Jesus while looking over his shoulder outside the picture space suggests that more are arriving. Or possibly he has seen the approaching Magi, the next arrivals in the traditional narrative. Saint Joseph, often a rather superfluous figure in paintings of the Nativity, is shown making himself useful by carrying hay, presumably to feed the ox and ass, in the background, so filling a gap in the composition, and perhaps distracting them from joining in with the bagpipe music. The relegation of the ox and ass to a dimly-lit background is typical of 17th century compositions.A prominently placed shepherd on the left side of the group is shown playing his bagpipes. Though the shepherds sometimes carry musical instruments, often including pipes (see gallery below), they are less often shown playing them at this solemn moment, as opposed to the earlier scene of the Annunciation to the Shepherds where an angel appears to them with their flocks. If music is shown being performed beside the crib it is more often by angels. A charming but atypical miniature in the 15th-century Flemish La Flora Hours in Naples shows a shepherd playing his bagpipes as his two companions dance for the infant Jesus and a delighted Virgin Mary sits to one side. Outside his painting, Domeninchino had a serious interest in musical instruments and their design, which his paintings sometimes reflect. He designed and himself constructed instruments intended to be suitable for playing ancient music.
The inclusion of the shepherd's dog, especially right by the crib, is unusual, though the shepherds very often have one in scenes of their annunciation, and sometimes bring a lamb to the crib as a gift; here the dove held by the boy in the foreground is intended to represent a gift. In the 17th century the shepherds often crowd round the crib, as here, and Mary actively displays her child to them. However her gesture of lifting a cloth, revealing a full view of a naked Jesus, including his penis, is unusual in art by this date. In the late medieval period pictures of the infant Jesus often made a point of displaying his genitals for theological reasons, but in the Counter-Reformation this was discouraged by clerical interpreters of the vague decrees on art of the Council of Trent, such as Saint Charles Borromeo.
|
[
"discouraged by clerical interpreters of the vague decrees on art",
"Naples",
"bagpipe",
"Council of Trent",
"Magi",
"Charles Borromeo",
"ancient music",
"very common scene",
"Annunciation to the Shepherds",
"Counter-Reformation",
"paintings of the Nativity",
"left",
"Saint Joseph"
] |
|
14143_T
|
Adoration of the Shepherds (Domenichino)
|
In Adoration of the Shepherds (Domenichino), how is the Carracci model discussed?
|
The 17th-century art historian Gian Pietro Bellori makes the first mention of this work and describes it as a copy of a lost work by Annibale Carracci. Domenichino had been trained in Bologna by Annibale's brother Ludovico Carracci, and after moving to Rome in 1602 joined the circle of Annibale, who had already made the move there around the time Domenichino began to work with Ludovico. At this relatively early period in his career Domenichino copied several works by Annibale, and Bellori's statement has been generally accepted. However it seems that Bellori probably never saw the Carracci original, and no certain documentation for its subsequent history has been found. There is evidence bearing on the development of the composition in the form of a number of drawings by both Annibale and Domenichino, and two paintings by Giovanni Lanfranco, another young artist in the circle, that are based on the lost Carracci (one known only from a further copy).There has been a good deal of academic discussion on the matter, without a clear consensus being found as to how close Domenichino's composition is to the lost Carracci. The main Lanfranco, now at Alnwick Castle, is clearly related to the Domenichino, but has substantial differences, being in a horizontal format and with none of the poses of the figures exactly the same, and several substantially different. The possibility remains that Bellori was "slightly mistaken" and that the phantom Carracci Adoration was never painted and that Domenichino was only working from drawings by Carracci, who painted little after a serious illness in 1605, but did produce an etching of this subject in about 1606.Most of the large collection of workshop drawings left by Domenichino passed through the Albani Collection before ending up in the British Royal Collection, bought for George III; there are over 1,750 sheets at Windsor Castle today. These include a sheet with studies of the Edinburgh figures of Joseph on one side and the bagpiper on the other. Drawings can be regarded by different scholars as either copies of something already existing, sketches where an artist works out something new, or adaptations that are something in between, and this ambiguity has affected discussion of this question. Hugh Brigstocke, in the National Gallery of Scotland catalogue, sees this sheet as studies by Domenichino for new figures for his version of Carracci's composition, after Domenichino decided to add the bagpiper to strengthen the composition, necessitating a new position for Joseph. Other details, such as the boy with the dove, borrow from other drawings by Annibale Carracci.
|
[
"Domenichino",
"Bologna",
"Edinburgh",
"etching",
"bagpipe",
"National Gallery of Scotland",
"Ludovico Carracci",
"Alnwick Castle",
"Royal Collection",
"Gian Pietro Bellori",
"Annibale Carracci",
"George III",
"left",
"Albani Collection",
"Giovanni Lanfranco",
"Windsor Castle"
] |
|
14143_NT
|
Adoration of the Shepherds (Domenichino)
|
In this artwork, how is the Carracci model discussed?
|
The 17th-century art historian Gian Pietro Bellori makes the first mention of this work and describes it as a copy of a lost work by Annibale Carracci. Domenichino had been trained in Bologna by Annibale's brother Ludovico Carracci, and after moving to Rome in 1602 joined the circle of Annibale, who had already made the move there around the time Domenichino began to work with Ludovico. At this relatively early period in his career Domenichino copied several works by Annibale, and Bellori's statement has been generally accepted. However it seems that Bellori probably never saw the Carracci original, and no certain documentation for its subsequent history has been found. There is evidence bearing on the development of the composition in the form of a number of drawings by both Annibale and Domenichino, and two paintings by Giovanni Lanfranco, another young artist in the circle, that are based on the lost Carracci (one known only from a further copy).There has been a good deal of academic discussion on the matter, without a clear consensus being found as to how close Domenichino's composition is to the lost Carracci. The main Lanfranco, now at Alnwick Castle, is clearly related to the Domenichino, but has substantial differences, being in a horizontal format and with none of the poses of the figures exactly the same, and several substantially different. The possibility remains that Bellori was "slightly mistaken" and that the phantom Carracci Adoration was never painted and that Domenichino was only working from drawings by Carracci, who painted little after a serious illness in 1605, but did produce an etching of this subject in about 1606.Most of the large collection of workshop drawings left by Domenichino passed through the Albani Collection before ending up in the British Royal Collection, bought for George III; there are over 1,750 sheets at Windsor Castle today. These include a sheet with studies of the Edinburgh figures of Joseph on one side and the bagpiper on the other. Drawings can be regarded by different scholars as either copies of something already existing, sketches where an artist works out something new, or adaptations that are something in between, and this ambiguity has affected discussion of this question. Hugh Brigstocke, in the National Gallery of Scotland catalogue, sees this sheet as studies by Domenichino for new figures for his version of Carracci's composition, after Domenichino decided to add the bagpiper to strengthen the composition, necessitating a new position for Joseph. Other details, such as the boy with the dove, borrow from other drawings by Annibale Carracci.
|
[
"Domenichino",
"Bologna",
"Edinburgh",
"etching",
"bagpipe",
"National Gallery of Scotland",
"Ludovico Carracci",
"Alnwick Castle",
"Royal Collection",
"Gian Pietro Bellori",
"Annibale Carracci",
"George III",
"left",
"Albani Collection",
"Giovanni Lanfranco",
"Windsor Castle"
] |
|
14144_T
|
Adoration of the Shepherds (Domenichino)
|
Focus on Adoration of the Shepherds (Domenichino) and explore the History.
|
The history of the painting before 1813 is unclear, and complicated by possible confusion with the lost model by Annibale Carracci. There is an engraving of the painting, described as being by Domenichino, which however omits certain details, suggesting it was made from a preparatory drawing also lacking these. Domenichino is mentioned by Bellori and described as a copy of a Carracci, which Bellori probably had never seen and did not know the whereabouts of. Bellori, in his book of artists' biographies published in 1672, said the Domenichino had recently left Rome for France. A Nativity attributed to Annibale Carracci, which might be either the original or the copy, is recorded by André Félibien as being in the large collection of Jean-Baptiste Colbert (1619–83), the famous finance minister of Louis XIV. According to Pierre-Jean Mariette the picture in the engraving belonged to the Orleans Collection, although it does not seem to appear in any of the inventories. This collection had received a significant addition from Colbert's heir Jean-Baptiste Colbert, Marquis de Seignelay. Most of the paintings of the Orleans Collection were taken to London and dispersed during the French Revolution, but again this painting is not identifiable among the records of the sales and other transactions recording this process.The painting's history is certain after it appears in a list of 1813 of the paintings bequeathed to the College of God's Gift, the charity owning Dulwich College, a school in the London suburbs, by Sir Francis Bourgeois in 1811. It was described as by Annibale Carracci here, and only finally confirmed as a Domenichino in 1906–7 by Hans Tietze, an attribution since accepted by all writers. The Dulwich Picture Gallery was founded to hold the Bourgeois bequest and other artworks owned by the charity, and the painting hung there until it was controversially sold by the trustees in 1971. It was sold at auction for £100,000 by Sotheby's London on 24 March 1971, and bought by the National Gallery of Scotland. The sale was the subject of an adjournment debate in the House of Commons on May 13, 1971, where both the trustees and the minister whose consent had been necessary for the sale to occur were criticised by George Strauss M.P., especially for only publicising the sale three weeks before the auction. For a month over Christmas and New Year 2011/12 the painting returned to Dulwich as part of the celebrations for the gallery's bicentenary.The picture is in good condition, but the blues in the robes of the Virgin and the shepherd standing at right, as well as the yellow of the boy holding the dove, have "been affected by chemical change".
|
[
"Domenichino",
"Louis XIV",
"Jean-Baptiste Colbert, Marquis de Seignelay",
"Jean-Baptiste Colbert",
"National Gallery of Scotland",
"George Strauss",
"Orleans Collection",
"adjournment debate",
"Dulwich College",
"Francis Bourgeois",
"House of Commons",
"Annibale Carracci",
"André Félibien",
"College of God's Gift",
"Pierre-Jean Mariette",
"Sotheby's",
"London",
"left",
"engraving",
"French Revolution",
"Dulwich Picture Gallery"
] |
|
14144_NT
|
Adoration of the Shepherds (Domenichino)
|
Focus on this artwork and explore the History.
|
The history of the painting before 1813 is unclear, and complicated by possible confusion with the lost model by Annibale Carracci. There is an engraving of the painting, described as being by Domenichino, which however omits certain details, suggesting it was made from a preparatory drawing also lacking these. Domenichino is mentioned by Bellori and described as a copy of a Carracci, which Bellori probably had never seen and did not know the whereabouts of. Bellori, in his book of artists' biographies published in 1672, said the Domenichino had recently left Rome for France. A Nativity attributed to Annibale Carracci, which might be either the original or the copy, is recorded by André Félibien as being in the large collection of Jean-Baptiste Colbert (1619–83), the famous finance minister of Louis XIV. According to Pierre-Jean Mariette the picture in the engraving belonged to the Orleans Collection, although it does not seem to appear in any of the inventories. This collection had received a significant addition from Colbert's heir Jean-Baptiste Colbert, Marquis de Seignelay. Most of the paintings of the Orleans Collection were taken to London and dispersed during the French Revolution, but again this painting is not identifiable among the records of the sales and other transactions recording this process.The painting's history is certain after it appears in a list of 1813 of the paintings bequeathed to the College of God's Gift, the charity owning Dulwich College, a school in the London suburbs, by Sir Francis Bourgeois in 1811. It was described as by Annibale Carracci here, and only finally confirmed as a Domenichino in 1906–7 by Hans Tietze, an attribution since accepted by all writers. The Dulwich Picture Gallery was founded to hold the Bourgeois bequest and other artworks owned by the charity, and the painting hung there until it was controversially sold by the trustees in 1971. It was sold at auction for £100,000 by Sotheby's London on 24 March 1971, and bought by the National Gallery of Scotland. The sale was the subject of an adjournment debate in the House of Commons on May 13, 1971, where both the trustees and the minister whose consent had been necessary for the sale to occur were criticised by George Strauss M.P., especially for only publicising the sale three weeks before the auction. For a month over Christmas and New Year 2011/12 the painting returned to Dulwich as part of the celebrations for the gallery's bicentenary.The picture is in good condition, but the blues in the robes of the Virgin and the shepherd standing at right, as well as the yellow of the boy holding the dove, have "been affected by chemical change".
|
[
"Domenichino",
"Louis XIV",
"Jean-Baptiste Colbert, Marquis de Seignelay",
"Jean-Baptiste Colbert",
"National Gallery of Scotland",
"George Strauss",
"Orleans Collection",
"adjournment debate",
"Dulwich College",
"Francis Bourgeois",
"House of Commons",
"Annibale Carracci",
"André Félibien",
"College of God's Gift",
"Pierre-Jean Mariette",
"Sotheby's",
"London",
"left",
"engraving",
"French Revolution",
"Dulwich Picture Gallery"
] |
|
14145_T
|
Iron Horse (sculpture)
|
Focus on Iron Horse (sculpture) and explain the abstract.
|
Iron Horse (also known as Pegasus Without Wings) is a 2-ton, 12-foot-tall iron sculpture created by Abbott Pattison. Although the sculpture was not well-received at first, as of the second decade of the twenty-first century it is visited by many tourists and University of Georgia students.
|
[
"University of Georgia",
"iron",
"Iron",
"Abbott Pattison"
] |
|
14145_NT
|
Iron Horse (sculpture)
|
Focus on this artwork and explain the abstract.
|
Iron Horse (also known as Pegasus Without Wings) is a 2-ton, 12-foot-tall iron sculpture created by Abbott Pattison. Although the sculpture was not well-received at first, as of the second decade of the twenty-first century it is visited by many tourists and University of Georgia students.
|
[
"University of Georgia",
"iron",
"Iron",
"Abbott Pattison"
] |
|
14146_T
|
Iron Horse (sculpture)
|
Explore the History of this artwork, Iron Horse (sculpture).
|
On May 25, 1954, Abbott Pattison, then a sculptor in residence at the University of Georgia, produced the sculpture while at the University and initially placed it there outside Reed Hall. However, after the sculpture was vandalized by disgruntled students, the sculpture was secretly moved to a barn. It remained there before horticulture professor L.C. Curtis moved it to his farm near Watkinsville, Georgia in 1959. In an interview with The New York Times in 1979, Curtis claimed that he wanted the sculpture from Lamar Dodd, the chairman of the art department at the time, because "I collect conversation pieces. I'm a little bit of an eccentric." In 2011, the sculpture was vandalized once again. Afterwards, a secret group restored the horse. Later the Curtis family had the sculpture bolted to a concrete pad because periodically people would knock it over. Around 2012 the Curtis family sold approximately 650 acres of the farm to the University of Georgia, but retained a 20-foot by 20-foot section where the horse they then owned stood. Subsequently, the Curtis family offered to deed the horse and remaining 400 square feet to the University on the condition the horse stayed in place; however, the University insisted that the sculpture be returned to campus. As of January 2020 the matter had not been resolved.
|
[
"Watkinsville, Georgia",
"University of Georgia",
"The New York Times",
"Reed Hall",
"Lamar Dodd",
"Abbott Pattison"
] |
|
14146_NT
|
Iron Horse (sculpture)
|
Explore the History of this artwork.
|
On May 25, 1954, Abbott Pattison, then a sculptor in residence at the University of Georgia, produced the sculpture while at the University and initially placed it there outside Reed Hall. However, after the sculpture was vandalized by disgruntled students, the sculpture was secretly moved to a barn. It remained there before horticulture professor L.C. Curtis moved it to his farm near Watkinsville, Georgia in 1959. In an interview with The New York Times in 1979, Curtis claimed that he wanted the sculpture from Lamar Dodd, the chairman of the art department at the time, because "I collect conversation pieces. I'm a little bit of an eccentric." In 2011, the sculpture was vandalized once again. Afterwards, a secret group restored the horse. Later the Curtis family had the sculpture bolted to a concrete pad because periodically people would knock it over. Around 2012 the Curtis family sold approximately 650 acres of the farm to the University of Georgia, but retained a 20-foot by 20-foot section where the horse they then owned stood. Subsequently, the Curtis family offered to deed the horse and remaining 400 square feet to the University on the condition the horse stayed in place; however, the University insisted that the sculpture be returned to campus. As of January 2020 the matter had not been resolved.
|
[
"Watkinsville, Georgia",
"University of Georgia",
"The New York Times",
"Reed Hall",
"Lamar Dodd",
"Abbott Pattison"
] |
|
14147_T
|
Iron Horse (sculpture)
|
Focus on Iron Horse (sculpture) and discuss the Research.
|
In 2014, the University of Georgia named the approximately 650 acre portion of the farm it purchased the "Iron Horse Plant Sciences Farm" in honor of the sculpture. The university uses the farm for agricultural research. In February 2017, a study created at the farm was released, which consisted of the use of drones to analyze the genetic data found in crop yields.
|
[
"University of Georgia",
"drones",
"Iron",
"crop yields"
] |
|
14147_NT
|
Iron Horse (sculpture)
|
Focus on this artwork and discuss the Research.
|
In 2014, the University of Georgia named the approximately 650 acre portion of the farm it purchased the "Iron Horse Plant Sciences Farm" in honor of the sculpture. The university uses the farm for agricultural research. In February 2017, a study created at the farm was released, which consisted of the use of drones to analyze the genetic data found in crop yields.
|
[
"University of Georgia",
"drones",
"Iron",
"crop yields"
] |
|
14148_T
|
Odysseus and Polyphemus (Böcklin)
|
How does Odysseus and Polyphemus (Böcklin) elucidate its abstract?
|
Odysseus and Polyphemus is an 1896 oil painting by the Swiss artist Arnold Böcklin. It has been part of the collection of the Museum of Fine Arts, Boston, since 2012.The painting depicts an incident in the Odyssey, the epic poem by Homer which recounts the Greek hero Odysseus' 10 year long return journey home from the Siege of Troy. A blind giant Cyclops, Polyphemus, is preparing to hurl a large rock at the escaping boat of Odysseus and his crew. Odysseus in return is taunting him from the stern of the vessel.
The previous night Odysseus and his shipmates had been shut in the cave of the one-eyed Polyphemus who had planned to eat them one by one. However Odysseus and his shipmates had managed to blind the Cyclops by driving a stake into his eye after he had fallen into a drunken stupor. They were then able to escape from the cave by hiding under his sheep when the flock was allowed out to graze.
The subject is characteristic of Böcklin's treatment of the more down-to-earth aspects of mythological stories. The naturalistic setting reflects his early training as a landscape artist.
|
[
"Siege of Troy",
"Odysseus",
"Odyssey",
"Homer",
"Museum of Fine Arts, Boston",
"Arnold Böcklin",
"Polyphemus"
] |
|
14148_NT
|
Odysseus and Polyphemus (Böcklin)
|
How does this artwork elucidate its abstract?
|
Odysseus and Polyphemus is an 1896 oil painting by the Swiss artist Arnold Böcklin. It has been part of the collection of the Museum of Fine Arts, Boston, since 2012.The painting depicts an incident in the Odyssey, the epic poem by Homer which recounts the Greek hero Odysseus' 10 year long return journey home from the Siege of Troy. A blind giant Cyclops, Polyphemus, is preparing to hurl a large rock at the escaping boat of Odysseus and his crew. Odysseus in return is taunting him from the stern of the vessel.
The previous night Odysseus and his shipmates had been shut in the cave of the one-eyed Polyphemus who had planned to eat them one by one. However Odysseus and his shipmates had managed to blind the Cyclops by driving a stake into his eye after he had fallen into a drunken stupor. They were then able to escape from the cave by hiding under his sheep when the flock was allowed out to graze.
The subject is characteristic of Böcklin's treatment of the more down-to-earth aspects of mythological stories. The naturalistic setting reflects his early training as a landscape artist.
|
[
"Siege of Troy",
"Odysseus",
"Odyssey",
"Homer",
"Museum of Fine Arts, Boston",
"Arnold Böcklin",
"Polyphemus"
] |
|
14149_T
|
Latin American Grand Final
|
Focus on Latin American Grand Final and analyze the Composition.
|
Ballroom dancing was an activity that attracted Brack by means of its "absurdity ... a natural activity, such as dance, [converted] into a demanding and challenging ritual."
As part of his research Brack attended the 1967 World Ballroom Dancing Championships held at Festival Hall in Melbourne. He also collected photographs of ballroom dancing and subscribed to Australasian Dancing Times – a ballroom dancing magazine.The painting shows the "lissom dancers in their richly decorated dresses and high-heeled shoes". It also includes a self-portrait of the artist in the top-left corner, "more vulnerable than the rest, dancing alone without a partner."
The painting, with its blaze of neon pinks, stinging reds and sharp thrusts of black, is full of sexual symbolism set within a very formalised choreographed ritual. The generous billowing and bulbous ballroom dresses are frequently shown encroached upon by a dancer’s leg, either bold and erect or curved and limp
|
[
"Festival Hall",
"Ballroom Dancing"
] |
|
14149_NT
|
Latin American Grand Final
|
Focus on this artwork and analyze the Composition.
|
Ballroom dancing was an activity that attracted Brack by means of its "absurdity ... a natural activity, such as dance, [converted] into a demanding and challenging ritual."
As part of his research Brack attended the 1967 World Ballroom Dancing Championships held at Festival Hall in Melbourne. He also collected photographs of ballroom dancing and subscribed to Australasian Dancing Times – a ballroom dancing magazine.The painting shows the "lissom dancers in their richly decorated dresses and high-heeled shoes". It also includes a self-portrait of the artist in the top-left corner, "more vulnerable than the rest, dancing alone without a partner."
The painting, with its blaze of neon pinks, stinging reds and sharp thrusts of black, is full of sexual symbolism set within a very formalised choreographed ritual. The generous billowing and bulbous ballroom dresses are frequently shown encroached upon by a dancer’s leg, either bold and erect or curved and limp
|
[
"Festival Hall",
"Ballroom Dancing"
] |
|
14150_T
|
Latin American Grand Final
|
In Latin American Grand Final, how is the Reception discussed?
|
This painting and his other ballroom dancing works were first exhibited in 1970. While Brack thought this exhibition was his best work – better even than his 1955 paintings such as Collins St., 5 pm – sales were slow and critical reaction was mixed. Many critics felt that the "paintings were absurd and the colours jarring". However the works are now among the artist's most popular and sought-after.
I considered I had made at last a significant advance on the superficiality of the Collins Street picture, while at the same time, not making the picture look over complicated. You see, the problem was to make it operate on different levels of meaning, but to make it look perhaps deceptively simple
The assistant curator of Australian painting and sculpture at the National Gallery of Australia, Lara Nicholls claims Brack uses dance as a metaphor for life and this work shows "false intimacy and false joy".
Here is this scenario which is ostensibly quite romantic, a man and a woman dancing to music, but it is a competition where you must maintain this veneer of fun and joy, but it is quite anxiety inducing because they are in fact performing to a set of rules and everything is so scrutinised by the judge, who you see looming in the right hand corner
|
[
"National Gallery of Australia",
"Collins St., 5 pm"
] |
|
14150_NT
|
Latin American Grand Final
|
In this artwork, how is the Reception discussed?
|
This painting and his other ballroom dancing works were first exhibited in 1970. While Brack thought this exhibition was his best work – better even than his 1955 paintings such as Collins St., 5 pm – sales were slow and critical reaction was mixed. Many critics felt that the "paintings were absurd and the colours jarring". However the works are now among the artist's most popular and sought-after.
I considered I had made at last a significant advance on the superficiality of the Collins Street picture, while at the same time, not making the picture look over complicated. You see, the problem was to make it operate on different levels of meaning, but to make it look perhaps deceptively simple
The assistant curator of Australian painting and sculpture at the National Gallery of Australia, Lara Nicholls claims Brack uses dance as a metaphor for life and this work shows "false intimacy and false joy".
Here is this scenario which is ostensibly quite romantic, a man and a woman dancing to music, but it is a competition where you must maintain this veneer of fun and joy, but it is quite anxiety inducing because they are in fact performing to a set of rules and everything is so scrutinised by the judge, who you see looming in the right hand corner
|
[
"National Gallery of Australia",
"Collins St., 5 pm"
] |
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