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|---|---|---|---|---|---|
14151_T
|
Latin American Grand Final
|
Focus on Latin American Grand Final and explore the Provenance.
|
The work was purchased by the National Gallery of Australia in 1981 and remains part of their collection.
|
[
"National Gallery of Australia"
] |
|
14151_NT
|
Latin American Grand Final
|
Focus on this artwork and explore the Provenance.
|
The work was purchased by the National Gallery of Australia in 1981 and remains part of their collection.
|
[
"National Gallery of Australia"
] |
|
14152_T
|
Charles I in Three Positions
|
Focus on Charles I in Three Positions and explain the abstract.
|
Charles I in Three Positions, also known as the Triple Portrait of Charles I, is an oil painting of Charles I of England painted 1635–1636 by the Flemish artist Sir Anthony van Dyck, showing the king from three viewpoints: left full profile, face on, and right three-quarter profile. It is currently part of the Royal Collection.The colours of the costumes and pattern of the lace collars are different in each portrait, though the blue riband of the Order of the Garter is present in all three. The painting was probably begun in the latter part of 1635 and was sent to Rome in 1636 to be used as a reference work for the Italian sculptor Gian Lorenzo Bernini to create a marble bust of Charles I. Pope Urban VIII sent the bust to Charles's queen Henrietta Maria in 1638 in the hope of encouraging a reconciliation of the Roman Catholic Church with the Church of England.The bust was presented in 1637 and admired for its workmanship and likeness to the king. Charles rewarded Bernini with a valuable diamond ring. Queen Henrietta Maria commissioned Bernini to make a companion bust of her, but the English Civil War intervened and it was never made. The bust of Charles was sold at the end of the English Civil War but recovered for the Royal Collection on the Restoration, only to be destroyed by a fire in Whitehall Palace in January 1698.The painting remained in the possession of Bernini and his heirs in the Bernini Palace on the Via del Corso until c. 1802, when it was sold to British art dealer William Buchanan and returned to England. It was exhibited at the British Gallery in 1821. It was acquired for the Royal Collection in 1822.It is thought that the painting was influenced by Lorenzo Lotto's Triple Portrait of a Goldsmith, c. 1530, then in the Royal Collection. In its turn, Van Dyck's portrait of Charles I may have influenced Philippe de Champaigne's Triple portrait of Cardinal de Richelieu, c. 1642.
Many copies of the work were made, possibly by supporters of the royal House of Stuart, including one created around 1750 and now in the collection of the Victoria and Albert Museum in London.The British Museum has an engraving which was believed to depict the bust before it was destroyed, with baroque locks of flowing hair, fine lace collar, garter sash, possibly by Robert van Voerst, but now believed to show a bust by François Dieussart.
The painting currently hangs in the Queen's Drawing room at Windsor Castle.
Other triple portraits
|
[
"riband",
"Restoration",
"François Dieussart",
"William Buchanan",
"Robert van Voerst",
"Triple portrait of Cardinal de Richelieu",
"Order of the Garter",
"British Gallery",
"Anthony van Dyck",
"Bernini Palace",
"Catholic Church",
"English Civil War",
"Lorenzo Lotto",
"bust of Charles I",
"Roman Catholic Church",
"Via del Corso",
"Charles I",
"Triple Portrait of a Goldsmith",
"Church of England",
"Royal Collection",
"bust",
"Philippe de Champaigne",
"Windsor Castle",
"Victoria and Albert Museum",
"British Museum",
"Gian Lorenzo Bernini",
"Whitehall Palace",
"House of Stuart",
"three-quarter profile",
"Charles I of England",
"Henrietta Maria",
"Pope Urban VIII"
] |
|
14152_NT
|
Charles I in Three Positions
|
Focus on this artwork and explain the abstract.
|
Charles I in Three Positions, also known as the Triple Portrait of Charles I, is an oil painting of Charles I of England painted 1635–1636 by the Flemish artist Sir Anthony van Dyck, showing the king from three viewpoints: left full profile, face on, and right three-quarter profile. It is currently part of the Royal Collection.The colours of the costumes and pattern of the lace collars are different in each portrait, though the blue riband of the Order of the Garter is present in all three. The painting was probably begun in the latter part of 1635 and was sent to Rome in 1636 to be used as a reference work for the Italian sculptor Gian Lorenzo Bernini to create a marble bust of Charles I. Pope Urban VIII sent the bust to Charles's queen Henrietta Maria in 1638 in the hope of encouraging a reconciliation of the Roman Catholic Church with the Church of England.The bust was presented in 1637 and admired for its workmanship and likeness to the king. Charles rewarded Bernini with a valuable diamond ring. Queen Henrietta Maria commissioned Bernini to make a companion bust of her, but the English Civil War intervened and it was never made. The bust of Charles was sold at the end of the English Civil War but recovered for the Royal Collection on the Restoration, only to be destroyed by a fire in Whitehall Palace in January 1698.The painting remained in the possession of Bernini and his heirs in the Bernini Palace on the Via del Corso until c. 1802, when it was sold to British art dealer William Buchanan and returned to England. It was exhibited at the British Gallery in 1821. It was acquired for the Royal Collection in 1822.It is thought that the painting was influenced by Lorenzo Lotto's Triple Portrait of a Goldsmith, c. 1530, then in the Royal Collection. In its turn, Van Dyck's portrait of Charles I may have influenced Philippe de Champaigne's Triple portrait of Cardinal de Richelieu, c. 1642.
Many copies of the work were made, possibly by supporters of the royal House of Stuart, including one created around 1750 and now in the collection of the Victoria and Albert Museum in London.The British Museum has an engraving which was believed to depict the bust before it was destroyed, with baroque locks of flowing hair, fine lace collar, garter sash, possibly by Robert van Voerst, but now believed to show a bust by François Dieussart.
The painting currently hangs in the Queen's Drawing room at Windsor Castle.
Other triple portraits
|
[
"riband",
"Restoration",
"François Dieussart",
"William Buchanan",
"Robert van Voerst",
"Triple portrait of Cardinal de Richelieu",
"Order of the Garter",
"British Gallery",
"Anthony van Dyck",
"Bernini Palace",
"Catholic Church",
"English Civil War",
"Lorenzo Lotto",
"bust of Charles I",
"Roman Catholic Church",
"Via del Corso",
"Charles I",
"Triple Portrait of a Goldsmith",
"Church of England",
"Royal Collection",
"bust",
"Philippe de Champaigne",
"Windsor Castle",
"Victoria and Albert Museum",
"British Museum",
"Gian Lorenzo Bernini",
"Whitehall Palace",
"House of Stuart",
"three-quarter profile",
"Charles I of England",
"Henrietta Maria",
"Pope Urban VIII"
] |
|
14153_T
|
Cassis, Cap Lombard, Opus 196
|
Explore the abstract of this artwork, Cassis, Cap Lombard, Opus 196.
|
Cassis, Cap Lombard, Opus 196 is an oil on canvas painting of 1889 by the French artist Paul Signac. It depicts the village of Cassis. He was very enthused with the landscape; he made five paintings in Cassis. Signac described this painting in a letter to Vincent van Gogh: "White, blue, orange, harmonically dispersed in pretty undulations. All around mountains with rhythmic curves."
|
[
"oil on canvas",
"Vincent van Gogh",
"Cassis",
"Paul Signac"
] |
|
14153_NT
|
Cassis, Cap Lombard, Opus 196
|
Explore the abstract of this artwork.
|
Cassis, Cap Lombard, Opus 196 is an oil on canvas painting of 1889 by the French artist Paul Signac. It depicts the village of Cassis. He was very enthused with the landscape; he made five paintings in Cassis. Signac described this painting in a letter to Vincent van Gogh: "White, blue, orange, harmonically dispersed in pretty undulations. All around mountains with rhythmic curves."
|
[
"oil on canvas",
"Vincent van Gogh",
"Cassis",
"Paul Signac"
] |
|
14154_T
|
Spring (Manet)
|
Focus on Spring (Manet) and discuss the abstract.
|
Spring is a 1881 oil-on-canvas painting by Édouard Manet. It debuted at the Paris Salon of 1882 and was considered the greatest and final public success of Manet's Salon career. It depicts Parisian actress Jeanne DeMarsy in a floral dress with parasol and bonnet against a background of lush foliage and blue sky, as the embodiment of Spring. The painting also became the first work of art ever to be published in color.
|
[
"Paris Salon",
"Édouard Manet"
] |
|
14154_NT
|
Spring (Manet)
|
Focus on this artwork and discuss the abstract.
|
Spring is a 1881 oil-on-canvas painting by Édouard Manet. It debuted at the Paris Salon of 1882 and was considered the greatest and final public success of Manet's Salon career. It depicts Parisian actress Jeanne DeMarsy in a floral dress with parasol and bonnet against a background of lush foliage and blue sky, as the embodiment of Spring. The painting also became the first work of art ever to be published in color.
|
[
"Paris Salon",
"Édouard Manet"
] |
|
14155_T
|
Spring (Manet)
|
How does Spring (Manet) elucidate its Background?
|
Spring was the first of a planned quartet of allegorical works using chic Parisian women to depict the four seasons. The idea came from Manet's friend, Antonin Proust, who suggested a series of seasons personified by contemporary ideals of women, fashion and beauty. The series was never finished and Manet died a year after finishing only the second of the series, Autumn.
|
[
"Antonin Proust"
] |
|
14155_NT
|
Spring (Manet)
|
How does this artwork elucidate its Background?
|
Spring was the first of a planned quartet of allegorical works using chic Parisian women to depict the four seasons. The idea came from Manet's friend, Antonin Proust, who suggested a series of seasons personified by contemporary ideals of women, fashion and beauty. The series was never finished and Manet died a year after finishing only the second of the series, Autumn.
|
[
"Antonin Proust"
] |
|
14156_T
|
Spring (Manet)
|
Focus on Spring (Manet) and analyze the Auction.
|
In November 2014, the J. Paul Getty Museum paid more than $65 million for the painting, surpassing the previous record of $33.2 million for a Manet which was paid for Self Portrait With a Palette in 2010.
|
[
"Self Portrait With a Palette",
"J. Paul Getty Museum"
] |
|
14156_NT
|
Spring (Manet)
|
Focus on this artwork and analyze the Auction.
|
In November 2014, the J. Paul Getty Museum paid more than $65 million for the painting, surpassing the previous record of $33.2 million for a Manet which was paid for Self Portrait With a Palette in 2010.
|
[
"Self Portrait With a Palette",
"J. Paul Getty Museum"
] |
|
14157_T
|
Peter John (sculpture)
|
In Peter John (sculpture), how is the abstract discussed?
|
Peter John was a sculpture by artist John Raimondi commissioned in 1978. It was located in front of the new Blue Cross Blue Shield building in Milwaukee, Wisconsin. In 2015, during the conversion of the building into apartments, the sculpture disappeared and its whereabouts are unknown.
|
[
"Milwaukee",
"John Raimondi",
"Blue Cross Blue Shield",
"Wisconsin"
] |
|
14157_NT
|
Peter John (sculpture)
|
In this artwork, how is the abstract discussed?
|
Peter John was a sculpture by artist John Raimondi commissioned in 1978. It was located in front of the new Blue Cross Blue Shield building in Milwaukee, Wisconsin. In 2015, during the conversion of the building into apartments, the sculpture disappeared and its whereabouts are unknown.
|
[
"Milwaukee",
"John Raimondi",
"Blue Cross Blue Shield",
"Wisconsin"
] |
|
14158_T
|
Peter John (sculpture)
|
Focus on Peter John (sculpture) and explore the Description.
|
John Raimondi's artwork was commissioned by Blue Cross Blue Shield for their new building. The sculpture stands 36 feet (11 m) high and 26 feet wide and is made from Cor-Ten painted steel that rests on a red brick foundation. It formerly sat at Blue Cross and Blue Shield United of Wisconsin, on the corner of West Michigan Street and North 4th Street. Its whereabouts are unknown as of 2015 and it has potentially been destroyed.
|
[
"John Raimondi",
"Blue Cross Blue Shield",
"Wisconsin"
] |
|
14158_NT
|
Peter John (sculpture)
|
Focus on this artwork and explore the Description.
|
John Raimondi's artwork was commissioned by Blue Cross Blue Shield for their new building. The sculpture stands 36 feet (11 m) high and 26 feet wide and is made from Cor-Ten painted steel that rests on a red brick foundation. It formerly sat at Blue Cross and Blue Shield United of Wisconsin, on the corner of West Michigan Street and North 4th Street. Its whereabouts are unknown as of 2015 and it has potentially been destroyed.
|
[
"John Raimondi",
"Blue Cross Blue Shield",
"Wisconsin"
] |
|
14159_T
|
Peter John (sculpture)
|
Focus on Peter John (sculpture) and explain the Information.
|
Massachusetts native and artist John Raimondi’s sculpture, Peter John, is an abstract piece that consists of three triangular forms located in Milwaukee’s downtown. The three triangular forms meet at a central point near the base of the sculpture and jut out from one another as the sculpture is viewed from bottom to top. The sculpture was commissioned in tribute to John Raimondi’s father. A Blue Cross Blue Shield customer, John Whipperfield, commissioned the project from a donation. The total cost of the project was $200,000. This donation led to the groundbreaking of the project in 1978.
The plaque on site reads: PETER JOHN/Cor-Ten steel/John Raimondi, Sculptor/Bequest from John Whipperfield/Subscriber to Blue Cross of Wisconsin/and Surgical Care - Blue Shield/June 1978.
|
[
"Milwaukee",
"John Raimondi",
"Blue Cross Blue Shield",
"Wisconsin"
] |
|
14159_NT
|
Peter John (sculpture)
|
Focus on this artwork and explain the Information.
|
Massachusetts native and artist John Raimondi’s sculpture, Peter John, is an abstract piece that consists of three triangular forms located in Milwaukee’s downtown. The three triangular forms meet at a central point near the base of the sculpture and jut out from one another as the sculpture is viewed from bottom to top. The sculpture was commissioned in tribute to John Raimondi’s father. A Blue Cross Blue Shield customer, John Whipperfield, commissioned the project from a donation. The total cost of the project was $200,000. This donation led to the groundbreaking of the project in 1978.
The plaque on site reads: PETER JOHN/Cor-Ten steel/John Raimondi, Sculptor/Bequest from John Whipperfield/Subscriber to Blue Cross of Wisconsin/and Surgical Care - Blue Shield/June 1978.
|
[
"Milwaukee",
"John Raimondi",
"Blue Cross Blue Shield",
"Wisconsin"
] |
|
14160_T
|
Peter John (sculpture)
|
Explore the Artist of this artwork, Peter John (sculpture).
|
John Raimondi was born in 1948 in Massachusetts and primarily focuses on sculpture and public sculpture. Raimondi attended Portland School of Fine and Applied Arts in Maine though from here he transferred to the Massachusetts College of Art. In Raimondi’s early years toy cars and model airplanes built a knowledge base for his sculpture work. To date, Raimondi has produced more than one hundred sculptures and has been featured on national television.
|
[
"John Raimondi"
] |
|
14160_NT
|
Peter John (sculpture)
|
Explore the Artist of this artwork.
|
John Raimondi was born in 1948 in Massachusetts and primarily focuses on sculpture and public sculpture. Raimondi attended Portland School of Fine and Applied Arts in Maine though from here he transferred to the Massachusetts College of Art. In Raimondi’s early years toy cars and model airplanes built a knowledge base for his sculpture work. To date, Raimondi has produced more than one hundred sculptures and has been featured on national television.
|
[
"John Raimondi"
] |
|
14161_T
|
Steuben Monument
|
Focus on Steuben Monument and discuss the abstract.
|
The Steuben Monument is a public art work by Swiss-American artist J. Otto Schweizer, located on the north side of Milwaukee, Wisconsin. The bronze equestrian sculpture depicts Baron Friedrich Wilhelm von Steuben in his Revolutionary War uniform. It is located at the intersection of West Lisbon Avenue, Lloyd Street, and North Sherman Boulevard.
|
[
"Milwaukee",
"Baron Friedrich Wilhelm von Steuben",
"J. Otto Schweizer",
"Friedrich Wilhelm von Steuben",
"Wisconsin",
"public art"
] |
|
14161_NT
|
Steuben Monument
|
Focus on this artwork and discuss the abstract.
|
The Steuben Monument is a public art work by Swiss-American artist J. Otto Schweizer, located on the north side of Milwaukee, Wisconsin. The bronze equestrian sculpture depicts Baron Friedrich Wilhelm von Steuben in his Revolutionary War uniform. It is located at the intersection of West Lisbon Avenue, Lloyd Street, and North Sherman Boulevard.
|
[
"Milwaukee",
"Baron Friedrich Wilhelm von Steuben",
"J. Otto Schweizer",
"Friedrich Wilhelm von Steuben",
"Wisconsin",
"public art"
] |
|
14162_T
|
Sunlight and Shadow: The Newbury Marshes
|
How does Sunlight and Shadow: The Newbury Marshes elucidate its abstract?
|
Sunlight and Shadow: The Newbury Marshes (c. 1871–1875) is an oil-on-canvas landscape by the American artist Martin Johnson Heade acquired by the National Gallery of Art in 2010. Heade probably became acquainted with the salt marshes near the mouth of the Merrimack River at Newbury and Newburyport, Massachusetts in 1859 through Bishop Thomas March Clark. Sunlight and Shadow is one of the earliest of Heade's one hundred plus depictions of wetlands.
The National Gallery writes: "[Heade] depicted the tides, meteorological phenomena, and other natural forces that shaped the appearance of the swamp and showed how the land was used for hunting, fishing, and the harvesting of naturally occurring salt hay ... the painting's primary motif, sunlight and shadow, seen, for instance, in its intricate cloud shadows and the subtle movement from light to dark across the body of the haystack, informs and unites all its visual elements."
|
[
"landscape",
"National Gallery of Art",
"wetland",
"salt marsh",
"Thomas March Clark",
"Martin Johnson Heade",
"Merrimack River",
"Newburyport, Massachusetts",
"salt hay",
"oil-on-canvas",
"Massachusetts",
"Newbury"
] |
|
14162_NT
|
Sunlight and Shadow: The Newbury Marshes
|
How does this artwork elucidate its abstract?
|
Sunlight and Shadow: The Newbury Marshes (c. 1871–1875) is an oil-on-canvas landscape by the American artist Martin Johnson Heade acquired by the National Gallery of Art in 2010. Heade probably became acquainted with the salt marshes near the mouth of the Merrimack River at Newbury and Newburyport, Massachusetts in 1859 through Bishop Thomas March Clark. Sunlight and Shadow is one of the earliest of Heade's one hundred plus depictions of wetlands.
The National Gallery writes: "[Heade] depicted the tides, meteorological phenomena, and other natural forces that shaped the appearance of the swamp and showed how the land was used for hunting, fishing, and the harvesting of naturally occurring salt hay ... the painting's primary motif, sunlight and shadow, seen, for instance, in its intricate cloud shadows and the subtle movement from light to dark across the body of the haystack, informs and unites all its visual elements."
|
[
"landscape",
"National Gallery of Art",
"wetland",
"salt marsh",
"Thomas March Clark",
"Martin Johnson Heade",
"Merrimack River",
"Newburyport, Massachusetts",
"salt hay",
"oil-on-canvas",
"Massachusetts",
"Newbury"
] |
|
14163_T
|
Madonna and Child with the Infant John the Baptist (Correggio, Chicago)
|
Focus on Madonna and Child with the Infant John the Baptist (Correggio, Chicago) and analyze the abstract.
|
The Madonna and Child with the Infant John the Baptist is a 1513–1514 painting by the Italian artist Correggio.It was painted by a young Correggio in the city of Parma, remote from the immediate influences of traditional Renaissance art, although aspects of its style are reminiscent of Raphael, Leonardo da Vinci and the burgeoning Dutch masters.After passing through a number of hands it was bought by Messrs Wildenstein for the Art Institute of Chicago in 1965. Although stolen shortly afterwards, it was soon recovered and still hangs there.
|
[
"Correggio",
"Art Institute of Chicago"
] |
|
14163_NT
|
Madonna and Child with the Infant John the Baptist (Correggio, Chicago)
|
Focus on this artwork and analyze the abstract.
|
The Madonna and Child with the Infant John the Baptist is a 1513–1514 painting by the Italian artist Correggio.It was painted by a young Correggio in the city of Parma, remote from the immediate influences of traditional Renaissance art, although aspects of its style are reminiscent of Raphael, Leonardo da Vinci and the burgeoning Dutch masters.After passing through a number of hands it was bought by Messrs Wildenstein for the Art Institute of Chicago in 1965. Although stolen shortly afterwards, it was soon recovered and still hangs there.
|
[
"Correggio",
"Art Institute of Chicago"
] |
|
14164_T
|
The Car (Brack)
|
In The Car (Brack), how is the abstract discussed?
|
The Car is a 1955 painting by Australian artist John Brack. The painting depicts a family in a car on a drive in a rural area. The painting shows the father looking at the road ahead while the mother and children look towards the viewer. While the whole car cannot be seen, the car itself is identifiable as a Triumph Mayflower. The landscape, seen through the windows of the car, has been said to be inspired by the work of his contemporary Fred Williams.The work was painted around the same time as two of Brack's best-known paintings, Collins Street., 5 pm (1955) and The Bar (1954).Brack described how he came to paint the work:Walking in a suburban street one day the car passed me and, as it did so, the occupants looked out. This seemed to compose itself as picture instantly, which I have found to be rare ... The paraphernalia of the street, houses and telegraph poles, seemed to rob the faces of dramatic emphasis. I think that the country landscape solved this problem and serves also to illustrate a social phenomenon important in our time: the family making an afternoon trip from the city to the nearby country on Sunday. It was part of the pattern of life of millions.
Kirsty Grant, Senior Curator of Australian Art at the National Gallery of Victoria claims that The Car is one of Brack's more popular works stating "I think it transports people who lived through that time, whether they are adults or children, back to that era ...The Car is familiar. It is about people and the way we behave and our foibles."The painting is part of the National Gallery of Victoria's Australian art collection. The painting was part of the Australia exhibition at the Royal Academy in 2013.
|
[
"Fred Williams",
"Royal Academy",
"Collins Street., 5 pm",
"National Gallery of Victoria",
"Triumph Mayflower",
"The Bar",
"1955",
"John Brack"
] |
|
14164_NT
|
The Car (Brack)
|
In this artwork, how is the abstract discussed?
|
The Car is a 1955 painting by Australian artist John Brack. The painting depicts a family in a car on a drive in a rural area. The painting shows the father looking at the road ahead while the mother and children look towards the viewer. While the whole car cannot be seen, the car itself is identifiable as a Triumph Mayflower. The landscape, seen through the windows of the car, has been said to be inspired by the work of his contemporary Fred Williams.The work was painted around the same time as two of Brack's best-known paintings, Collins Street., 5 pm (1955) and The Bar (1954).Brack described how he came to paint the work:Walking in a suburban street one day the car passed me and, as it did so, the occupants looked out. This seemed to compose itself as picture instantly, which I have found to be rare ... The paraphernalia of the street, houses and telegraph poles, seemed to rob the faces of dramatic emphasis. I think that the country landscape solved this problem and serves also to illustrate a social phenomenon important in our time: the family making an afternoon trip from the city to the nearby country on Sunday. It was part of the pattern of life of millions.
Kirsty Grant, Senior Curator of Australian Art at the National Gallery of Victoria claims that The Car is one of Brack's more popular works stating "I think it transports people who lived through that time, whether they are adults or children, back to that era ...The Car is familiar. It is about people and the way we behave and our foibles."The painting is part of the National Gallery of Victoria's Australian art collection. The painting was part of the Australia exhibition at the Royal Academy in 2013.
|
[
"Fred Williams",
"Royal Academy",
"Collins Street., 5 pm",
"National Gallery of Victoria",
"Triumph Mayflower",
"The Bar",
"1955",
"John Brack"
] |
|
14165_T
|
The Seine at Port-Marly, Piles of Sand
|
Focus on The Seine at Port-Marly, Piles of Sand and explore the abstract.
|
The Seine at Port-Marly, Piles of Sand (French La Seine à Port-Marly, tas de sable) is an 1875 painting by Alfred Sisley. It was exhibited at the Exposition Universelle in 1900 whilst in the collection of Dr. Georges Viau, a Paris dentist and art collector. By 4 March 1907 it was owned by Durand-Ruel, who tried and failed to auction it on 4 March that year.
It was bought by the galerie Bernheim-Jeune in April 1920 and later by Martin A. Ryerson. In 1933 Ryerson left it to its present owner, the Art Institute of Chicago, where it is now in section 201 (Impressionists) on the 1st floor of the Art Institute of Chicago.As in his Drying Nets and The Seine at Argenteuil of three years earlier, it shows the River Seine as a workplace near Port-Marly. This contrasts with most of the rest of his work which - like the other Impressionists - showed the Seine as a place of leisure.At the centre of the painting two men on a flat-bottomed barge dredging the Seine to create a navigable channel for péniches travelling between Le Havre and Paris, the main means of transporting goods in that era. The ochre colours of the sand contrast with the turquoise blue of the water. Sisley shows the town's paper factory, though (unlike in his 1875 The Sand Quay, Port-Marly) he has removed its chimney, showing the smoke emerging from the opening in the gable. He was interested in the sand-extraction industry and painted this and several other works on the quayside at Port-Marly itself.
|
[
"Georges Viau",
"Martin A. Ryerson",
"Art Institute of Chicago",
"Seine",
"péniche",
"dredging",
"Drying Nets",
"sand-extraction",
"Alfred Sisley",
"The Seine at Argenteuil",
"galerie Bernheim-Jeune",
"Port-Marly",
"Paris",
"River Seine",
"Exposition Universelle",
"Le Havre",
"Durand-Ruel"
] |
|
14165_NT
|
The Seine at Port-Marly, Piles of Sand
|
Focus on this artwork and explore the abstract.
|
The Seine at Port-Marly, Piles of Sand (French La Seine à Port-Marly, tas de sable) is an 1875 painting by Alfred Sisley. It was exhibited at the Exposition Universelle in 1900 whilst in the collection of Dr. Georges Viau, a Paris dentist and art collector. By 4 March 1907 it was owned by Durand-Ruel, who tried and failed to auction it on 4 March that year.
It was bought by the galerie Bernheim-Jeune in April 1920 and later by Martin A. Ryerson. In 1933 Ryerson left it to its present owner, the Art Institute of Chicago, where it is now in section 201 (Impressionists) on the 1st floor of the Art Institute of Chicago.As in his Drying Nets and The Seine at Argenteuil of three years earlier, it shows the River Seine as a workplace near Port-Marly. This contrasts with most of the rest of his work which - like the other Impressionists - showed the Seine as a place of leisure.At the centre of the painting two men on a flat-bottomed barge dredging the Seine to create a navigable channel for péniches travelling between Le Havre and Paris, the main means of transporting goods in that era. The ochre colours of the sand contrast with the turquoise blue of the water. Sisley shows the town's paper factory, though (unlike in his 1875 The Sand Quay, Port-Marly) he has removed its chimney, showing the smoke emerging from the opening in the gable. He was interested in the sand-extraction industry and painted this and several other works on the quayside at Port-Marly itself.
|
[
"Georges Viau",
"Martin A. Ryerson",
"Art Institute of Chicago",
"Seine",
"péniche",
"dredging",
"Drying Nets",
"sand-extraction",
"Alfred Sisley",
"The Seine at Argenteuil",
"galerie Bernheim-Jeune",
"Port-Marly",
"Paris",
"River Seine",
"Exposition Universelle",
"Le Havre",
"Durand-Ruel"
] |
|
14166_T
|
Statue of Søren Kierkegaard
|
Focus on Statue of Søren Kierkegaard and explain the abstract.
|
The statue of Søren Kierkegaard is located in the Royal Library Garden on Slotsholmen in central Copenhagen, Denmark. It was unveiled in 1918 but is based on an older statuette by Louis Hasselriis.
|
[
"Copenhagen",
"Søren Kierkegaard",
"Denmark",
"Louis Hasselriis",
"Slotsholmen"
] |
|
14166_NT
|
Statue of Søren Kierkegaard
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Focus on this artwork and explain the abstract.
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The statue of Søren Kierkegaard is located in the Royal Library Garden on Slotsholmen in central Copenhagen, Denmark. It was unveiled in 1918 but is based on an older statuette by Louis Hasselriis.
|
[
"Copenhagen",
"Søren Kierkegaard",
"Denmark",
"Louis Hasselriis",
"Slotsholmen"
] |
|
14167_T
|
Statue of Søren Kierkegaard
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Explore the Description of this artwork, Statue of Søren Kierkegaard.
|
Kierkegaard is depicted sitting on a chair in the process of writing something on a sheet of paper with a quill. Next to him are some books.
|
[
"quill"
] |
|
14167_NT
|
Statue of Søren Kierkegaard
|
Explore the Description of this artwork.
|
Kierkegaard is depicted sitting on a chair in the process of writing something on a sheet of paper with a quill. Next to him are some books.
|
[
"quill"
] |
|
14168_T
|
Statue of Søren Kierkegaard
|
Focus on Statue of Søren Kierkegaard and discuss the History.
|
The monument is based on a statuette created by Louis Hasselriis in 1878, 1879. It was enlarged by the sculptors Carl Aarsleff and H.P. Petersen-Dan and cast in bronze in Lauritz Tasmussen's Bronze Foundry in 1918.
|
[
"Lauritz Tasmussen's Bronze Foundry",
"Carl Aarsleff",
"Louis Hasselriis",
"Bronze"
] |
|
14168_NT
|
Statue of Søren Kierkegaard
|
Focus on this artwork and discuss the History.
|
The monument is based on a statuette created by Louis Hasselriis in 1878, 1879. It was enlarged by the sculptors Carl Aarsleff and H.P. Petersen-Dan and cast in bronze in Lauritz Tasmussen's Bronze Foundry in 1918.
|
[
"Lauritz Tasmussen's Bronze Foundry",
"Carl Aarsleff",
"Louis Hasselriis",
"Bronze"
] |
|
14169_T
|
Statue of Søren Kierkegaard
|
How does Statue of Søren Kierkegaard elucidate its Other statues of Søren Kierkegaard?
|
Hasselriis' original plaster statuette is located in the Danish National Gallery. The enlarged plaster copy was part of Aarsleff's private collection and later given to Østfyns Museum. It was for many years on display in the assembly hall of Nyborg Gymnasium but is now located outside the Søren Kierkegaard Auditorium in the University of Copenhagen's Department of Theology in Copenhagen.A second Søren Kierkegaard statue in Copoenhagen is located on the exterior of Frederik's Church. It is from 1972 and was created by Knud Nellemose.
|
[
"Copenhagen",
"University of Copenhagen",
"Knud Nellemose",
"Frederik's Church",
"Søren Kierkegaard",
"Danish National Gallery"
] |
|
14169_NT
|
Statue of Søren Kierkegaard
|
How does this artwork elucidate its Other statues of Søren Kierkegaard?
|
Hasselriis' original plaster statuette is located in the Danish National Gallery. The enlarged plaster copy was part of Aarsleff's private collection and later given to Østfyns Museum. It was for many years on display in the assembly hall of Nyborg Gymnasium but is now located outside the Søren Kierkegaard Auditorium in the University of Copenhagen's Department of Theology in Copenhagen.A second Søren Kierkegaard statue in Copoenhagen is located on the exterior of Frederik's Church. It is from 1972 and was created by Knud Nellemose.
|
[
"Copenhagen",
"University of Copenhagen",
"Knud Nellemose",
"Frederik's Church",
"Søren Kierkegaard",
"Danish National Gallery"
] |
|
14170_T
|
On the Hills - Virgin Forest
|
Focus on On the Hills - Virgin Forest and analyze the abstract.
|
On the Hills - Virgin Forest (Croatian: Na bregovima - prašuma) is a 1960 painting by Croatian artist Ivan Rabuzin from 1960.
|
[
"Ivan Rabuzin"
] |
|
14170_NT
|
On the Hills - Virgin Forest
|
Focus on this artwork and analyze the abstract.
|
On the Hills - Virgin Forest (Croatian: Na bregovima - prašuma) is a 1960 painting by Croatian artist Ivan Rabuzin from 1960.
|
[
"Ivan Rabuzin"
] |
|
14171_T
|
On the Hills - Virgin Forest
|
In On the Hills - Virgin Forest, how is the Description discussed?
|
The 69.2 x 116.7 cm. oil painting is held by the Croatian Museum of Naive Art in Zagreb.
|
[
"Zagreb",
"Croatian Museum of Naive Art"
] |
|
14171_NT
|
On the Hills - Virgin Forest
|
In this artwork, how is the Description discussed?
|
The 69.2 x 116.7 cm. oil painting is held by the Croatian Museum of Naive Art in Zagreb.
|
[
"Zagreb",
"Croatian Museum of Naive Art"
] |
|
14172_T
|
On the Hills - Virgin Forest
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Focus on On the Hills - Virgin Forest and explore the Analysis.
|
The naive style is typical of Ivan Rabuzin; lyrical and idealized landscapes based on a sequence of circles or round shapes, filled with optimism and spirituality. His style is recognized worldwide as unique and great contribution to the development of naïve art. It is characterized by modernism of visual expression, as it reduces the use of geometric shapes, causing his art to be among the legacy of contemporary art. His works are easily recognizable thanks to the combination of stylization and geometric abstraction. The colors in his paintings highlight the location and size of the images, highlighting their symbolic significance and importance.
|
[
"naïve art",
"Ivan Rabuzin"
] |
|
14172_NT
|
On the Hills - Virgin Forest
|
Focus on this artwork and explore the Analysis.
|
The naive style is typical of Ivan Rabuzin; lyrical and idealized landscapes based on a sequence of circles or round shapes, filled with optimism and spirituality. His style is recognized worldwide as unique and great contribution to the development of naïve art. It is characterized by modernism of visual expression, as it reduces the use of geometric shapes, causing his art to be among the legacy of contemporary art. His works are easily recognizable thanks to the combination of stylization and geometric abstraction. The colors in his paintings highlight the location and size of the images, highlighting their symbolic significance and importance.
|
[
"naïve art",
"Ivan Rabuzin"
] |
|
14173_T
|
Saint Onuphrius (Tzanes)
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Focus on Saint Onuphrius (Tzanes) and explain the abstract.
|
Saint Onuphrius is a tempera painting created in 1662 by Emmanuel Tzanes. Tzanes is one of the most important Greek painters of the 17th century. He was active in Crete, Corfu, and Venice, Italy. Both of his brothers were painters. He has a massive art catalog attributed to him. According to the Hellenic Institute over one hundred thirty of his works survived. He belongs to the Late Cretan School and Heptanese School of painting. He was part of the movement that introduced Flemish Engravings into the Greek world.Saint Onuphrius lived in seclusion in the desert of Upper Egypt. He was from Ethiopia. The name Onuphrius is a Hellenized version of the Coptic name Unnufer from the Egyptian word wnn-nfr meaning the perfect one. He was a monk near Thebes. He studied law and philosophy before becoming a monk. He eventually left the monastery and lived in the desert for over sixty years. The only visitor he had to his monastic cell was an angel who delivered sacred bread every night. He also ate dates from desert palm trees. During his final days on earth, he was visited by a man named Paphnutius.When Paphnutius first saw him he was a scary wild figure covered with hair and wearing a loincloth of leaves. He frightened Paphnutius. He ran away from the scary homeless-looking man. The figure cried out: “Come down to me, man of God, for I am a man also, dwelling in the desert for the love of God.” Paphnutius followed the wild-looking half-naked man. He told him that he was a hermit living in isolation for over seventy years for God. He endured extreme discomforts such as hunger and thirst. An angel brought him to this place. Paphnutius stayed with him for the night. Bread and water miraculously appeared outside of the hermit's cell. Paphnutius recorded the story and his story. Onuphrius became a saint. He is venerated as Saint Onuphrius.Countless artists have depicted the subject matter namely Greek, Spanish and Italian painters. An early depiction of the monk can be found in the Greek Monastery of Varlaam. Notable works were completed there by Frangos Katelanos. Different versions were also completed by Francisco Collantes and his contemporary Jusepe de Ribera.
Another exceptional depiction similar to Tzane’s work was Lorenzo Lotto’s masterpiece.
Onuphrius is typically depicted with wild hair, in a leafy perizoma or loincloth as depicted in his story. The masterpiece is part of the collection of Rena Andreadis in Athens Greece. The collection is frequently exhibited at the Benaki Museum.
|
[
"Jusepe de Ribera",
"Heptanese School",
"Crete",
"Corfu",
"sacred bread",
"Emmanuel Tzanes",
"Francisco Collantes",
"Cretan School",
"Hellenic Institute",
"Paphnutius",
"Monastery of Varlaam",
"left",
"Lorenzo Lotto",
"Onuphrius",
"Collantes",
"Ethiopia",
"Venice",
"loincloth",
"perizoma",
"Athens",
"Benaki Museum",
"Frangos Katelanos"
] |
|
14173_NT
|
Saint Onuphrius (Tzanes)
|
Focus on this artwork and explain the abstract.
|
Saint Onuphrius is a tempera painting created in 1662 by Emmanuel Tzanes. Tzanes is one of the most important Greek painters of the 17th century. He was active in Crete, Corfu, and Venice, Italy. Both of his brothers were painters. He has a massive art catalog attributed to him. According to the Hellenic Institute over one hundred thirty of his works survived. He belongs to the Late Cretan School and Heptanese School of painting. He was part of the movement that introduced Flemish Engravings into the Greek world.Saint Onuphrius lived in seclusion in the desert of Upper Egypt. He was from Ethiopia. The name Onuphrius is a Hellenized version of the Coptic name Unnufer from the Egyptian word wnn-nfr meaning the perfect one. He was a monk near Thebes. He studied law and philosophy before becoming a monk. He eventually left the monastery and lived in the desert for over sixty years. The only visitor he had to his monastic cell was an angel who delivered sacred bread every night. He also ate dates from desert palm trees. During his final days on earth, he was visited by a man named Paphnutius.When Paphnutius first saw him he was a scary wild figure covered with hair and wearing a loincloth of leaves. He frightened Paphnutius. He ran away from the scary homeless-looking man. The figure cried out: “Come down to me, man of God, for I am a man also, dwelling in the desert for the love of God.” Paphnutius followed the wild-looking half-naked man. He told him that he was a hermit living in isolation for over seventy years for God. He endured extreme discomforts such as hunger and thirst. An angel brought him to this place. Paphnutius stayed with him for the night. Bread and water miraculously appeared outside of the hermit's cell. Paphnutius recorded the story and his story. Onuphrius became a saint. He is venerated as Saint Onuphrius.Countless artists have depicted the subject matter namely Greek, Spanish and Italian painters. An early depiction of the monk can be found in the Greek Monastery of Varlaam. Notable works were completed there by Frangos Katelanos. Different versions were also completed by Francisco Collantes and his contemporary Jusepe de Ribera.
Another exceptional depiction similar to Tzane’s work was Lorenzo Lotto’s masterpiece.
Onuphrius is typically depicted with wild hair, in a leafy perizoma or loincloth as depicted in his story. The masterpiece is part of the collection of Rena Andreadis in Athens Greece. The collection is frequently exhibited at the Benaki Museum.
|
[
"Jusepe de Ribera",
"Heptanese School",
"Crete",
"Corfu",
"sacred bread",
"Emmanuel Tzanes",
"Francisco Collantes",
"Cretan School",
"Hellenic Institute",
"Paphnutius",
"Monastery of Varlaam",
"left",
"Lorenzo Lotto",
"Onuphrius",
"Collantes",
"Ethiopia",
"Venice",
"loincloth",
"perizoma",
"Athens",
"Benaki Museum",
"Frangos Katelanos"
] |
|
14174_T
|
Saint Onuphrius (Tzanes)
|
Explore the Description of this artwork, Saint Onuphrius (Tzanes).
|
The work is composed of egg tempera paint, gold leaf, and wood panel. The height of the work is 31.5 cm (12.4 in.) and the width of the work is 25 cm (9.8 in.). It features a thickness of 1.7 cm (.7 in.). In 1662, two years after Tzanes became the priest at San Giorgio dei Greci in Venice he completed the masterpiece. It is considered one of the painter's mature works. The work is an emblem of the evolution of the Cretan School and reflective of the mannerisms of the Heptanese School. Artists of the Ionian Islands began to humanize their figures. They paid attention to the human anatomy. Their painting style reflected the physical human form. Onuphrius is covered in finely painted grey and white hair. His long hair is knee-length. Long hair lines are clearly visible. His facial expression and pose are humble and unpretentious. He holds a wooden cane. The painter reflects the humanistic side of the heavenly saint.His ribs are clearly visible reflecting the true nature of Onuphriu’s lifestyle. His face arms and legs feature humanistic elderly wrinkles. The painter clearly demonstrates the figure's knees and elbows. Tzanes also adds a magnificent palm tree growing out of the mountain. A beautiful waterfall is also flowing from the mountain into a stream. It appears to our right in the lower portion of the painting. This is the place Onuphrius ate and drank. To our left, the painter adds a magnificent landscape establishing a foreground, a middle ground, and a background. The painting is three-dimensional. A cave appears to our left with an opening. The artist clearly defines his monastic cell. It is in the middle ground behind a tree. Three mountains appear in the background. A dove is also present signifying the Holy Spirit.The icon is full of Greek inscriptions. The top features the term. Ὁ ἉΓΙΟC ΟΝΟΥΦΡΙΟΣ — HO HAGIOS ONOUPHRIOS [The] Holy Onuphrius. Onuphrius is also featured holding a scroll with the Greek inscription: ΟΣΤΙΣ ΔΩΡΟ[Ν] ΦΕΡΕΙ ΕΙΣ ΤΗΝ ΕΜΗΝ ΑΝΑΜΝΗΣΙΝ ΚΑΜΕ ΕΥΡΗΣΕΙ
ΠΡΟΣ Τ[ΟΝ] ΘΕΟΝ ΠΡΟΣ-
ΤΑΤΗΝ OSTIS DORON PHEREI EIS TEN EMEN ANAMNESIN KAME EURISEI PROS TON THEON PROSTATEN (Who a gift brings in my memory, will find me a protector/patron before God). The artist also signed his work: ΧΕΙΡ ΕΜΜΑΝΟΥΗΛ ἹΕΡΕΩC
ΤΖΑΝΕ ΤΟΥ ΕΚ ΡΗΘΗΜΝΗC CHEIR EMMANOUEL HIEREOSTZANE TOU EK RETHEMNES “[the] hand of Emmanuel PriestTzane[s] the-one from Rethymnon” The date given is 1662.
|
[
"Heptanese School",
"Cretan School",
"left",
"Onuphrius",
"San Giorgio dei Greci",
"Venice"
] |
|
14174_NT
|
Saint Onuphrius (Tzanes)
|
Explore the Description of this artwork.
|
The work is composed of egg tempera paint, gold leaf, and wood panel. The height of the work is 31.5 cm (12.4 in.) and the width of the work is 25 cm (9.8 in.). It features a thickness of 1.7 cm (.7 in.). In 1662, two years after Tzanes became the priest at San Giorgio dei Greci in Venice he completed the masterpiece. It is considered one of the painter's mature works. The work is an emblem of the evolution of the Cretan School and reflective of the mannerisms of the Heptanese School. Artists of the Ionian Islands began to humanize their figures. They paid attention to the human anatomy. Their painting style reflected the physical human form. Onuphrius is covered in finely painted grey and white hair. His long hair is knee-length. Long hair lines are clearly visible. His facial expression and pose are humble and unpretentious. He holds a wooden cane. The painter reflects the humanistic side of the heavenly saint.His ribs are clearly visible reflecting the true nature of Onuphriu’s lifestyle. His face arms and legs feature humanistic elderly wrinkles. The painter clearly demonstrates the figure's knees and elbows. Tzanes also adds a magnificent palm tree growing out of the mountain. A beautiful waterfall is also flowing from the mountain into a stream. It appears to our right in the lower portion of the painting. This is the place Onuphrius ate and drank. To our left, the painter adds a magnificent landscape establishing a foreground, a middle ground, and a background. The painting is three-dimensional. A cave appears to our left with an opening. The artist clearly defines his monastic cell. It is in the middle ground behind a tree. Three mountains appear in the background. A dove is also present signifying the Holy Spirit.The icon is full of Greek inscriptions. The top features the term. Ὁ ἉΓΙΟC ΟΝΟΥΦΡΙΟΣ — HO HAGIOS ONOUPHRIOS [The] Holy Onuphrius. Onuphrius is also featured holding a scroll with the Greek inscription: ΟΣΤΙΣ ΔΩΡΟ[Ν] ΦΕΡΕΙ ΕΙΣ ΤΗΝ ΕΜΗΝ ΑΝΑΜΝΗΣΙΝ ΚΑΜΕ ΕΥΡΗΣΕΙ
ΠΡΟΣ Τ[ΟΝ] ΘΕΟΝ ΠΡΟΣ-
ΤΑΤΗΝ OSTIS DORON PHEREI EIS TEN EMEN ANAMNESIN KAME EURISEI PROS TON THEON PROSTATEN (Who a gift brings in my memory, will find me a protector/patron before God). The artist also signed his work: ΧΕΙΡ ΕΜΜΑΝΟΥΗΛ ἹΕΡΕΩC
ΤΖΑΝΕ ΤΟΥ ΕΚ ΡΗΘΗΜΝΗC CHEIR EMMANOUEL HIEREOSTZANE TOU EK RETHEMNES “[the] hand of Emmanuel PriestTzane[s] the-one from Rethymnon” The date given is 1662.
|
[
"Heptanese School",
"Cretan School",
"left",
"Onuphrius",
"San Giorgio dei Greci",
"Venice"
] |
|
14175_T
|
Passerelle de Bessengué
|
Focus on Passerelle de Bessengué and discuss the abstract.
|
The Passerelle de Bessengue is an artwork in Douala (Cameroon). It is a wooden bridge with an iron handrail, painted in different colors, each one representing people of different ethnic groups holding hands. It was inaugurated during the Salon Urbain de Douala en 2007.
|
[
"artwork",
"Douala",
"Bessengue",
"Cameroon"
] |
|
14175_NT
|
Passerelle de Bessengué
|
Focus on this artwork and discuss the abstract.
|
The Passerelle de Bessengue is an artwork in Douala (Cameroon). It is a wooden bridge with an iron handrail, painted in different colors, each one representing people of different ethnic groups holding hands. It was inaugurated during the Salon Urbain de Douala en 2007.
|
[
"artwork",
"Douala",
"Bessengue",
"Cameroon"
] |
|
14176_T
|
Passerelle de Bessengué
|
How does Passerelle de Bessengué elucidate its The artwork?
|
The Passerelle de Bessengue is a wooden bridge with an iron handrail, painted in different colors, each one representing people of different ethnic groups holding hands. La Passerelle was designed by the Cameroonian artist Alioum Moussa. It was initially conceived as a cooperation development project funded by the Institut Régional de Coopération-Développement d’Alsace (Ircod-Alsace), the Municipality of Douala I, and doual’art. As project coordinator, doual’art ran a community-based approach involving the local Development Community of Bessengue-Akwa (CDBA) from the conceptualization phase to the project production. During the process, an artistic contest was organized in order to provide La Passerelle with aesthetical features. On five projects submitted, the selection fell on Alioum Moussa. His proposal aroused among the community a critical discussion and self-reflection about historical conflicts among autochthonous and non-native populations. The success of the project by Moussa was to create a link between art and community experiences, documenting shared intentions to promote and pursue a peaceful collaboration for future generations. La Passerelle was officially inaugurated during the SUD 2007 and restored two times. In 2009, Malika Ouedraogo and Cecile Demessine repainted the handrail. In the occasion of the SUD 2013, the Municipality of Douala funded the replacement of a handrail side and some broken wood planches.
La Passerelle has disclosed the block 1 of Bessengue to one of the busiest roads of Douala, facilitating the circulation of people, vehicles, and the provision of public services. Its position at the entrance of the neighborhood has contributed to create a square between La Passerelle and the first houses. This area, commonly known as Vallée Bessengue, has become an important landmark for children, young people and women who meet there to play, to date and to shop, surrounded by other art installations.
|
[
"Bessengue-Akwa",
"doual’art",
"SUD 2007",
"SUD 2013",
"artwork",
"Alioum Moussa",
"Douala",
"Bessengue",
"Cameroon"
] |
|
14176_NT
|
Passerelle de Bessengué
|
How does this artwork elucidate its The artwork?
|
The Passerelle de Bessengue is a wooden bridge with an iron handrail, painted in different colors, each one representing people of different ethnic groups holding hands. La Passerelle was designed by the Cameroonian artist Alioum Moussa. It was initially conceived as a cooperation development project funded by the Institut Régional de Coopération-Développement d’Alsace (Ircod-Alsace), the Municipality of Douala I, and doual’art. As project coordinator, doual’art ran a community-based approach involving the local Development Community of Bessengue-Akwa (CDBA) from the conceptualization phase to the project production. During the process, an artistic contest was organized in order to provide La Passerelle with aesthetical features. On five projects submitted, the selection fell on Alioum Moussa. His proposal aroused among the community a critical discussion and self-reflection about historical conflicts among autochthonous and non-native populations. The success of the project by Moussa was to create a link between art and community experiences, documenting shared intentions to promote and pursue a peaceful collaboration for future generations. La Passerelle was officially inaugurated during the SUD 2007 and restored two times. In 2009, Malika Ouedraogo and Cecile Demessine repainted the handrail. In the occasion of the SUD 2013, the Municipality of Douala funded the replacement of a handrail side and some broken wood planches.
La Passerelle has disclosed the block 1 of Bessengue to one of the busiest roads of Douala, facilitating the circulation of people, vehicles, and the provision of public services. Its position at the entrance of the neighborhood has contributed to create a square between La Passerelle and the first houses. This area, commonly known as Vallée Bessengue, has become an important landmark for children, young people and women who meet there to play, to date and to shop, surrounded by other art installations.
|
[
"Bessengue-Akwa",
"doual’art",
"SUD 2007",
"SUD 2013",
"artwork",
"Alioum Moussa",
"Douala",
"Bessengue",
"Cameroon"
] |
|
14177_T
|
Portrait of a Clergyman (de Ville)
|
Focus on Portrait of a Clergyman (de Ville) and analyze the abstract.
|
Portrait of a Clergyman — sometimes called Portrait of a 17th Century Clergyman or The Unknown Clergyman — is an oil on canvas portrait painting by Guilliam de Ville (ca. 1614–1672) dated 1639. The identity of the subject, an elderly clergyman, is unknown. It is owned by the Redwood Library and Athenaeum (Identifier: PA.125), Newport, Rhode Island, USA, where it hangs.
De Ville was a Dutch painter of portraits and still lifes, born in Amsterdam and active in England. Only one other known painting by de Ville (a still life) survives.
|
[
"Amsterdam",
"Newport, Rhode Island",
"Guilliam de Ville",
"Redwood Library and Athenaeum",
"Rhode Island"
] |
|
14177_NT
|
Portrait of a Clergyman (de Ville)
|
Focus on this artwork and analyze the abstract.
|
Portrait of a Clergyman — sometimes called Portrait of a 17th Century Clergyman or The Unknown Clergyman — is an oil on canvas portrait painting by Guilliam de Ville (ca. 1614–1672) dated 1639. The identity of the subject, an elderly clergyman, is unknown. It is owned by the Redwood Library and Athenaeum (Identifier: PA.125), Newport, Rhode Island, USA, where it hangs.
De Ville was a Dutch painter of portraits and still lifes, born in Amsterdam and active in England. Only one other known painting by de Ville (a still life) survives.
|
[
"Amsterdam",
"Newport, Rhode Island",
"Guilliam de Ville",
"Redwood Library and Athenaeum",
"Rhode Island"
] |
|
14178_T
|
Portrait of a Clergyman (de Ville)
|
In Portrait of a Clergyman (de Ville), how is the History and possible subject identities discussed?
|
The portrait may have been owned at one time by local Rhode Island historian Stephen Randall (1793–1874), who took special interest in his ancestor Roger Williams (ca. 1603–1683), the Puritan, Baptist, and founder of Providence Plantations. Randall may have gifted it to Redwood. In 1927, Providence artist Wilfred Duphinney suggested that the subject may in fact be Roger Williams himself.
Wilber Cheesman Nelson was the author of a 95-page booklet on John Clarke (1609–1676), one of the founders of Portsmouth and Newport, Rhode Island. He popularized the notion in 1938 that it is a portrait of Clarke, a physician and Baptist minister, and this has been the popular choice ever since. Clarke biographer Louis Franklin Asher (d. 1996) even featured the portrait on the dust cover of his 1997 book.
There is no evidence, however, for either of these two identifications. The subject of the painting is indicated as being 59 years old in 1639 and would, therefore, have been born about 1580, thereby ruling out both Williams and Clarke. Asher proposes that the dates on the painting are a mistake for 1659, but he advances no rationale for how such a curious double error could have come about.
|
[
"Providence",
"Portsmouth",
"Newport, Rhode Island",
"John Clarke",
"Rhode Island",
"Roger Williams",
"Providence Plantations"
] |
|
14178_NT
|
Portrait of a Clergyman (de Ville)
|
In this artwork, how is the History and possible subject identities discussed?
|
The portrait may have been owned at one time by local Rhode Island historian Stephen Randall (1793–1874), who took special interest in his ancestor Roger Williams (ca. 1603–1683), the Puritan, Baptist, and founder of Providence Plantations. Randall may have gifted it to Redwood. In 1927, Providence artist Wilfred Duphinney suggested that the subject may in fact be Roger Williams himself.
Wilber Cheesman Nelson was the author of a 95-page booklet on John Clarke (1609–1676), one of the founders of Portsmouth and Newport, Rhode Island. He popularized the notion in 1938 that it is a portrait of Clarke, a physician and Baptist minister, and this has been the popular choice ever since. Clarke biographer Louis Franklin Asher (d. 1996) even featured the portrait on the dust cover of his 1997 book.
There is no evidence, however, for either of these two identifications. The subject of the painting is indicated as being 59 years old in 1639 and would, therefore, have been born about 1580, thereby ruling out both Williams and Clarke. Asher proposes that the dates on the painting are a mistake for 1659, but he advances no rationale for how such a curious double error could have come about.
|
[
"Providence",
"Portsmouth",
"Newport, Rhode Island",
"John Clarke",
"Rhode Island",
"Roger Williams",
"Providence Plantations"
] |
|
14179_T
|
Another World (M. C. Escher)
|
Focus on Another World (M. C. Escher) and explore the abstract.
|
Another World II, also known as Other World II, is a woodcut print by the Dutch artist M. C. Escher first printed in January 1947.
It depicts a cubic architectural structure made from brick. The structure is a paradox with an open archway on each of the five visible sides of the cube. The structure wraps around the vertical axis to enclose the viewer's perspective. At the bottom of the image is an archway from which we seem to be looking up from the base, and through it we can see space. At the top of that arch is another arch which is level with our perspective, and through it we are looking out over a lunar horizon. At the top of that arch is another arch which covers the top of the image. We are looking down at this arch from above and through it onto the lunar surface.
Standing in each archway along the vertical axis is a metal sculpture of a bird with a humanoid face. In each side archway is a horn or cornucopia hanging on chains. The views from above and below are consistent, placing the statue so that it faces the horn; however, the horizontal view reverses the relative positions of the statue and the horn, and rotates the horn 180 degrees.
The three "birds" and three windows with horns hanging in them are not symmetrically arrayed as they might be if they depicted three mutually orthogonal vertical orientations. As is, the open wall we are looking through opens into a space with three different vertical orientations, but two of them are opposites of each other. Presumably, behind the picture's overall point of view, the same landscape continues behind the viewer in the same orientation as we see it through the window opposite. Of course, from the point of view of the bird at the bottom, we are looking up from the floor and from the point of view of the bird at the top we are looking down through an open roof. Note that this asymmetry requires a further asymmetry to account for the fact that our point of view is not obviously that of another bird. In one wall two windows and horns with opposite vertical orientation share the same wall. In the wall opposite, there is only one window with a horn, which shares the verticality of the overall picture and of the bird opposite. Thus, if the point of view of the drawing is that of another bird, there are four birds and three horns, with one of them being shared between two birds with the same vertical orientation. In order to portray three mutually orthogonal verticalities from the point of view of a third bird, the bird opposite that would have to be rotated 90 degrees, and the window adjacent to the viewer show the naturally oriented landscape behind the hanging horn.
The previous month (December 1946), Escher created a mezzotint called Another World (Other World Gallery). The image in that print is the same as this one except that the arches continue on as an infinite corridor.
The bird/human sculpture is a real sculpture which was given to Escher by his father-in-law. This sculpture first appears in Escher's 1934 lithograph Still Life with Spherical Mirror.
The picture is featured in the cover of the 1965 edition of Italo Calvino's Cosmicomics.
|
[
"Still Life with Spherical Mirror",
"print",
"Cosmicomics",
"lithograph",
"paradox",
"woodcut",
"Dutch",
"Italo Calvino",
"M. C. Escher",
"mezzotint"
] |
|
14179_NT
|
Another World (M. C. Escher)
|
Focus on this artwork and explore the abstract.
|
Another World II, also known as Other World II, is a woodcut print by the Dutch artist M. C. Escher first printed in January 1947.
It depicts a cubic architectural structure made from brick. The structure is a paradox with an open archway on each of the five visible sides of the cube. The structure wraps around the vertical axis to enclose the viewer's perspective. At the bottom of the image is an archway from which we seem to be looking up from the base, and through it we can see space. At the top of that arch is another arch which is level with our perspective, and through it we are looking out over a lunar horizon. At the top of that arch is another arch which covers the top of the image. We are looking down at this arch from above and through it onto the lunar surface.
Standing in each archway along the vertical axis is a metal sculpture of a bird with a humanoid face. In each side archway is a horn or cornucopia hanging on chains. The views from above and below are consistent, placing the statue so that it faces the horn; however, the horizontal view reverses the relative positions of the statue and the horn, and rotates the horn 180 degrees.
The three "birds" and three windows with horns hanging in them are not symmetrically arrayed as they might be if they depicted three mutually orthogonal vertical orientations. As is, the open wall we are looking through opens into a space with three different vertical orientations, but two of them are opposites of each other. Presumably, behind the picture's overall point of view, the same landscape continues behind the viewer in the same orientation as we see it through the window opposite. Of course, from the point of view of the bird at the bottom, we are looking up from the floor and from the point of view of the bird at the top we are looking down through an open roof. Note that this asymmetry requires a further asymmetry to account for the fact that our point of view is not obviously that of another bird. In one wall two windows and horns with opposite vertical orientation share the same wall. In the wall opposite, there is only one window with a horn, which shares the verticality of the overall picture and of the bird opposite. Thus, if the point of view of the drawing is that of another bird, there are four birds and three horns, with one of them being shared between two birds with the same vertical orientation. In order to portray three mutually orthogonal verticalities from the point of view of a third bird, the bird opposite that would have to be rotated 90 degrees, and the window adjacent to the viewer show the naturally oriented landscape behind the hanging horn.
The previous month (December 1946), Escher created a mezzotint called Another World (Other World Gallery). The image in that print is the same as this one except that the arches continue on as an infinite corridor.
The bird/human sculpture is a real sculpture which was given to Escher by his father-in-law. This sculpture first appears in Escher's 1934 lithograph Still Life with Spherical Mirror.
The picture is featured in the cover of the 1965 edition of Italo Calvino's Cosmicomics.
|
[
"Still Life with Spherical Mirror",
"print",
"Cosmicomics",
"lithograph",
"paradox",
"woodcut",
"Dutch",
"Italo Calvino",
"M. C. Escher",
"mezzotint"
] |
|
14180_T
|
Alexander Sarcophagus
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Focus on Alexander Sarcophagus and explain the abstract.
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The Alexander Sarcophagus is a late 4th century BC Hellenistic stone sarcophagus from the Royal necropolis of Ayaa near Sidon, Lebanon. It is adorned with bas-relief carvings of Alexander the Great and scrolling historical and mythological narratives. The work is considered to be remarkably well preserved, and has been used as an exemplar for its retention of polychromy. It is currently in the holdings of the Istanbul Archaeology Museum.
|
[
"Royal necropolis of Ayaa",
"relief carving",
"Istanbul Archaeology Museum",
"Sarcophagus",
"Hellenistic",
"sarcophagus",
"Sidon",
"Alexander the Great",
"Istanbul",
"bas-relief",
"Lebanon",
"polychromy"
] |
|
14180_NT
|
Alexander Sarcophagus
|
Focus on this artwork and explain the abstract.
|
The Alexander Sarcophagus is a late 4th century BC Hellenistic stone sarcophagus from the Royal necropolis of Ayaa near Sidon, Lebanon. It is adorned with bas-relief carvings of Alexander the Great and scrolling historical and mythological narratives. The work is considered to be remarkably well preserved, and has been used as an exemplar for its retention of polychromy. It is currently in the holdings of the Istanbul Archaeology Museum.
|
[
"Royal necropolis of Ayaa",
"relief carving",
"Istanbul Archaeology Museum",
"Sarcophagus",
"Hellenistic",
"sarcophagus",
"Sidon",
"Alexander the Great",
"Istanbul",
"bas-relief",
"Lebanon",
"polychromy"
] |
|
14181_T
|
Alexander Sarcophagus
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Explore the History of this artwork, Alexander Sarcophagus.
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According to many scholars, both the provenance and date of the Alexander Sarcophagus remain uncontested, landing it firmly in the city of Sidon and having been most likely commissioned after 332 BC. The pertinent and continuous depiction of Abdalonymus, the King of Sidon, helps narrow down the time period in which this sarcophagus was most likely created. We know that Abdalonymus was appointed to this position by Alexander the Great in 333 to 332 BC, and is said to have died in roughly 311 BC (although the exact date is unknown). It was demonstrated by archaeologist and scholar Karl Schefold to have been made before Abdalonymus's death, due to its still-classical manner being purportedly uninfluenced by the style of Lysippos. Schefold argues that the sarcophagus retains a more conservative approach to its composition and iconography, contrasting against the stylistic progression marked by the work of Lysippos. He also asserts that his tomb would have been prepared before his death, although the vague timeline of Abdalonymus's life leaves this open-ended.
|
[
"Abdalonymus",
"Sarcophagus",
"Lysippos",
"sarcophagus",
"Sidon",
"Alexander the Great",
"iconography",
"Karl Schefold"
] |
|
14181_NT
|
Alexander Sarcophagus
|
Explore the History of this artwork.
|
According to many scholars, both the provenance and date of the Alexander Sarcophagus remain uncontested, landing it firmly in the city of Sidon and having been most likely commissioned after 332 BC. The pertinent and continuous depiction of Abdalonymus, the King of Sidon, helps narrow down the time period in which this sarcophagus was most likely created. We know that Abdalonymus was appointed to this position by Alexander the Great in 333 to 332 BC, and is said to have died in roughly 311 BC (although the exact date is unknown). It was demonstrated by archaeologist and scholar Karl Schefold to have been made before Abdalonymus's death, due to its still-classical manner being purportedly uninfluenced by the style of Lysippos. Schefold argues that the sarcophagus retains a more conservative approach to its composition and iconography, contrasting against the stylistic progression marked by the work of Lysippos. He also asserts that his tomb would have been prepared before his death, although the vague timeline of Abdalonymus's life leaves this open-ended.
|
[
"Abdalonymus",
"Sarcophagus",
"Lysippos",
"sarcophagus",
"Sidon",
"Alexander the Great",
"iconography",
"Karl Schefold"
] |
|
14182_T
|
Alexander Sarcophagus
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In the context of Alexander Sarcophagus, discuss the Discovery of the History.
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The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.
This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.
|
[
"Royal necropolis of Ayaa",
"Sarcophagus",
"hypogea",
"sarcophagus",
"Sidon",
"Yervant Voskan",
"Osman Hamdi Bey",
"Lebanon"
] |
|
14182_NT
|
Alexander Sarcophagus
|
In the context of this artwork, discuss the Discovery of the History.
|
The Alexander Sarcophagus was found in the Royal necropolis of Ayaa, a subterranean necropolis that was divided into two hypogea, an underground temple or tomb that consists of a series of rooms. It likely functioned as a royal necropolis, which also assists in supporting the scholarly debate regarding the possible patron of this sarcophagus.
This sarcophagus in particular is one of four massive carved sarcophagi that formed two pairs. These pairs were discovered during the 1887 excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon.
|
[
"Royal necropolis of Ayaa",
"Sarcophagus",
"hypogea",
"sarcophagus",
"Sidon",
"Yervant Voskan",
"Osman Hamdi Bey",
"Lebanon"
] |
|
14183_T
|
Alexander Sarcophagus
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Focusing on the History of Alexander Sarcophagus, analyze the Patron about the Scholarly Debate.
|
Patron Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, there has been great scholarly debate surrounding who the patron of the sarcophagus was. It was originally thought to have been the sarcophagus of Abdalonymus (died 311 BC), the king of Sidon appointed by Alexander immediately following the Battle of Issus (333 BC). Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.
|
[
"Abdalonymus",
"Sarcophagus",
"frieze",
"Phoenicia",
"sarcophagus",
"Sidon",
"Waldemar Heckel",
"Battle of Gaugamela",
"Alexander the Great",
"Battle of Issus",
"Babylon",
"Near East",
"Mazaeus",
"Persian"
] |
|
14183_NT
|
Alexander Sarcophagus
|
Focusing on the History of this artwork, analyze the Patron about the Scholarly Debate.
|
Patron Although it has been widely accepted that this was not the actual sarcophagus of Alexander the Great himself from early on in its analysis, there has been great scholarly debate surrounding who the patron of the sarcophagus was. It was originally thought to have been the sarcophagus of Abdalonymus (died 311 BC), the king of Sidon appointed by Alexander immediately following the Battle of Issus (333 BC). Scholar Andrew Stewart asserts that the Alexander Sarcophagus was patronized by Abdalonymus for a number of reasons: mainly, for the reason that Near Eastern kings regularly commissioned their tombs ante-mortem in consideration of their "posthumous reputations." This is a commonly supported claim that has been continuously upheld by many scholars, but it has also been equally contested. For example, Waldemar Heckel argues that the sarcophagus was made for Mazaeus, a Persian noble and governor of Babylon. In order to support this assertion, Heckel questions why a sarcophagus for Abdalonymus, a king from Sidon, would feature so many Persian figures and iconographies, arguing that the dress, facial features, and activities of the central figure is more historically aligned with Persian rather than Phoenician nobility. The answer to this, according to Heckel, is that the relevance of these figures and iconographies would be more fitting for the Persian nobleman instead. In support, he theorizes that one of the side friezes depicts the Battle of Gaugamela in 331 BC, showing the strength of Mazaeus' military leadership in directing the Persian army.
|
[
"Abdalonymus",
"Sarcophagus",
"frieze",
"Phoenicia",
"sarcophagus",
"Sidon",
"Waldemar Heckel",
"Battle of Gaugamela",
"Alexander the Great",
"Battle of Issus",
"Babylon",
"Near East",
"Mazaeus",
"Persian"
] |
|
14184_T
|
Alexander Sarcophagus
|
When looking at the History of Alexander Sarcophagus, how do you discuss its Scholarly Debate's Attribution?
|
Attribution One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. Stewart concurs with Schefold, claiming that the unification of the varying stylistic elements is associated with Attic sculpture. However, according to archaeologist Margaret C. Miller, the sarcophagus was produced probably by a Rhodian workshop, in this case working at Sidon. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.
|
[
"Ionian",
"ancient Mediterranean",
"fauna",
"Hellenistic",
"lion",
"Rhodian",
"Phoenicia",
"sarcophagus",
"Sidon",
"Attic",
"Near East",
"Margaret C. Miller"
] |
|
14184_NT
|
Alexander Sarcophagus
|
When looking at the History of this artwork, how do you discuss its Scholarly Debate's Attribution?
|
Attribution One aspect of the sarcophagus's history that remains widely debated is which ancient Mediterranean culture may have created it. According to Schefold, six Ionian sculptors' hands have been distinguished, working in an Attic idiom. Stewart concurs with Schefold, claiming that the unification of the varying stylistic elements is associated with Attic sculpture. However, according to archaeologist Margaret C. Miller, the sarcophagus was produced probably by a Rhodian workshop, in this case working at Sidon. It is helpful to note here, that Sidon was a Phoenician city-state, which has led other scholars like Caroline Houser to argue its stylistic origins being rooted in Phoenicia. It has been argued that the majority of the sculptural detailing can be attributed to ancient Greek styles, drawing back to the capture of this Near Eastern city by the ancient Greeks. Due to the cross-cultural influences in Greek art at the time, however, there are conflicting attributes within the sarcophagus itself. For example, the lions found on the corners of the roof have specifically Asian attributes. There are also several mythologized creatures, such as "three ram horns growing on feline heads" that would have been entirely foreign to the fauna of the ancient Hellenistic world.
|
[
"Ionian",
"ancient Mediterranean",
"fauna",
"Hellenistic",
"lion",
"Rhodian",
"Phoenicia",
"sarcophagus",
"Sidon",
"Attic",
"Near East",
"Margaret C. Miller"
] |
|
14185_T
|
Alexander Sarcophagus
|
Focus on Alexander Sarcophagus and explore the Interpretation.
|
The roof ridge of the Alexander Sarcophagus, made of two "massive blocks" of marble, is lined with alternating statuettes of women's heads (possibly the goddess Atargatis) and eagles. Different narratives decorate the friezes on each side and pediment of the sarcophagus, each lending to different interpretations of the overall theme of the sarcophagus itself. These different interpretations have varied due to the complex styles and subject matters. Some scholars have interpreted these narratives as biographically relating to the life of Abdalonymos, with the series beginning in 333/332 BC with the Battle of Issus and ending in 306/305 BC. Andrew Stewart argues that the sarcophagus offers no unified program or obviously coherent message at all, as the scenes in each relief contradict the other, with iconography mixing both Western and Eastern standards. The themes of battle and hunt are consistent throughout the friezes: one long side and one short side depicts each of these scenes.
The relief carvings on one long side of the piece depict Alexander fighting the Persians at the Battle of Issus. Volkmar von Graeve has compared the motif to the famous Alexander Mosaic at Naples; he concludes that the iconography of both derives from a common original, a lost painting by Philoxenos of Eretria. The comparison between the mosaic and sarcophagus has gained traction in the scholarly field, supported by other scholars such as Andrew Stewart. Alexander is shown mounted, wearing a lion skin on his head, and preparing to throw a spear at the Persian cavalry. There remains debate surrounding the importance of the historicity of the figures seen in the hunting and battle scenes. While historians such as von Grave interpret them as accurate portrayals of historic figures, other historians like Schefold focus on them as mythic subjects of the battles and royal hunt. Some scholars, as well, believe that a second mounted Macedonian figure near the center represents Hephaestion, Alexander's older close friend. A third mounted Macedonian figure is often identified as Perdiccas, one of the generals in Alexander's army.
The opposite long side shows Alexander, recognized as the "horseman at the center left," and the Macedonians hunting lions together with Abdalonymus and the Persians. Stewart has also presented that this may be an example of Alexander hunting in the Sidonian game park in 332 BC. This is a unique depiction of the Macedonians and Persians collaborating in the hunt. This is significant due to the fact that the scene on the opposite end has been largely interpreted as the Battle of Issus, which is broadly understood as a symbol of Macedonian defeat of the Persians.
One of the short ends leads the eye towards the mythic lion hunt, portraying a scene in which Abdalonymus hunts a panther. On the other short end is a battle, perhaps the Battle of Gaza in 312 BC- if this is the case, the pediment above that end would be showing the murder of Perdiccas in 320 BC. It has been conjectured that Abdalonymus ultimately died in the Battle of Gaza, although this is unsubstantiated. If this the case, however, then this pediment would be the depiction of his last moments in battle. The other pediment on the lid above shows Abdalonymus in an unidentified battle.
|
[
"Naples",
"relief carving",
"Abdalonymus",
"Sarcophagus",
"frieze",
"lion",
"Atargatis",
"sarcophagus",
"Philoxenos of Eretria",
"Sidon",
"pediment",
"Battle of Issus",
"statuettes",
"iconography",
"Macedonian",
"Alexander Mosaic",
"left",
"Battle of Gaza",
"Hephaestion",
"Perdiccas",
"Persian"
] |
|
14185_NT
|
Alexander Sarcophagus
|
Focus on this artwork and explore the Interpretation.
|
The roof ridge of the Alexander Sarcophagus, made of two "massive blocks" of marble, is lined with alternating statuettes of women's heads (possibly the goddess Atargatis) and eagles. Different narratives decorate the friezes on each side and pediment of the sarcophagus, each lending to different interpretations of the overall theme of the sarcophagus itself. These different interpretations have varied due to the complex styles and subject matters. Some scholars have interpreted these narratives as biographically relating to the life of Abdalonymos, with the series beginning in 333/332 BC with the Battle of Issus and ending in 306/305 BC. Andrew Stewart argues that the sarcophagus offers no unified program or obviously coherent message at all, as the scenes in each relief contradict the other, with iconography mixing both Western and Eastern standards. The themes of battle and hunt are consistent throughout the friezes: one long side and one short side depicts each of these scenes.
The relief carvings on one long side of the piece depict Alexander fighting the Persians at the Battle of Issus. Volkmar von Graeve has compared the motif to the famous Alexander Mosaic at Naples; he concludes that the iconography of both derives from a common original, a lost painting by Philoxenos of Eretria. The comparison between the mosaic and sarcophagus has gained traction in the scholarly field, supported by other scholars such as Andrew Stewart. Alexander is shown mounted, wearing a lion skin on his head, and preparing to throw a spear at the Persian cavalry. There remains debate surrounding the importance of the historicity of the figures seen in the hunting and battle scenes. While historians such as von Grave interpret them as accurate portrayals of historic figures, other historians like Schefold focus on them as mythic subjects of the battles and royal hunt. Some scholars, as well, believe that a second mounted Macedonian figure near the center represents Hephaestion, Alexander's older close friend. A third mounted Macedonian figure is often identified as Perdiccas, one of the generals in Alexander's army.
The opposite long side shows Alexander, recognized as the "horseman at the center left," and the Macedonians hunting lions together with Abdalonymus and the Persians. Stewart has also presented that this may be an example of Alexander hunting in the Sidonian game park in 332 BC. This is a unique depiction of the Macedonians and Persians collaborating in the hunt. This is significant due to the fact that the scene on the opposite end has been largely interpreted as the Battle of Issus, which is broadly understood as a symbol of Macedonian defeat of the Persians.
One of the short ends leads the eye towards the mythic lion hunt, portraying a scene in which Abdalonymus hunts a panther. On the other short end is a battle, perhaps the Battle of Gaza in 312 BC- if this is the case, the pediment above that end would be showing the murder of Perdiccas in 320 BC. It has been conjectured that Abdalonymus ultimately died in the Battle of Gaza, although this is unsubstantiated. If this the case, however, then this pediment would be the depiction of his last moments in battle. The other pediment on the lid above shows Abdalonymus in an unidentified battle.
|
[
"Naples",
"relief carving",
"Abdalonymus",
"Sarcophagus",
"frieze",
"lion",
"Atargatis",
"sarcophagus",
"Philoxenos of Eretria",
"Sidon",
"pediment",
"Battle of Issus",
"statuettes",
"iconography",
"Macedonian",
"Alexander Mosaic",
"left",
"Battle of Gaza",
"Hephaestion",
"Perdiccas",
"Persian"
] |
|
14186_T
|
Alexander Sarcophagus
|
In the context of Alexander Sarcophagus, explain the Polychromy of the Interpretation.
|
The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary (especially ancient statuary), has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.
|
[
"Sarcophagus",
"Pentelic marble",
"sarcophagus",
"Macedonian Greek",
"polychromy",
"iconography",
"Greek temple",
"Macedonian",
"Persian"
] |
|
14186_NT
|
Alexander Sarcophagus
|
In the context of this artwork, explain the Polychromy of the Interpretation.
|
The Alexander Sarcophagus is constructed of Pentelic marble retaining traces of its polychromy, in the form of a Greek temple. Evidence of polychromy, referring to the colorful paintwork found on statuary (especially ancient statuary), has been found on the sarcophagus, and would have actually been seen during the unearthing of the sarcophagus during its excavation in 1887. The Macedonian Greek warriors depicted on the sarcophagus are shown fighting in the nude, as was typical of Greek iconography. They were, however, painted, showing the colorful details of their skin tones, hair colors, helmets, and shields. The Persians these warriors fought against, on the other hand, were painted with bright, vibrant armor. The polychromy depicts the detailed patterns of their pants and skirts, as well as the intricate paint work done on their shields.
|
[
"Sarcophagus",
"Pentelic marble",
"sarcophagus",
"Macedonian Greek",
"polychromy",
"iconography",
"Greek temple",
"Macedonian",
"Persian"
] |
|
14187_T
|
Haymaking in the Auvergne
|
Explore the abstract of this artwork, Haymaking in the Auvergne.
|
Haymaking in the Auvergne (French: Fenaison d'Auvergne or La fenaison en Auvergne) is an 1855 oil painting by French artist Rosa Bonheur. It measures 215 cm × 422 cm (85 in × 166 in).
After her first great artistic success, Ploughing in the Nivernais exhibited in 1849, Bonheur showed studies of two new paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny. He rejected one, The Horse Fair, and commissioned Haymaking in the Auvergne instead. Bonheur focussed on completing The Horse Fair first, and De Morny attempted to change his mind after its good reception at the Paris Salon in 1853.
The painting depicts the loading of a hay onto a cart pulled by four oxen. The beasts to the right wait patiently, attended by a man in wide-brimmed hat. Other men are cutting grass with scythes, while women rake up the hay, and other people use pitchforks to lift the hay onto a large pile on the cart.
The painting was bought by the French state in 1854 for 20,000 francs. It won a gold medal when it was exhibited at the Exposition Universelle in Paris in 1855, as a pendant to Ploughing in the Nivernais. It was also exhibited as part of the retrospective of 19th century French art at the 1900 Exposition Universelle.
The painting was held at the Musée du Luxembourg from 1874 to 1878, and then moved to the Château de Fontainebleau, where it remains. A smaller version, 71.1 by 129 centimetres (28.0 in × 50.8 in) is in a private collection. The print of an engraving by William Turner Davey was published in London in 1878 by Louis Brall & Sons.
|
[
"The Horse Fair",
"Paris Salon",
"Fontainebleau",
"Musée du Luxembourg",
"pitchforks",
"Louis Brall",
"Ploughing in the Nivernais",
"William Turner Davey",
"hay",
"Charles de Morny, Duke of Morny",
"Château de Fontainebleau",
"Hay",
"Auvergne",
"Rosa Bonheur",
"Exposition Universelle"
] |
|
14187_NT
|
Haymaking in the Auvergne
|
Explore the abstract of this artwork.
|
Haymaking in the Auvergne (French: Fenaison d'Auvergne or La fenaison en Auvergne) is an 1855 oil painting by French artist Rosa Bonheur. It measures 215 cm × 422 cm (85 in × 166 in).
After her first great artistic success, Ploughing in the Nivernais exhibited in 1849, Bonheur showed studies of two new paintings to French Minister of Fine Arts Charles de Morny, Duke of Morny. He rejected one, The Horse Fair, and commissioned Haymaking in the Auvergne instead. Bonheur focussed on completing The Horse Fair first, and De Morny attempted to change his mind after its good reception at the Paris Salon in 1853.
The painting depicts the loading of a hay onto a cart pulled by four oxen. The beasts to the right wait patiently, attended by a man in wide-brimmed hat. Other men are cutting grass with scythes, while women rake up the hay, and other people use pitchforks to lift the hay onto a large pile on the cart.
The painting was bought by the French state in 1854 for 20,000 francs. It won a gold medal when it was exhibited at the Exposition Universelle in Paris in 1855, as a pendant to Ploughing in the Nivernais. It was also exhibited as part of the retrospective of 19th century French art at the 1900 Exposition Universelle.
The painting was held at the Musée du Luxembourg from 1874 to 1878, and then moved to the Château de Fontainebleau, where it remains. A smaller version, 71.1 by 129 centimetres (28.0 in × 50.8 in) is in a private collection. The print of an engraving by William Turner Davey was published in London in 1878 by Louis Brall & Sons.
|
[
"The Horse Fair",
"Paris Salon",
"Fontainebleau",
"Musée du Luxembourg",
"pitchforks",
"Louis Brall",
"Ploughing in the Nivernais",
"William Turner Davey",
"hay",
"Charles de Morny, Duke of Morny",
"Château de Fontainebleau",
"Hay",
"Auvergne",
"Rosa Bonheur",
"Exposition Universelle"
] |
|
14188_T
|
Boy Bitten by a Crayfish
|
Focus on Boy Bitten by a Crayfish and discuss the abstract.
|
Boy Bitten by a Crayfish is a lost painting by Caravaggio that is known thanks to several copies. The copy that has always been considered the most faithful belongs to the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1285.The Strasbourg painting has long been attributed to an anonymous Caravaggista known as Pensionante del Saraceni, although another version of the painting, which appeared on the art market in 2013, is closer to the technique of that painter, which is, in effect, "much softer and cooler" than Caravaggio's. The Strasbourg version, the closest to Caravaggio's own style, is supposedly based on an original that was probably painted around 1593. Earlier attributions had suggested the authorship of Mattia Preti, but this could never be substantiated.The Strasbourg Boy Bitten by a Crayfish had formerly belonged to the Comte de Pourtalès Collection; it was sold in Paris on 27 March 1865 but at some point in time returned to the heirs of the count De Pourtalès, for it was gifted to the museum in 1931 by Mrs. Bérard de Loÿs Chandieu, heiress of the Château de Pourtalès through her mother.
|
[
"Caravaggista",
"Mattia Preti",
"Musée des Beaux-Arts",
"Caravaggio",
"Château de Pourtalès",
"Strasbourg",
"Comte de Pourtalès Collection"
] |
|
14188_NT
|
Boy Bitten by a Crayfish
|
Focus on this artwork and discuss the abstract.
|
Boy Bitten by a Crayfish is a lost painting by Caravaggio that is known thanks to several copies. The copy that has always been considered the most faithful belongs to the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1285.The Strasbourg painting has long been attributed to an anonymous Caravaggista known as Pensionante del Saraceni, although another version of the painting, which appeared on the art market in 2013, is closer to the technique of that painter, which is, in effect, "much softer and cooler" than Caravaggio's. The Strasbourg version, the closest to Caravaggio's own style, is supposedly based on an original that was probably painted around 1593. Earlier attributions had suggested the authorship of Mattia Preti, but this could never be substantiated.The Strasbourg Boy Bitten by a Crayfish had formerly belonged to the Comte de Pourtalès Collection; it was sold in Paris on 27 March 1865 but at some point in time returned to the heirs of the count De Pourtalès, for it was gifted to the museum in 1931 by Mrs. Bérard de Loÿs Chandieu, heiress of the Château de Pourtalès through her mother.
|
[
"Caravaggista",
"Mattia Preti",
"Musée des Beaux-Arts",
"Caravaggio",
"Château de Pourtalès",
"Strasbourg",
"Comte de Pourtalès Collection"
] |
|
14189_T
|
The Wild Hunt of Odin
|
How does The Wild Hunt of Odin elucidate its Background?
|
The Wild Hunt of Odin is based on the Wild Hunt motif from folklore. In the Scandinavian tradition, the Wild Hunt is often associated with the god Odin. It consists of a terrifying procession that hurl across the sky during midwinter and abduct unfortunate people who have failed to find a hiding place. In the Norwegian material, figures other than Odin who have been named as leaders of the hunt include Lussi, sometimes identified as Adam's first wife, and Guro Rysserova, a supernatural female being with a mysterious male companion. The folklorist Christine N. F. Eike has argued that the motif might have its origin in European traditions where young, unmarried men wear masks and move in processions during Christmastide.
Peter Nicolai Arbo (1831 – 1892) belonged to a group of Late Romantic Scandinavian painters who had inherited an interest in Norse mythology from the early 19th-century Romantics. The most prominent painters in this group were the Norwegian Arbo and the Swedes Mårten Eskil Winge (1825 – 1896) and August Malmström (1829 – 1901). In accordance with writers like Adam Oehlenschläger and N. F. S. Grundtvig, they viewed their mythological paintings as ethical allegories and not as representations of real deities. In modern culture, the Wild Hunt had been popularized by Jacob Grimm, who in Deutsche Mythologie (1835) presented it as a pagan element that survived into Christian times, where it had been adapted into a demonic phenomenon. It had been used by 19th-century continental painters such as Joseph von Führich and Rudolf Henneberg, whose works Arbo was familiar with. It is also likely that Arbo was familiar with writings about the Wild Hunt by the Norwegian folklorist Peter Christen Asbjørnsen. Arbo depicted the Wild Hunt several times and made a first oil painting of it in 1868. The 1868 version, which shows the hunters in profile, is owned by the Drammen Museum and is on a long-term loan to Nordnorsk Kunstmuseum in Tromsø.
|
[
"Christmastide",
"folklore",
"Deutsche Mythologie",
"Jacob Grimm",
"Norwegian",
"Nordnorsk Kunstmuseum",
"N. F. S. Grundtvig",
"Mårten Eskil Winge",
"Lussi",
"August Malmström",
"Romantic",
"Wild Hunt",
"midwinter",
"Drammen Museum",
"Scandinavian tradition",
"Joseph von Führich",
"Adam Oehlenschläger",
"Rudolf Henneberg",
"Peter Nicolai Arbo",
"Tromsø",
"Adam",
"Norse mythology",
"Odin",
"Peter Christen Asbjørnsen"
] |
|
14189_NT
|
The Wild Hunt of Odin
|
How does this artwork elucidate its Background?
|
The Wild Hunt of Odin is based on the Wild Hunt motif from folklore. In the Scandinavian tradition, the Wild Hunt is often associated with the god Odin. It consists of a terrifying procession that hurl across the sky during midwinter and abduct unfortunate people who have failed to find a hiding place. In the Norwegian material, figures other than Odin who have been named as leaders of the hunt include Lussi, sometimes identified as Adam's first wife, and Guro Rysserova, a supernatural female being with a mysterious male companion. The folklorist Christine N. F. Eike has argued that the motif might have its origin in European traditions where young, unmarried men wear masks and move in processions during Christmastide.
Peter Nicolai Arbo (1831 – 1892) belonged to a group of Late Romantic Scandinavian painters who had inherited an interest in Norse mythology from the early 19th-century Romantics. The most prominent painters in this group were the Norwegian Arbo and the Swedes Mårten Eskil Winge (1825 – 1896) and August Malmström (1829 – 1901). In accordance with writers like Adam Oehlenschläger and N. F. S. Grundtvig, they viewed their mythological paintings as ethical allegories and not as representations of real deities. In modern culture, the Wild Hunt had been popularized by Jacob Grimm, who in Deutsche Mythologie (1835) presented it as a pagan element that survived into Christian times, where it had been adapted into a demonic phenomenon. It had been used by 19th-century continental painters such as Joseph von Führich and Rudolf Henneberg, whose works Arbo was familiar with. It is also likely that Arbo was familiar with writings about the Wild Hunt by the Norwegian folklorist Peter Christen Asbjørnsen. Arbo depicted the Wild Hunt several times and made a first oil painting of it in 1868. The 1868 version, which shows the hunters in profile, is owned by the Drammen Museum and is on a long-term loan to Nordnorsk Kunstmuseum in Tromsø.
|
[
"Christmastide",
"folklore",
"Deutsche Mythologie",
"Jacob Grimm",
"Norwegian",
"Nordnorsk Kunstmuseum",
"N. F. S. Grundtvig",
"Mårten Eskil Winge",
"Lussi",
"August Malmström",
"Romantic",
"Wild Hunt",
"midwinter",
"Drammen Museum",
"Scandinavian tradition",
"Joseph von Führich",
"Adam Oehlenschläger",
"Rudolf Henneberg",
"Peter Nicolai Arbo",
"Tromsø",
"Adam",
"Norse mythology",
"Odin",
"Peter Christen Asbjørnsen"
] |
|
14190_T
|
The Wild Hunt of Odin
|
Focus on The Wild Hunt of Odin and analyze the Subject and composition.
|
The Wild Hunt of Odin shows a hunting party of airborne horsemen who move across a dark sky. They are accompanied by ravens and owls and seem to emerge from clouds in the background. All horses are black except for one white horse at the front. Spearheading the hunt is a helmeted man, possibly Sigurd, and two bare-breasted valkyries. The rest of the hunters appear to be men, with the addition of three captured nude women. The party members are armed with spears and other weapons. Two men at the front wear pelts over their heads, indicating they are berserkers. Behind the immediate frontline, the hunt is led by the god Thor, who towers above the rest in his chariot pulled by two goats, raising his war hammer and wearing a crown.The Wild Hunt of Odin was painted in Paris in 1872. Most directly, it is based on Johan Sebastian Welhaven's poem Asgaardsreien, with the opening "Through the nightly air stampedes a train of frothing black horses". The poem is about a Christmas wedding that turns violent and is visited by the Wild Hunt. The painting's compositional arrangement, with its diagonal movements, is close to Arbo's Kunstakademie Düsseldorf work Saint Olav at the Battle of Stiklestad (1859). Another visual influence was Bråvallaslaget (1860–62) by Malmström, which depicts the Norse gods in the sky above a battlefield. The way the mythological subjects are treated aligns with Johann Joachim Winckelmann's position, which stated that Germanic deities should be depicted according to the conventions of Greco-Roman subjects. As a consequence, Arbo's Thor wears a crown, and his hammer looks different from historical Scandinavian depictions. The valkyries are half nude and have untamed hair, whereas in Old Norse poetry they are described as wearing their hair pulled back and carrying horns of ale.
|
[
"war hammer",
"valkyrie",
"Thor",
"Johan Sebastian Welhaven",
"berserker",
"Bråvallaslaget",
"Wild Hunt",
"Johann Joachim Winckelmann",
"Paris",
"Kunstakademie Düsseldorf",
"Sigurd",
"Odin"
] |
|
14190_NT
|
The Wild Hunt of Odin
|
Focus on this artwork and analyze the Subject and composition.
|
The Wild Hunt of Odin shows a hunting party of airborne horsemen who move across a dark sky. They are accompanied by ravens and owls and seem to emerge from clouds in the background. All horses are black except for one white horse at the front. Spearheading the hunt is a helmeted man, possibly Sigurd, and two bare-breasted valkyries. The rest of the hunters appear to be men, with the addition of three captured nude women. The party members are armed with spears and other weapons. Two men at the front wear pelts over their heads, indicating they are berserkers. Behind the immediate frontline, the hunt is led by the god Thor, who towers above the rest in his chariot pulled by two goats, raising his war hammer and wearing a crown.The Wild Hunt of Odin was painted in Paris in 1872. Most directly, it is based on Johan Sebastian Welhaven's poem Asgaardsreien, with the opening "Through the nightly air stampedes a train of frothing black horses". The poem is about a Christmas wedding that turns violent and is visited by the Wild Hunt. The painting's compositional arrangement, with its diagonal movements, is close to Arbo's Kunstakademie Düsseldorf work Saint Olav at the Battle of Stiklestad (1859). Another visual influence was Bråvallaslaget (1860–62) by Malmström, which depicts the Norse gods in the sky above a battlefield. The way the mythological subjects are treated aligns with Johann Joachim Winckelmann's position, which stated that Germanic deities should be depicted according to the conventions of Greco-Roman subjects. As a consequence, Arbo's Thor wears a crown, and his hammer looks different from historical Scandinavian depictions. The valkyries are half nude and have untamed hair, whereas in Old Norse poetry they are described as wearing their hair pulled back and carrying horns of ale.
|
[
"war hammer",
"valkyrie",
"Thor",
"Johan Sebastian Welhaven",
"berserker",
"Bråvallaslaget",
"Wild Hunt",
"Johann Joachim Winckelmann",
"Paris",
"Kunstakademie Düsseldorf",
"Sigurd",
"Odin"
] |
|
14191_T
|
The Wild Hunt of Odin
|
In The Wild Hunt of Odin, how is the Reception discussed?
|
The Wild Hunt of Odin was first shown in public at Copenhagen's Nordic Exhibition of 1872, where it was presented along with Thor's Fight with the Giants by Winge. The National Museum in Oslo bought Arbo's painting the same year.By 1872, the depiction of Norse myths was largely out of fashion among art critics, who had more enthusiasm for Realism. In his review from the Nordic Exhibition, the critic Julius Lange dismissed Arbo's and Winge's mythological works as "ghosts and bogeymen".Over time, The Wild Hunt of Odin has been among Arbo's most celebrated works. Norsk kunstnerleksikon described it in 2013 as his "chief work" and complimented its "true, dramatic pathos" and "rich and imaginative composition".
|
[
"Nordic Exhibition of 1872",
"Realism",
"Norsk kunstnerleksikon",
"Thor",
"Wild Hunt",
"Oslo",
"National Museum",
"Julius Lange",
"Thor's Fight with the Giants",
"Odin"
] |
|
14191_NT
|
The Wild Hunt of Odin
|
In this artwork, how is the Reception discussed?
|
The Wild Hunt of Odin was first shown in public at Copenhagen's Nordic Exhibition of 1872, where it was presented along with Thor's Fight with the Giants by Winge. The National Museum in Oslo bought Arbo's painting the same year.By 1872, the depiction of Norse myths was largely out of fashion among art critics, who had more enthusiasm for Realism. In his review from the Nordic Exhibition, the critic Julius Lange dismissed Arbo's and Winge's mythological works as "ghosts and bogeymen".Over time, The Wild Hunt of Odin has been among Arbo's most celebrated works. Norsk kunstnerleksikon described it in 2013 as his "chief work" and complimented its "true, dramatic pathos" and "rich and imaginative composition".
|
[
"Nordic Exhibition of 1872",
"Realism",
"Norsk kunstnerleksikon",
"Thor",
"Wild Hunt",
"Oslo",
"National Museum",
"Julius Lange",
"Thor's Fight with the Giants",
"Odin"
] |
|
14192_T
|
The Wild Hunt of Odin
|
Focus on The Wild Hunt of Odin and explore the Legacy.
|
The Swedish heavy metal band Bathory used The Wild Hunt of Odin on the cover of the album Blood Fire Death (1988). This established the Wild Hunt as a popular motif in metal music in general and black metal and pagan metal in particular.
|
[
"Blood Fire Death",
"pagan metal",
"Wild Hunt",
"heavy metal",
"Bathory",
"black metal",
"Odin"
] |
|
14192_NT
|
The Wild Hunt of Odin
|
Focus on this artwork and explore the Legacy.
|
The Swedish heavy metal band Bathory used The Wild Hunt of Odin on the cover of the album Blood Fire Death (1988). This established the Wild Hunt as a popular motif in metal music in general and black metal and pagan metal in particular.
|
[
"Blood Fire Death",
"pagan metal",
"Wild Hunt",
"heavy metal",
"Bathory",
"black metal",
"Odin"
] |
|
14193_T
|
Olmec Head Replica
|
Focus on Olmec Head Replica and explain the abstract.
|
Olmec Head Replica is installed in Salt Lake City, Utah, United States.
|
[
"Salt Lake City",
"Utah"
] |
|
14193_NT
|
Olmec Head Replica
|
Focus on this artwork and explain the abstract.
|
Olmec Head Replica is installed in Salt Lake City, Utah, United States.
|
[
"Salt Lake City",
"Utah"
] |
|
14194_T
|
Olmec Head Replica
|
Explore the Description and history of this artwork, Olmec Head Replica.
|
The grey limestone sculpture represents Mexico in Jordan Park's International Peace Gardens. It measures approximately 5.5 x 4.5 x 3.5 ft and rests on a cement and concrete base which measures approximately 4 in. x 5 ft. x 4 ft. The replica was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1994.
|
[
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"International Peace Gardens",
"Jordan Park",
"Mexico"
] |
|
14194_NT
|
Olmec Head Replica
|
Explore the Description and history of this artwork.
|
The grey limestone sculpture represents Mexico in Jordan Park's International Peace Gardens. It measures approximately 5.5 x 4.5 x 3.5 ft and rests on a cement and concrete base which measures approximately 4 in. x 5 ft. x 4 ft. The replica was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1994.
|
[
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"International Peace Gardens",
"Jordan Park",
"Mexico"
] |
|
14195_T
|
Antigrazioso
|
Focus on Antigrazioso and discuss the abstract.
|
Antigrazioso or L'antigrazioso (Italian for "The Anti-graceful"), also known as The Mother (La madre), is a patinated gesso sculpture by Umberto Boccioni realized between 1912 and 1913; it is located in the Galleria nazionale d'arte moderna e contemporanea of Rome.The bust is one of the few surviving examples of Futurist sculptures made by Boccioni in 1912 and 1913 and exhibited at the Galerie 23 in Paris in 1913.
|
[
"Futurist",
"sculpture",
"Rome",
"Umberto Boccioni",
"gesso",
"Galleria nazionale d'arte moderna e contemporanea",
"bust"
] |
|
14195_NT
|
Antigrazioso
|
Focus on this artwork and discuss the abstract.
|
Antigrazioso or L'antigrazioso (Italian for "The Anti-graceful"), also known as The Mother (La madre), is a patinated gesso sculpture by Umberto Boccioni realized between 1912 and 1913; it is located in the Galleria nazionale d'arte moderna e contemporanea of Rome.The bust is one of the few surviving examples of Futurist sculptures made by Boccioni in 1912 and 1913 and exhibited at the Galerie 23 in Paris in 1913.
|
[
"Futurist",
"sculpture",
"Rome",
"Umberto Boccioni",
"gesso",
"Galleria nazionale d'arte moderna e contemporanea",
"bust"
] |
|
14196_T
|
Antigrazioso
|
How does Antigrazioso elucidate its History?
|
The original gesso, exhibited since 1938 in the Galleria nazionale d'arte moderna, was acquired in 1950 by the museum from Benedetta Marinetti.
|
[
"gesso"
] |
|
14196_NT
|
Antigrazioso
|
How does this artwork elucidate its History?
|
The original gesso, exhibited since 1938 in the Galleria nazionale d'arte moderna, was acquired in 1950 by the museum from Benedetta Marinetti.
|
[
"gesso"
] |
|
14197_T
|
Antigrazioso
|
Focus on Antigrazioso and analyze the Description.
|
The sculpture represents the futurist decomposition of the face of the artist's beloved mother, also portrayed in the 1913 painting Materia. Boccioni also executed a 1913 painting with the same title, Antigrazioso, but with a different setting.
The sculpture has a similar style of Unique Forms of Continuity in Space.
|
[
"futurist",
"sculpture",
"Unique Forms of Continuity in Space"
] |
|
14197_NT
|
Antigrazioso
|
Focus on this artwork and analyze the Description.
|
The sculpture represents the futurist decomposition of the face of the artist's beloved mother, also portrayed in the 1913 painting Materia. Boccioni also executed a 1913 painting with the same title, Antigrazioso, but with a different setting.
The sculpture has a similar style of Unique Forms of Continuity in Space.
|
[
"futurist",
"sculpture",
"Unique Forms of Continuity in Space"
] |
|
14198_T
|
Antigrazioso
|
In Antigrazioso, how is the Bronze cast discussed?
|
In 1950-1951, a bronze casting of the artwork was made. It was acquired and exhibited by the Metropolitan Museum of New York.
|
[
"Metropolitan Museum",
"New York"
] |
|
14198_NT
|
Antigrazioso
|
In this artwork, how is the Bronze cast discussed?
|
In 1950-1951, a bronze casting of the artwork was made. It was acquired and exhibited by the Metropolitan Museum of New York.
|
[
"Metropolitan Museum",
"New York"
] |
|
14199_T
|
A Dance to the Music of Time (painting)
|
Focus on A Dance to the Music of Time (painting) and explore the abstract.
|
A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.
|
[
"Season",
"Four Seasons",
"Nicolas Poussin",
"Bellori",
"Wallace Collection",
"iconography",
"Pope Clement IX",
"A Dance to the Music of Time",
"London",
"Gian Pietro Bellori",
"Bibliothèque nationale de France"
] |
|
14199_NT
|
A Dance to the Music of Time (painting)
|
Focus on this artwork and explore the abstract.
|
A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.
|
[
"Season",
"Four Seasons",
"Nicolas Poussin",
"Bellori",
"Wallace Collection",
"iconography",
"Pope Clement IX",
"A Dance to the Music of Time",
"London",
"Gian Pietro Bellori",
"Bibliothèque nationale de France"
] |
|
14200_T
|
A Dance to the Music of Time (painting)
|
Focus on A Dance to the Music of Time (painting) and explain the Description.
|
There are four figures, holding each other by the hand, dance in a circle, as Time plays a lyre on the right. The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.
According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, Labour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, Labour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure. André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the Late Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair." Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/Labour and Time.
The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.
|
[
"lyre",
"Season",
"Jupiter",
"Four Seasons",
"herma",
"André Félibien",
"Bellori",
"iconography",
"Aurora",
"pentimenti",
"Nonnus",
"Zodiac",
"Bacchus",
"Boitet de Frauville",
"allegory",
"Pierre de Ronsard",
"Anthony Blunt",
"Apollo"
] |
|
14200_NT
|
A Dance to the Music of Time (painting)
|
Focus on this artwork and explain the Description.
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There are four figures, holding each other by the hand, dance in a circle, as Time plays a lyre on the right. The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.
According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, Labour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, Labour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure. André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the Late Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair." Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/Labour and Time.
The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.
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[
"lyre",
"Season",
"Jupiter",
"Four Seasons",
"herma",
"André Félibien",
"Bellori",
"iconography",
"Aurora",
"pentimenti",
"Nonnus",
"Zodiac",
"Bacchus",
"Boitet de Frauville",
"allegory",
"Pierre de Ronsard",
"Anthony Blunt",
"Apollo"
] |
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