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|---|---|---|---|---|---|
14201_T
|
A Dance to the Music of Time (painting)
|
Explore the Anthony Powell of this artwork, A Dance to the Music of Time (painting).
|
At the start of Anthony Powell's series of novels named after the painting, the narrator, Nicolas Jenkins, reflects on it in the first two pages of A Question of Upbringing:These classical projections, and something from the fire, suddenly suggested Poussin's scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure, stepping slowly, methodically sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.
|
[
"lyre",
"Season",
"series of novels",
"Anthony Powell",
"A Question of Upbringing"
] |
|
14201_NT
|
A Dance to the Music of Time (painting)
|
Explore the Anthony Powell of this artwork.
|
At the start of Anthony Powell's series of novels named after the painting, the narrator, Nicolas Jenkins, reflects on it in the first two pages of A Question of Upbringing:These classical projections, and something from the fire, suddenly suggested Poussin's scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure, stepping slowly, methodically sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.
|
[
"lyre",
"Season",
"series of novels",
"Anthony Powell",
"A Question of Upbringing"
] |
|
14202_T
|
A Dance to the Music of Time (painting)
|
Focus on A Dance to the Music of Time (painting) and discuss the Provenance.
|
It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.
|
[
"Sir Richard Wallace",
"Joseph Fesch",
"Art Treasures Exhibition, Manchester 1857",
"Richard Seymour-Conway, 4th Marquess of Hertford",
"Joseph Fesch collection"
] |
|
14202_NT
|
A Dance to the Music of Time (painting)
|
Focus on this artwork and discuss the Provenance.
|
It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.
|
[
"Sir Richard Wallace",
"Joseph Fesch",
"Art Treasures Exhibition, Manchester 1857",
"Richard Seymour-Conway, 4th Marquess of Hertford",
"Joseph Fesch collection"
] |
|
14203_T
|
Madonna with the Christ Child Reading
|
How does Madonna with the Christ Child Reading elucidate its abstract?
|
Madonna with the Christ Child Reading is a c.1494–1498 oil on panel painting by Pinturicchio, now in the North Carolina Museum of Art in Raleigh. It is a simplified autograph version of Madonna of Peace by the same artist.
|
[
"North Carolina Museum of Art",
"Raleigh",
"Pinturicchio",
"Madonna of Peace"
] |
|
14203_NT
|
Madonna with the Christ Child Reading
|
How does this artwork elucidate its abstract?
|
Madonna with the Christ Child Reading is a c.1494–1498 oil on panel painting by Pinturicchio, now in the North Carolina Museum of Art in Raleigh. It is a simplified autograph version of Madonna of Peace by the same artist.
|
[
"North Carolina Museum of Art",
"Raleigh",
"Pinturicchio",
"Madonna of Peace"
] |
|
14204_T
|
Equestrian statue of Christian V
|
Focus on Equestrian statue of Christian V and analyze the abstract.
|
The equestrian statue of Christian V, located in the centre of Kongens Nytorv, is the oldest of five equestrian statues of Danish monarchs in Copenhagen, Denmark. The equestrian statue was created by the French sculptor Abraham-César Lamoureux, inspired by French equestrian statues that had themselves been based on the Equestrian Statue of Marcus Aurelius. Dating from 1688, it was originally made in gilded lead but recast in bronze in 1939.
|
[
"Copenhagen",
"bronze",
"Abraham-César Lamoureux",
"equestrian statue",
"Christian V",
"Denmark",
"gilded",
"Equestrian Statue of Marcus Aurelius",
"Kongens Nytorv",
"Marcus Aurelius",
"lead"
] |
|
14204_NT
|
Equestrian statue of Christian V
|
Focus on this artwork and analyze the abstract.
|
The equestrian statue of Christian V, located in the centre of Kongens Nytorv, is the oldest of five equestrian statues of Danish monarchs in Copenhagen, Denmark. The equestrian statue was created by the French sculptor Abraham-César Lamoureux, inspired by French equestrian statues that had themselves been based on the Equestrian Statue of Marcus Aurelius. Dating from 1688, it was originally made in gilded lead but recast in bronze in 1939.
|
[
"Copenhagen",
"bronze",
"Abraham-César Lamoureux",
"equestrian statue",
"Christian V",
"Denmark",
"gilded",
"Equestrian Statue of Marcus Aurelius",
"Kongens Nytorv",
"Marcus Aurelius",
"lead"
] |
|
14205_T
|
Equestrian statue of Christian V
|
In Equestrian statue of Christian V, how is the Description discussed?
|
With direct inspiration from the equestrian statue of Louis XIII at the centre of Place des Vosges, it depicts the king dressed like a Roman imperator with a Laurel wreathed helmet.
The plinth is surrounded by four allegorical statues. Facing Charlottenborg Palace stand two figures of Minerva and Herkules, representing prudence and strength, while the opposite side features statues of Alexander the Great and Artemisia, personifications of fortitude and honour.
Even though Lamoureux depicted the horse in a trot-like gait, with inspiration from Marcus Aurelius' horse at the Capitoline Hill, the design caused severe problems due to the soft metal used for the casting. The construction therefore had to be strengthened, and Lamoureux introduced a figure of a naked man crouched underneath the horse's hoof, personifying envy but in the same time affording support for the horse's barrel as the weakest point of the statue.
|
[
"Minerva",
"Capitoline Hill",
"Laurel wreath",
"gait",
"prudence",
"Alexander the Great",
"Place des Vosges",
"trot",
"equestrian statue",
"strength",
"Artemisia",
"helmet",
"envy",
"honour",
"Herkules",
"fortitude",
"Marcus Aurelius",
"Roman imperator",
"allegorical statues",
"plinth",
"Louis XIII"
] |
|
14205_NT
|
Equestrian statue of Christian V
|
In this artwork, how is the Description discussed?
|
With direct inspiration from the equestrian statue of Louis XIII at the centre of Place des Vosges, it depicts the king dressed like a Roman imperator with a Laurel wreathed helmet.
The plinth is surrounded by four allegorical statues. Facing Charlottenborg Palace stand two figures of Minerva and Herkules, representing prudence and strength, while the opposite side features statues of Alexander the Great and Artemisia, personifications of fortitude and honour.
Even though Lamoureux depicted the horse in a trot-like gait, with inspiration from Marcus Aurelius' horse at the Capitoline Hill, the design caused severe problems due to the soft metal used for the casting. The construction therefore had to be strengthened, and Lamoureux introduced a figure of a naked man crouched underneath the horse's hoof, personifying envy but in the same time affording support for the horse's barrel as the weakest point of the statue.
|
[
"Minerva",
"Capitoline Hill",
"Laurel wreath",
"gait",
"prudence",
"Alexander the Great",
"Place des Vosges",
"trot",
"equestrian statue",
"strength",
"Artemisia",
"helmet",
"envy",
"honour",
"Herkules",
"fortitude",
"Marcus Aurelius",
"Roman imperator",
"allegorical statues",
"plinth",
"Louis XIII"
] |
|
14206_T
|
The Cranberry Harvest, Island of Nantucket
|
Focus on The Cranberry Harvest, Island of Nantucket and explore the abstract.
|
The Cranberry Harvest, Island of Nantucket is an 1880 oil painting on canvas by the American artist Eastman Johnson. It is in the Timken Museum of Art, which acquired it in 1972.
|
[
"Eastman Johnson",
"Timken Museum of Art"
] |
|
14206_NT
|
The Cranberry Harvest, Island of Nantucket
|
Focus on this artwork and explore the abstract.
|
The Cranberry Harvest, Island of Nantucket is an 1880 oil painting on canvas by the American artist Eastman Johnson. It is in the Timken Museum of Art, which acquired it in 1972.
|
[
"Eastman Johnson",
"Timken Museum of Art"
] |
|
14207_T
|
The Cross, Monmouth
|
Focus on The Cross, Monmouth and explain the History.
|
Some nineteenth century sources suggest that the original cross was in existence before 1039. St Thomas' Square was thought to have been a market place before Monnow Bridge linked Overmonnow to the rest of the town, and the cross may have been used for preaching at market times.
On 1 April 1764, an 18-year-old woman was condemned at Monmouth assizes to be burned to death for poisoning her mistress. The sentence was carried out close to the Cross.A cross is shown in its current location in John Speed's map of Monmouth, dated 1611. However, by the late 19th century the only portion left was the stone base, in the road close to the Green Dragon Inn. In 1888, Charles Henry Crompton-Roberts, of nearby Drybridge House, undertook to have the cross rebuilt and erected in the centre of the crossroads. At the time, and until the town was by-passed in 1966, the road was the main route into Monmouth from the west. Crompton-Roberts was said to have argued with the authorities about its reintroduction to the middle of the square, and the Vicar of St Thomas, Rev P Potter, was also said to have been instrumental in returning the cross to its original position. A new shaft was designed by architect F.A. Powell, who worked at the same time on renovations to St Thomas' church. It was built by William Simmonds and carved by H. Wall of Newport. Wall also carved the four figures in the recess of the cross, which are St Thomas, St Mary, St Michael and St Cenhadlon. H Wall was paid £70 for his work.A drinking fountain was erected in 1897 next to the church, to celebrate Queen Victoria's Diamond Jubilee. A horse trough was installed next to the Cross at the same time, but complaints followed about the congestion and hazards caused by carts left standing around the cross and it was later removed. Besides the church the cross is also in front of The Green Dragon pub.
|
[
"H. Wall of Newport",
"Monmouth",
"drinking fountain",
"Drybridge House",
"Vicar",
"The Green Dragon",
"Charles Henry Crompton-Roberts",
"assizes",
"Monnow Bridge",
"Diamond Jubilee",
"Overmonnow",
"John Speed",
"Queen Victoria's",
"Queen Victoria",
"Green Dragon Inn"
] |
|
14207_NT
|
The Cross, Monmouth
|
Focus on this artwork and explain the History.
|
Some nineteenth century sources suggest that the original cross was in existence before 1039. St Thomas' Square was thought to have been a market place before Monnow Bridge linked Overmonnow to the rest of the town, and the cross may have been used for preaching at market times.
On 1 April 1764, an 18-year-old woman was condemned at Monmouth assizes to be burned to death for poisoning her mistress. The sentence was carried out close to the Cross.A cross is shown in its current location in John Speed's map of Monmouth, dated 1611. However, by the late 19th century the only portion left was the stone base, in the road close to the Green Dragon Inn. In 1888, Charles Henry Crompton-Roberts, of nearby Drybridge House, undertook to have the cross rebuilt and erected in the centre of the crossroads. At the time, and until the town was by-passed in 1966, the road was the main route into Monmouth from the west. Crompton-Roberts was said to have argued with the authorities about its reintroduction to the middle of the square, and the Vicar of St Thomas, Rev P Potter, was also said to have been instrumental in returning the cross to its original position. A new shaft was designed by architect F.A. Powell, who worked at the same time on renovations to St Thomas' church. It was built by William Simmonds and carved by H. Wall of Newport. Wall also carved the four figures in the recess of the cross, which are St Thomas, St Mary, St Michael and St Cenhadlon. H Wall was paid £70 for his work.A drinking fountain was erected in 1897 next to the church, to celebrate Queen Victoria's Diamond Jubilee. A horse trough was installed next to the Cross at the same time, but complaints followed about the congestion and hazards caused by carts left standing around the cross and it was later removed. Besides the church the cross is also in front of The Green Dragon pub.
|
[
"H. Wall of Newport",
"Monmouth",
"drinking fountain",
"Drybridge House",
"Vicar",
"The Green Dragon",
"Charles Henry Crompton-Roberts",
"assizes",
"Monnow Bridge",
"Diamond Jubilee",
"Overmonnow",
"John Speed",
"Queen Victoria's",
"Queen Victoria",
"Green Dragon Inn"
] |
|
14208_T
|
Les Mots écrits de New Bell
|
Explore the abstract of this artwork, Les Mots écrits de New Bell.
|
Les Mots écrits de New Bell is a set of six mural installations created by Hervé Yamguen and located in Douala (Cameroon).
|
[
"New Bell",
"Hervé Yamguen",
"Douala",
"Cameroon"
] |
|
14208_NT
|
Les Mots écrits de New Bell
|
Explore the abstract of this artwork.
|
Les Mots écrits de New Bell is a set of six mural installations created by Hervé Yamguen and located in Douala (Cameroon).
|
[
"New Bell",
"Hervé Yamguen",
"Douala",
"Cameroon"
] |
|
14209_T
|
Les Mots écrits de New Bell
|
Focus on Les Mots écrits de New Bell and discuss the The artwork.
|
Les Mots Écrits de New Bell is a set of six mural installations by Hervé Yamguen. It is part of "Liquid projects", a program of SUD2010 that financed the production of permanent artworks dedicated to the theme of water in the neighborhoods of residence of four local artists. In New Bell, Yamguen worked in collaboration with two local rappers, Picsou and Moctomoflar, engaging them in the recording (and releasing) of a four songs album about water. During the production process the artist also introduced young people and local residents to the project through night performances and discussion meetings. From the lyrics of rappers, Yamguen extracted text fragments, reproducing them on six façades of Ngangue's neighborhood that were spontaneously offered by locals.
Les Mots Écrits de New Bell were produced on different supports: neon lights, tile mosaics, mirrors, iron rods, and painting. The text fragments selected by Yamguen clearly depict the reality of hardship and hope of New Bell's inhabitants.
Here the texts:Après le temps mort vient le temps vif comme un coup de foudre. Ne pleure pas maman, tous les yeux de la ville pleuvent sur moi. Tranquille papa on ne panique pas;
La vie saine, la joie de se sentir bien, l’envie de vivre de bonheur;
Se sentir bien;
La nuit le bonheur c’est dans les moustiquaires;
Wash ma life, Lave mon âme; Wash mes ways, Lave mon kwatt;
Dans les eaux sales du quartier, dans ma ruelle, ma jeunesse rebelle.However, two of these installations were removed: the first one – “Wash ma life, Lave mon âme, Wash mes ways, Lave mon kwatt” – for degradation, due to its position on the wall of a car washer; the second one – “Dans les eaux sales du quartier, dans ma ruelle, ma jeunesse rebelle” – was vandalized by the owner of the wall due to hard discussions with the rapper who wrote the sentence.
The inauguration of the artwork took place during SUD - Salon Urbain de Douala 2010.
|
[
"New Bell",
"mirror",
"neon light",
"water",
"Hervé Yamguen",
"mosaic",
"iron rods",
"Douala",
"SUD - Salon Urbain de Douala 2010",
"SUD2010"
] |
|
14209_NT
|
Les Mots écrits de New Bell
|
Focus on this artwork and discuss the The artwork.
|
Les Mots Écrits de New Bell is a set of six mural installations by Hervé Yamguen. It is part of "Liquid projects", a program of SUD2010 that financed the production of permanent artworks dedicated to the theme of water in the neighborhoods of residence of four local artists. In New Bell, Yamguen worked in collaboration with two local rappers, Picsou and Moctomoflar, engaging them in the recording (and releasing) of a four songs album about water. During the production process the artist also introduced young people and local residents to the project through night performances and discussion meetings. From the lyrics of rappers, Yamguen extracted text fragments, reproducing them on six façades of Ngangue's neighborhood that were spontaneously offered by locals.
Les Mots Écrits de New Bell were produced on different supports: neon lights, tile mosaics, mirrors, iron rods, and painting. The text fragments selected by Yamguen clearly depict the reality of hardship and hope of New Bell's inhabitants.
Here the texts:Après le temps mort vient le temps vif comme un coup de foudre. Ne pleure pas maman, tous les yeux de la ville pleuvent sur moi. Tranquille papa on ne panique pas;
La vie saine, la joie de se sentir bien, l’envie de vivre de bonheur;
Se sentir bien;
La nuit le bonheur c’est dans les moustiquaires;
Wash ma life, Lave mon âme; Wash mes ways, Lave mon kwatt;
Dans les eaux sales du quartier, dans ma ruelle, ma jeunesse rebelle.However, two of these installations were removed: the first one – “Wash ma life, Lave mon âme, Wash mes ways, Lave mon kwatt” – for degradation, due to its position on the wall of a car washer; the second one – “Dans les eaux sales du quartier, dans ma ruelle, ma jeunesse rebelle” – was vandalized by the owner of the wall due to hard discussions with the rapper who wrote the sentence.
The inauguration of the artwork took place during SUD - Salon Urbain de Douala 2010.
|
[
"New Bell",
"mirror",
"neon light",
"water",
"Hervé Yamguen",
"mosaic",
"iron rods",
"Douala",
"SUD - Salon Urbain de Douala 2010",
"SUD2010"
] |
|
14210_T
|
Passerini Assumption
|
How does Passerini Assumption elucidate its abstract?
|
Passerini Assumption (Italian: Assunta Passerini) is an oi-on-panel painting executed in 1526 by Italian Renaissance artist Andrea del Sarto. It is housed in the Galleria Palatina of Palazzo Pitti, Florence, Italy.
|
[
"Florence",
"Italy",
"Palazzo Pitti",
"Andrea del Sarto",
"Galleria Palatina"
] |
|
14210_NT
|
Passerini Assumption
|
How does this artwork elucidate its abstract?
|
Passerini Assumption (Italian: Assunta Passerini) is an oi-on-panel painting executed in 1526 by Italian Renaissance artist Andrea del Sarto. It is housed in the Galleria Palatina of Palazzo Pitti, Florence, Italy.
|
[
"Florence",
"Italy",
"Palazzo Pitti",
"Andrea del Sarto",
"Galleria Palatina"
] |
|
14211_T
|
Passerini Assumption
|
Focus on Passerini Assumption and analyze the History.
|
The work was commissioned by Margherita Passerini for her private altar in church of Santa Maria fuori le mura at Cortona: the contract is dated 1526, for a price of 155 florins. In 1553 the friars of that church moved, together with their properties including this artwork, to the church of Sant'Antonio dei Servi.
In 1639 the panel was acquired by Grand Duke Ferdinand II de' Medici; a copy paid by him to remain in the church is now in the Diocesan Museum of Cortona. the work later was moved to the current location, in pair with the similar Panciatichi Assumption also by Andrea del Sarto.
|
[
"Panciatichi Assumption",
"florins",
"Ferdinand II de' Medici",
"Andrea del Sarto",
"Cortona"
] |
|
14211_NT
|
Passerini Assumption
|
Focus on this artwork and analyze the History.
|
The work was commissioned by Margherita Passerini for her private altar in church of Santa Maria fuori le mura at Cortona: the contract is dated 1526, for a price of 155 florins. In 1553 the friars of that church moved, together with their properties including this artwork, to the church of Sant'Antonio dei Servi.
In 1639 the panel was acquired by Grand Duke Ferdinand II de' Medici; a copy paid by him to remain in the church is now in the Diocesan Museum of Cortona. the work later was moved to the current location, in pair with the similar Panciatichi Assumption also by Andrea del Sarto.
|
[
"Panciatichi Assumption",
"florins",
"Ferdinand II de' Medici",
"Andrea del Sarto",
"Cortona"
] |
|
14212_T
|
Passerini Assumption
|
In Passerini Assumption, how is the Description discussed?
|
Andrea del Sarto painted this work using his previous Panciatichi Assumption as model. The few variants include the dark background, instead of a landscape, the different position of Mary and the angels around her, and the replacement of the right kneeling apostle with Blessed Margaret of Cortona, who was the donor's protector. The left apostle was replaced by St. Nicholas, patron of the donor's father or dead son.
At the time of the execution of this version, Andrea del Sarto was already married, and (as mentioned by late biographer Giorgio Vasari) Mary's face is likely a portrait of his wife.
|
[
"Giorgio Vasari",
"Panciatichi Assumption",
"Margaret of Cortona",
"Andrea del Sarto",
"Cortona",
"St. Nicholas"
] |
|
14212_NT
|
Passerini Assumption
|
In this artwork, how is the Description discussed?
|
Andrea del Sarto painted this work using his previous Panciatichi Assumption as model. The few variants include the dark background, instead of a landscape, the different position of Mary and the angels around her, and the replacement of the right kneeling apostle with Blessed Margaret of Cortona, who was the donor's protector. The left apostle was replaced by St. Nicholas, patron of the donor's father or dead son.
At the time of the execution of this version, Andrea del Sarto was already married, and (as mentioned by late biographer Giorgio Vasari) Mary's face is likely a portrait of his wife.
|
[
"Giorgio Vasari",
"Panciatichi Assumption",
"Margaret of Cortona",
"Andrea del Sarto",
"Cortona",
"St. Nicholas"
] |
|
14213_T
|
Albert Lindegger
|
Focus on Albert Lindegger and explore the abstract.
|
Albert Lindegger or Lindi (14 September 1904 – 14 October 1991) was a Swiss painter and illustrator, best known as a political satirist.Born in Berne, he studied art in Paris, at the Académie André Lhote. In 1934 he adopted the artist name "Lindi", and exhibited in the Kunsthalle Bern. By the 1930s he had established himself as a caricaturist, and travelled widely through Europe, visiting Spain and Turkey, as well as Madagascar and countries in Northern Africa. Through the years of the Second World War, Lindegger continued to draw caricatures, often critical of the German Nazi regime, but also illustrated books such as Émile Zola's Nana and Guy de Maupassant's Bel Ami and Une vie.After the war he continued to contribute illustrations to magazines, and worked for the publications Die Weltwoche in Basel and National-Zeitung and Der Bund in Berne. He was often employed to produce illustrations from international events such as the 1948 Winter Olympics in St. Moritz. Lindegger exhibited at various galleries and exhibitions over the years, such as the Kunstmuseum in Lucerne, the Landweer Gallery in Amsterdam, and in 1927 at the prestigious Paris Salon d'Automne. He was also responsible for murals at the headquarters of the cantonal police, and at the crematorium in Berne.His drawings are characteristically black-and-white line-drawings, often with humorous, anthropomorphic motifs. Though best known for his illustrations, Lindegger also produced sculptures, and erotic drawings of high artistic value, frequently as illustrations to self-written books. In addition to this he was also a filmmaker, and had to his credit the movies Flug in den Hoggar (1948) and Madagaskar (1951).Lindegger married Marianne Murkowsky in 1906. Together they had the sons Marc Albert in 1962, and Renè in 1965, who died in an accident in 1984. Albert Lindegger died at the hospital San Giovanni in Bellinzona in 1991.
|
[
"Amsterdam",
"Bel Ami",
"National-Zeitung",
"Bellinzona",
"Nana",
"St. Moritz",
"Der Bund",
"caricaturist",
"Kunsthalle Bern",
"Basel",
"Émile Zola",
"Madagascar",
"Turkey",
"Second World War",
"1948 Winter Olympics",
"Une vie",
"cantonal police",
"Lucerne",
"satirist",
"black-and-white",
"line-drawings",
"Salon d'Automne",
"André Lhote",
"Europe",
"Die Weltwoche",
"Spain",
"Berne",
"caricature",
"anthropomorphic",
"Paris",
"Northern Africa",
"Guy de Maupassant",
"Swiss",
"German Nazi regime",
"Bern"
] |
|
14213_NT
|
Albert Lindegger
|
Focus on this artwork and explore the abstract.
|
Albert Lindegger or Lindi (14 September 1904 – 14 October 1991) was a Swiss painter and illustrator, best known as a political satirist.Born in Berne, he studied art in Paris, at the Académie André Lhote. In 1934 he adopted the artist name "Lindi", and exhibited in the Kunsthalle Bern. By the 1930s he had established himself as a caricaturist, and travelled widely through Europe, visiting Spain and Turkey, as well as Madagascar and countries in Northern Africa. Through the years of the Second World War, Lindegger continued to draw caricatures, often critical of the German Nazi regime, but also illustrated books such as Émile Zola's Nana and Guy de Maupassant's Bel Ami and Une vie.After the war he continued to contribute illustrations to magazines, and worked for the publications Die Weltwoche in Basel and National-Zeitung and Der Bund in Berne. He was often employed to produce illustrations from international events such as the 1948 Winter Olympics in St. Moritz. Lindegger exhibited at various galleries and exhibitions over the years, such as the Kunstmuseum in Lucerne, the Landweer Gallery in Amsterdam, and in 1927 at the prestigious Paris Salon d'Automne. He was also responsible for murals at the headquarters of the cantonal police, and at the crematorium in Berne.His drawings are characteristically black-and-white line-drawings, often with humorous, anthropomorphic motifs. Though best known for his illustrations, Lindegger also produced sculptures, and erotic drawings of high artistic value, frequently as illustrations to self-written books. In addition to this he was also a filmmaker, and had to his credit the movies Flug in den Hoggar (1948) and Madagaskar (1951).Lindegger married Marianne Murkowsky in 1906. Together they had the sons Marc Albert in 1962, and Renè in 1965, who died in an accident in 1984. Albert Lindegger died at the hospital San Giovanni in Bellinzona in 1991.
|
[
"Amsterdam",
"Bel Ami",
"National-Zeitung",
"Bellinzona",
"Nana",
"St. Moritz",
"Der Bund",
"caricaturist",
"Kunsthalle Bern",
"Basel",
"Émile Zola",
"Madagascar",
"Turkey",
"Second World War",
"1948 Winter Olympics",
"Une vie",
"cantonal police",
"Lucerne",
"satirist",
"black-and-white",
"line-drawings",
"Salon d'Automne",
"André Lhote",
"Europe",
"Die Weltwoche",
"Spain",
"Berne",
"caricature",
"anthropomorphic",
"Paris",
"Northern Africa",
"Guy de Maupassant",
"Swiss",
"German Nazi regime",
"Bern"
] |
|
14214_T
|
City Reflections
|
Focus on City Reflections and explain the abstract.
|
City Reflections is an outdoor 2009 bronze sculpture by Patti Warashina, located in downtown Portland, Oregon.
|
[
"Portland, Oregon",
"bronze sculpture",
"Patti Warashina",
"downtown"
] |
|
14214_NT
|
City Reflections
|
Focus on this artwork and explain the abstract.
|
City Reflections is an outdoor 2009 bronze sculpture by Patti Warashina, located in downtown Portland, Oregon.
|
[
"Portland, Oregon",
"bronze sculpture",
"Patti Warashina",
"downtown"
] |
|
14215_T
|
City Reflections
|
Explore the Description and history of this artwork, City Reflections.
|
City Reflections was designed by American artist Patti Warashina, who was inspired by life on a public walkway in an urban environment. It was installed at the intersection of Southwest 6th Avenue and Southwest Main Street on the Portland Transit Mall in 2009. It consists of two bronze sculptures depicting a standing figure and dog, respectively. According to TriMet, which funded the work, the humanoid figure is a "stylized version of a strong female in both a classical and minimal form", while the dog serves as a "counterbalance" and is the "friendly canine companion that is so much a part of our popular culture". The woman measures 86 inches (2.2 m) x 21 inches (0.53 m) x 19 inches (0.48 m) and the dog measures 33 inches (0.84 m) x 13 inches (0.33 m) x 27 inches (0.69 m).
Both sculptures feature black and copper geometric shapes. The black shapes allude to aspects of the human body as well as the "shapes and shadows" of nearby buildings. The copper shapes represent "computer-generated forms, which speak to the times we live in". Dark shadows are depicted on the sidewalk, serving as "natural transitions" to pedestrians and signaling the time of day. The woman's shadow measures 58 inches (1.5 m) x 26 inches (0.66 m) and the dog's shadow measures 27 inches (0.69 m) x 48 inches (1.2 m).City Reflections is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council (RACC), which administers the work. In 2013, RACC staff members deemed the sculpture too sensitive to corrosion due to its glossy finish to participate in the Downtown Marketing Initiative's "UglySweaterPDX" campaign, which outfits sculptures with "yard-bombed" articles of clothing, to promote shopping in downtown Portland.
|
[
"Regional Arts & Culture Council",
"bronze sculpture",
"TriMet",
"Portland Transit Mall",
"Patti Warashina",
"downtown"
] |
|
14215_NT
|
City Reflections
|
Explore the Description and history of this artwork.
|
City Reflections was designed by American artist Patti Warashina, who was inspired by life on a public walkway in an urban environment. It was installed at the intersection of Southwest 6th Avenue and Southwest Main Street on the Portland Transit Mall in 2009. It consists of two bronze sculptures depicting a standing figure and dog, respectively. According to TriMet, which funded the work, the humanoid figure is a "stylized version of a strong female in both a classical and minimal form", while the dog serves as a "counterbalance" and is the "friendly canine companion that is so much a part of our popular culture". The woman measures 86 inches (2.2 m) x 21 inches (0.53 m) x 19 inches (0.48 m) and the dog measures 33 inches (0.84 m) x 13 inches (0.33 m) x 27 inches (0.69 m).
Both sculptures feature black and copper geometric shapes. The black shapes allude to aspects of the human body as well as the "shapes and shadows" of nearby buildings. The copper shapes represent "computer-generated forms, which speak to the times we live in". Dark shadows are depicted on the sidewalk, serving as "natural transitions" to pedestrians and signaling the time of day. The woman's shadow measures 58 inches (1.5 m) x 26 inches (0.66 m) and the dog's shadow measures 27 inches (0.69 m) x 48 inches (1.2 m).City Reflections is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council (RACC), which administers the work. In 2013, RACC staff members deemed the sculpture too sensitive to corrosion due to its glossy finish to participate in the Downtown Marketing Initiative's "UglySweaterPDX" campaign, which outfits sculptures with "yard-bombed" articles of clothing, to promote shopping in downtown Portland.
|
[
"Regional Arts & Culture Council",
"bronze sculpture",
"TriMet",
"Portland Transit Mall",
"Patti Warashina",
"downtown"
] |
|
14216_T
|
Tobit and Anna with the Kid
|
Focus on Tobit and Anna with the Kid and discuss the abstract.
|
Tobit and Anna with the Kid, also titled Tobit Accusing Anna of Stealing the Kid, and Tobit Praying for Death, is an early oil painting by the Dutch Golden Age painter Rembrandt, signed and dated 1626. It is now in the Rijksmuseum in Amsterdam.
|
[
"Rembrandt",
"Dutch Golden Age painter",
"Rijksmuseum"
] |
|
14216_NT
|
Tobit and Anna with the Kid
|
Focus on this artwork and discuss the abstract.
|
Tobit and Anna with the Kid, also titled Tobit Accusing Anna of Stealing the Kid, and Tobit Praying for Death, is an early oil painting by the Dutch Golden Age painter Rembrandt, signed and dated 1626. It is now in the Rijksmuseum in Amsterdam.
|
[
"Rembrandt",
"Dutch Golden Age painter",
"Rijksmuseum"
] |
|
14217_T
|
Tobit and Anna with the Kid
|
How does Tobit and Anna with the Kid elucidate its Subject?
|
The subject of the painting is taken from the deuterocanonical Book of Tobit from the Old Testament.The painting showing the moment between Tobit and his wife Anna, early in the narrative, when the Tobit's faith in his wife's honesty is shaken. Tobit has been blinded in an accident, and to keep the family from poverty Anna works for the neighbours, for whom she makes cloth and sews clothes, and is paid in kind for her work. One day she receives a kid as wages and brings it home. Hearing the young animal's bleating, Tobit fears that his wife has stolen the animal and accuses her of committing a sin. Anna sharply denies the accusations, and Tobit begins to pray to God for death as release from suffering: "that I may be dissolved, and become earth".In the biblical narrative, the old couple's fortunes are eventually restored by their son, Tobias, with the aid and guidance of the angel Raphael, and Tobit is cured of his blindness by a magic fish caught by Tobias and Raphael in the Tigris.
|
[
"Raphael",
"Book of Tobit",
"Tigris"
] |
|
14217_NT
|
Tobit and Anna with the Kid
|
How does this artwork elucidate its Subject?
|
The subject of the painting is taken from the deuterocanonical Book of Tobit from the Old Testament.The painting showing the moment between Tobit and his wife Anna, early in the narrative, when the Tobit's faith in his wife's honesty is shaken. Tobit has been blinded in an accident, and to keep the family from poverty Anna works for the neighbours, for whom she makes cloth and sews clothes, and is paid in kind for her work. One day she receives a kid as wages and brings it home. Hearing the young animal's bleating, Tobit fears that his wife has stolen the animal and accuses her of committing a sin. Anna sharply denies the accusations, and Tobit begins to pray to God for death as release from suffering: "that I may be dissolved, and become earth".In the biblical narrative, the old couple's fortunes are eventually restored by their son, Tobias, with the aid and guidance of the angel Raphael, and Tobit is cured of his blindness by a magic fish caught by Tobias and Raphael in the Tigris.
|
[
"Raphael",
"Book of Tobit",
"Tigris"
] |
|
14218_T
|
Tobit and Anna with the Kid
|
Focus on Tobit and Anna with the Kid and analyze the Description.
|
The painting is signed, at lower left, "RH·1626". This early work by Rembrandt, painted in the year he turned twenty, is described by art historian Gary Schwartz as "his first truly accomplished painting".Rembrandt skilfully tells the story, focusing on the most important threads: Anna, still with the goat at hand, has just heard her husband's accusation, which she indignantly denies. Tobit is deep in prayer to God, asking for death. At his feet is a small dog, symbolizing Tobit's fidelity and trust in God's justice. Like most of Rembrandt's first Leyden period, the painting is rich in colour and human emotion. For Michael Kitson, the work is an early and excellent example of Rembrandt's "lifelong fascination with old people". The artist's mother may have posed for the character of Anna.
|
[
"Michael Kitson",
"Rembrandt",
"Gary Schwartz"
] |
|
14218_NT
|
Tobit and Anna with the Kid
|
Focus on this artwork and analyze the Description.
|
The painting is signed, at lower left, "RH·1626". This early work by Rembrandt, painted in the year he turned twenty, is described by art historian Gary Schwartz as "his first truly accomplished painting".Rembrandt skilfully tells the story, focusing on the most important threads: Anna, still with the goat at hand, has just heard her husband's accusation, which she indignantly denies. Tobit is deep in prayer to God, asking for death. At his feet is a small dog, symbolizing Tobit's fidelity and trust in God's justice. Like most of Rembrandt's first Leyden period, the painting is rich in colour and human emotion. For Michael Kitson, the work is an early and excellent example of Rembrandt's "lifelong fascination with old people". The artist's mother may have posed for the character of Anna.
|
[
"Michael Kitson",
"Rembrandt",
"Gary Schwartz"
] |
|
14219_T
|
Tobit and Anna with the Kid
|
In Tobit and Anna with the Kid, how is the Background discussed?
|
While the scene of Tobias and the Angel travelling through the desert was already an established subject in European art, Dutch Golden Age painters were also interested in the other episodes of the Book of Tobit. Rembrandt's teacher, Pieter Lastman, had painted a scene from near the end of the story, The Angel Raphael Takes Leave of Old Tobit and his Son Tobias, in which Tobit and Tobias kneel in pious gratitude before the winged Raphael; and Rembrandt himself later painted Raphael's heavenward departure in The Archangel Raphael Leaving Tobias' Family.
|
[
"Tobias and the Angel",
"Raphael",
"The Angel Raphael Takes Leave of Old Tobit and his Son Tobias",
"Rembrandt",
"Dutch Golden Age painter",
"The Archangel Raphael Leaving Tobias' Family",
"Book of Tobit",
"Pieter Lastman",
"Dutch Golden Age painters"
] |
|
14219_NT
|
Tobit and Anna with the Kid
|
In this artwork, how is the Background discussed?
|
While the scene of Tobias and the Angel travelling through the desert was already an established subject in European art, Dutch Golden Age painters were also interested in the other episodes of the Book of Tobit. Rembrandt's teacher, Pieter Lastman, had painted a scene from near the end of the story, The Angel Raphael Takes Leave of Old Tobit and his Son Tobias, in which Tobit and Tobias kneel in pious gratitude before the winged Raphael; and Rembrandt himself later painted Raphael's heavenward departure in The Archangel Raphael Leaving Tobias' Family.
|
[
"Tobias and the Angel",
"Raphael",
"The Angel Raphael Takes Leave of Old Tobit and his Son Tobias",
"Rembrandt",
"Dutch Golden Age painter",
"The Archangel Raphael Leaving Tobias' Family",
"Book of Tobit",
"Pieter Lastman",
"Dutch Golden Age painters"
] |
|
14220_T
|
Tobit and Anna with the Kid
|
Focus on Tobit and Anna with the Kid and explore the Provenance.
|
The painting was first mentioned on 29 October 1748 in the catalogue of Pieter van Buytene's collection (Oude Koornmarkt, Delft), which was put up for sale. Between 17 and 18 April 1759 it was purchased by Yver at an anonymous sale at an unknown auction house in Amsterdam. From 1905 to 1913 the painting was in the collection of Dmitry Shchukin (Moscow). In 1917, it was sold by the art dealer E. J. Goudstikker (Amsterdam), and it was in the collection of Baron Thyssen-Bornemisza (Schloss Rohoncz, Lugano; Villa Favorita, Castagnola) from 1956 to 1979. In 1979, the painting was acquired by the Rijksmuseum in Amsterdam.
|
[
"Rijksmuseum",
"Thyssen-Bornemisza"
] |
|
14220_NT
|
Tobit and Anna with the Kid
|
Focus on this artwork and explore the Provenance.
|
The painting was first mentioned on 29 October 1748 in the catalogue of Pieter van Buytene's collection (Oude Koornmarkt, Delft), which was put up for sale. Between 17 and 18 April 1759 it was purchased by Yver at an anonymous sale at an unknown auction house in Amsterdam. From 1905 to 1913 the painting was in the collection of Dmitry Shchukin (Moscow). In 1917, it was sold by the art dealer E. J. Goudstikker (Amsterdam), and it was in the collection of Baron Thyssen-Bornemisza (Schloss Rohoncz, Lugano; Villa Favorita, Castagnola) from 1956 to 1979. In 1979, the painting was acquired by the Rijksmuseum in Amsterdam.
|
[
"Rijksmuseum",
"Thyssen-Bornemisza"
] |
|
14221_T
|
Bailey Fountain
|
Explore the abstract of this artwork, Bailey Fountain.
|
Bailey Fountain is an outdoor sculpture in New York City at the site of three 19th century fountains in Grand Army Plaza, Brooklyn, New York, United States. Renovated in 1956 and 2005-06, the 1932 fountain was funded by philanthropist Frank Bailey as a memorial to his wife Mary Louise Bailey. After 1974 thefts, some sculpture elements were stored for safekeeping. The bronze Art Deco design of the Bailey Fountain consists of six monumental figures beginning with the top two, a man representing Wisdom with his left hand on the tiller steering the ship of Life and a woman representing Felicity with her right hand holding a cornucopia. Below them are two other statues, one a chubby standing child helping to shoulder that cornucopia while the second is a laughing Greek mythological figure called Nereus who is the eldest son of Pontus the Sea and Gaia the Earth. To the sides of the fountain are the two remaining aquatic Nereides / sea nymph figures with upper torsos emerging from the water their heads back trumpeting with conch shells as their fish tails twist in the background.
|
[
"New York City",
"Frank Bailey",
"Nereus",
"Brooklyn",
"United States",
"New York",
"left",
"outdoor sculpture in New York City",
"Grand Army Plaza",
"Fountain"
] |
|
14221_NT
|
Bailey Fountain
|
Explore the abstract of this artwork.
|
Bailey Fountain is an outdoor sculpture in New York City at the site of three 19th century fountains in Grand Army Plaza, Brooklyn, New York, United States. Renovated in 1956 and 2005-06, the 1932 fountain was funded by philanthropist Frank Bailey as a memorial to his wife Mary Louise Bailey. After 1974 thefts, some sculpture elements were stored for safekeeping. The bronze Art Deco design of the Bailey Fountain consists of six monumental figures beginning with the top two, a man representing Wisdom with his left hand on the tiller steering the ship of Life and a woman representing Felicity with her right hand holding a cornucopia. Below them are two other statues, one a chubby standing child helping to shoulder that cornucopia while the second is a laughing Greek mythological figure called Nereus who is the eldest son of Pontus the Sea and Gaia the Earth. To the sides of the fountain are the two remaining aquatic Nereides / sea nymph figures with upper torsos emerging from the water their heads back trumpeting with conch shells as their fish tails twist in the background.
|
[
"New York City",
"Frank Bailey",
"Nereus",
"Brooklyn",
"United States",
"New York",
"left",
"outdoor sculpture in New York City",
"Grand Army Plaza",
"Fountain"
] |
|
14222_T
|
Bailey Fountain
|
Focus on Bailey Fountain and discuss the Fountain of the Golden Spray.
|
The Fountain of the Golden Spray of 1867 with a single jet of water was part of the 1867 Grand Army Plaza design.
|
[
"Grand Army Plaza",
"Fountain"
] |
|
14222_NT
|
Bailey Fountain
|
Focus on this artwork and discuss the Fountain of the Golden Spray.
|
The Fountain of the Golden Spray of 1867 with a single jet of water was part of the 1867 Grand Army Plaza design.
|
[
"Grand Army Plaza",
"Fountain"
] |
|
14223_T
|
Bailey Fountain
|
How does Bailey Fountain elucidate its Dome fountain?
|
The 1873 dome fountain by Calvert Vaux replaced the 1867 fountain with a two-tiered, double-domed structure of cast iron and molded sections of Beton Coignet. Gaslights in the 37.2 foot (11.4 m) diameter dome were visible through one of 24 colored glass windows for evening illumination. Additional gaslights mounted in the guardrail illuminated the surface of the pool. The Brooklyn Mayor criticized the water use of the fountain which could pump 60,000 gallons an hour, and by the 1890s the fountain leaked and was frequently dry. A boy drowned in the fountain in June 1895.
|
[
"Beton Coignet",
"The Brooklyn Mayor",
"Brooklyn",
"1873 dome fountain",
"for evening illumination",
"Calvert Vaux"
] |
|
14223_NT
|
Bailey Fountain
|
How does this artwork elucidate its Dome fountain?
|
The 1873 dome fountain by Calvert Vaux replaced the 1867 fountain with a two-tiered, double-domed structure of cast iron and molded sections of Beton Coignet. Gaslights in the 37.2 foot (11.4 m) diameter dome were visible through one of 24 colored glass windows for evening illumination. Additional gaslights mounted in the guardrail illuminated the surface of the pool. The Brooklyn Mayor criticized the water use of the fountain which could pump 60,000 gallons an hour, and by the 1890s the fountain leaked and was frequently dry. A boy drowned in the fountain in June 1895.
|
[
"Beton Coignet",
"The Brooklyn Mayor",
"Brooklyn",
"1873 dome fountain",
"for evening illumination",
"Calvert Vaux"
] |
|
14224_T
|
Bailey Fountain
|
Focus on Bailey Fountain and analyze the Electric Fountain.
|
The 1897 Electric Fountain replaced the 1873 fountain and was controlled by 2 operators during scheduled night exhibitions on Wednesdays and Saturdays with audiences up to 30,000. A Brooklyn Park Commissioner's initial plan for a single spout was superseded by Fredric W. Darlington's design, which was presented in May 1897 to the Park Commission. Wilson & Baillie Manufacturing built the fountain, and the commission's "consulting engineer" was C. C. Martin. Landscape architect Frederick Law Olmsted placed the fountain at the intersection of two broad paths arranged as a Georgian cross within grassy, treeless plots at the quadrants. The "first exhibition" contracted for July 4, 1897, was delayed until August 7 and attended by "fully 100,000 people".The 6,000 candela "automatic focusing arc lamps" were wired in 3 series circuits for dimming, could each be moved 2 ft (0.61 m) within "silver parabolic reflectors" to narrow or widen the 19 beams, and were positioned in concentric rings around a central light. The lights extended into glass cylinders protruding through the underwater ceiling and were each beamed through switchable disks of colored gels into water jets (there was also a lighted central geyser). The ~2,000 nozzles included umbrellas, ball sprays, wheat sheaves, rings, fans, funnels and whirligigs; with many of the nozzles around the lamp housings. An underground control room on the south of the basin allowed the lighting and hydraulics operators to view through three closely spaced windows in the basin wall 6 in (0.15 m) above the pool surface. A pump recirculated up to 100,000 gallons per hour from the pool in the 120-foot-diameter (37 m) basin. The fountain also had 88 incandescent lamps on the inner edge of the basin's concrete coping, and the Brooklyn Heights and the Nassau Electric railroads donated the electricity.
The 1915 construction of the New York City Subway's IRT Eastern Parkway Line (2, 3, 4, and 5 trains) and BMT Brighton Line (B and Q trains) under the plaza left no room for the required infrastructure for the Electric Fountain, which was removed.
|
[
"New York City",
"Brooklyn Heights",
"Frederick Law Olmsted",
"BMT Brighton Line",
"New York City Subway",
"arc lamp",
"Brooklyn",
"Fredric W. Darlington",
"whirligig",
"New York",
"left",
"Nassau Electric",
"Darlington's",
"candela",
"Electric Fountain",
"disks of colored gels",
"IRT Eastern Parkway Line",
"Georgian cross",
"Fountain"
] |
|
14224_NT
|
Bailey Fountain
|
Focus on this artwork and analyze the Electric Fountain.
|
The 1897 Electric Fountain replaced the 1873 fountain and was controlled by 2 operators during scheduled night exhibitions on Wednesdays and Saturdays with audiences up to 30,000. A Brooklyn Park Commissioner's initial plan for a single spout was superseded by Fredric W. Darlington's design, which was presented in May 1897 to the Park Commission. Wilson & Baillie Manufacturing built the fountain, and the commission's "consulting engineer" was C. C. Martin. Landscape architect Frederick Law Olmsted placed the fountain at the intersection of two broad paths arranged as a Georgian cross within grassy, treeless plots at the quadrants. The "first exhibition" contracted for July 4, 1897, was delayed until August 7 and attended by "fully 100,000 people".The 6,000 candela "automatic focusing arc lamps" were wired in 3 series circuits for dimming, could each be moved 2 ft (0.61 m) within "silver parabolic reflectors" to narrow or widen the 19 beams, and were positioned in concentric rings around a central light. The lights extended into glass cylinders protruding through the underwater ceiling and were each beamed through switchable disks of colored gels into water jets (there was also a lighted central geyser). The ~2,000 nozzles included umbrellas, ball sprays, wheat sheaves, rings, fans, funnels and whirligigs; with many of the nozzles around the lamp housings. An underground control room on the south of the basin allowed the lighting and hydraulics operators to view through three closely spaced windows in the basin wall 6 in (0.15 m) above the pool surface. A pump recirculated up to 100,000 gallons per hour from the pool in the 120-foot-diameter (37 m) basin. The fountain also had 88 incandescent lamps on the inner edge of the basin's concrete coping, and the Brooklyn Heights and the Nassau Electric railroads donated the electricity.
The 1915 construction of the New York City Subway's IRT Eastern Parkway Line (2, 3, 4, and 5 trains) and BMT Brighton Line (B and Q trains) under the plaza left no room for the required infrastructure for the Electric Fountain, which was removed.
|
[
"New York City",
"Brooklyn Heights",
"Frederick Law Olmsted",
"BMT Brighton Line",
"New York City Subway",
"arc lamp",
"Brooklyn",
"Fredric W. Darlington",
"whirligig",
"New York",
"left",
"Nassau Electric",
"Darlington's",
"candela",
"Electric Fountain",
"disks of colored gels",
"IRT Eastern Parkway Line",
"Georgian cross",
"Fountain"
] |
|
14225_T
|
Wahpper
|
In Wahpper, how is the abstract discussed?
|
"Wahpper" is a 40-foot long fiberglass sculpture of a catfish beside the Red River of the North in Wahpeton, North Dakota, United States.
|
[
"Wahpeton",
"Wahpeton, North Dakota",
"Red River of the North"
] |
|
14225_NT
|
Wahpper
|
In this artwork, how is the abstract discussed?
|
"Wahpper" is a 40-foot long fiberglass sculpture of a catfish beside the Red River of the North in Wahpeton, North Dakota, United States.
|
[
"Wahpeton",
"Wahpeton, North Dakota",
"Red River of the North"
] |
|
14226_T
|
Wahpper
|
Focus on Wahpper and explore the Description and history.
|
Wahpper can be found at the north end of Wahpeton, on the banks of the Red River within the Kidder Dam Recreation Area. The sculpture is 40 feet long, 12 feet tall (including its pedestal) and weighs more than 5,000 pounds.Wahpeton's Visitor's Committee (now the Convention and Visitors Bureau) viewed a giant sculpture as a good way to market the town and its natural resources. The Red River is formed by the Bois de Sioux and Otter Tail Rivers, and the headwaters is in Wahpeton; people come from multiple states to fish the river's abundant channel catfish. $12,000 was raised to create the sculpture, which was raised by multiple organizations, including the Wahpeton Visitors Committee, the Wahpeton Park Board, and local businesses. It was placed at the site on August 3, 1997, with a opening celebration that included serving catfish to guests.The artist was Dave Oswold, the same sculptor that created other fiberglass creations such as Salem Sue in New Salem, North Dakota and the 143-foot long sculpture of a muskie at the National Fresh Water Fishing Hall of Fame in Hayward, Wisconsin. The Wahpeton sculpture is credited as the world's largest sculpture of a catfish, however, there is a larger catfish statue in Dunnville, Ontario standing at 50 feet long and 27 feet high. The fish's name, "Wahpper," is a playful nod towards a very big fish, or a "whopper," combined with the town's name. During the river's spring flooding, the sculpture is surrounded by water, giving the impression the fish is swimming.
|
[
"Wahpeton",
"Hayward, Wisconsin",
"New Salem, North Dakota",
"Otter Tail River",
"Dunnville",
"Otter Tail",
"Salem Sue",
"channel catfish",
"National Fresh Water Fishing Hall of Fame",
"Bois de Sioux"
] |
|
14226_NT
|
Wahpper
|
Focus on this artwork and explore the Description and history.
|
Wahpper can be found at the north end of Wahpeton, on the banks of the Red River within the Kidder Dam Recreation Area. The sculpture is 40 feet long, 12 feet tall (including its pedestal) and weighs more than 5,000 pounds.Wahpeton's Visitor's Committee (now the Convention and Visitors Bureau) viewed a giant sculpture as a good way to market the town and its natural resources. The Red River is formed by the Bois de Sioux and Otter Tail Rivers, and the headwaters is in Wahpeton; people come from multiple states to fish the river's abundant channel catfish. $12,000 was raised to create the sculpture, which was raised by multiple organizations, including the Wahpeton Visitors Committee, the Wahpeton Park Board, and local businesses. It was placed at the site on August 3, 1997, with a opening celebration that included serving catfish to guests.The artist was Dave Oswold, the same sculptor that created other fiberglass creations such as Salem Sue in New Salem, North Dakota and the 143-foot long sculpture of a muskie at the National Fresh Water Fishing Hall of Fame in Hayward, Wisconsin. The Wahpeton sculpture is credited as the world's largest sculpture of a catfish, however, there is a larger catfish statue in Dunnville, Ontario standing at 50 feet long and 27 feet high. The fish's name, "Wahpper," is a playful nod towards a very big fish, or a "whopper," combined with the town's name. During the river's spring flooding, the sculpture is surrounded by water, giving the impression the fish is swimming.
|
[
"Wahpeton",
"Hayward, Wisconsin",
"New Salem, North Dakota",
"Otter Tail River",
"Dunnville",
"Otter Tail",
"Salem Sue",
"channel catfish",
"National Fresh Water Fishing Hall of Fame",
"Bois de Sioux"
] |
|
14227_T
|
Woman Reading a Letter (Metsu)
|
Focus on Woman Reading a Letter (Metsu) and explain the abstract.
|
Woman Reading a Letter is an oil painting by Dutch artist Gabriël Metsu, created c. 1665–1667, shortly before his death. During his lifetime, under the Golden Age of Dutch painting Metsu was a renowned painter, much better known than Vermeer. It is assumed to be a pair with Man Writing a Letter.
The pair of paintings are regarded as some of Metsu's best-known works; Metsu got the idea of a pair of themed paintings from Gerard ter Borch, who had painted a similar pair. It has been in the collection of the National Gallery of Ireland, in Dublin, since 1987.
|
[
"Gerard ter Borch",
"Man Writing a Letter",
"Vermeer",
"oil painting",
"Dublin",
"National Gallery of Ireland",
"Gabriël Metsu"
] |
|
14227_NT
|
Woman Reading a Letter (Metsu)
|
Focus on this artwork and explain the abstract.
|
Woman Reading a Letter is an oil painting by Dutch artist Gabriël Metsu, created c. 1665–1667, shortly before his death. During his lifetime, under the Golden Age of Dutch painting Metsu was a renowned painter, much better known than Vermeer. It is assumed to be a pair with Man Writing a Letter.
The pair of paintings are regarded as some of Metsu's best-known works; Metsu got the idea of a pair of themed paintings from Gerard ter Borch, who had painted a similar pair. It has been in the collection of the National Gallery of Ireland, in Dublin, since 1987.
|
[
"Gerard ter Borch",
"Man Writing a Letter",
"Vermeer",
"oil painting",
"Dublin",
"National Gallery of Ireland",
"Gabriël Metsu"
] |
|
14228_T
|
Woman Reading a Letter (Metsu)
|
Explore the Description of this artwork, Woman Reading a Letter (Metsu).
|
A woman is reading a letter, seated by a window with a blue curtain. She is dressed elegantly in a yellow jacket with an expensive collar of ermine, and a skirt of peach-colored silk; there is gold trim on both the skirt and the elegant shoe she has kicked off. The red and blue embroidery pillow on her lap and the sewing basket next to her show that she put her needlework aside to read the letter. Beside her, a maid in dark clothing is drawing aside a curtain in front of a painting of a naval scene in an ebony frame. Visual clues would have made it immediately apparent to Metsu's contemporaries that the letter is a love letter. The little spaniel symbolizes fidelity and loyalty, the Cupid's arrows on the bucket and the maid's old shoes symbolize love and hope for a safe return.The painting, showing a stormy sea, could refer to a tumultuous relationship or indicate that the loved one is on the sea. A final, striking detail is found in the letter the maid is holding: it is addressed to the painter.Woman Reading a Letter is a companion piece to Man Writing a Letter, in which the young man is writing the letter. Records indicate the paintings have always been owned as a pair. Metsu likely got the idea for a pair of themed paintings from Gerard ter Borch, who had painted a similar pair, Man Writing a Letter and A Woman Sealing a Letter, but the influence of Johannes Vermeer is also unmistakable in the paintings themselves.
|
[
"Gerard ter Borch",
"Man Writing a Letter",
"Johannes Vermeer",
"Cupid",
"Vermeer",
"ebony",
"love letter",
"spaniel"
] |
|
14228_NT
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Woman Reading a Letter (Metsu)
|
Explore the Description of this artwork.
|
A woman is reading a letter, seated by a window with a blue curtain. She is dressed elegantly in a yellow jacket with an expensive collar of ermine, and a skirt of peach-colored silk; there is gold trim on both the skirt and the elegant shoe she has kicked off. The red and blue embroidery pillow on her lap and the sewing basket next to her show that she put her needlework aside to read the letter. Beside her, a maid in dark clothing is drawing aside a curtain in front of a painting of a naval scene in an ebony frame. Visual clues would have made it immediately apparent to Metsu's contemporaries that the letter is a love letter. The little spaniel symbolizes fidelity and loyalty, the Cupid's arrows on the bucket and the maid's old shoes symbolize love and hope for a safe return.The painting, showing a stormy sea, could refer to a tumultuous relationship or indicate that the loved one is on the sea. A final, striking detail is found in the letter the maid is holding: it is addressed to the painter.Woman Reading a Letter is a companion piece to Man Writing a Letter, in which the young man is writing the letter. Records indicate the paintings have always been owned as a pair. Metsu likely got the idea for a pair of themed paintings from Gerard ter Borch, who had painted a similar pair, Man Writing a Letter and A Woman Sealing a Letter, but the influence of Johannes Vermeer is also unmistakable in the paintings themselves.
|
[
"Gerard ter Borch",
"Man Writing a Letter",
"Johannes Vermeer",
"Cupid",
"Vermeer",
"ebony",
"love letter",
"spaniel"
] |
|
14229_T
|
Woman Reading a Letter (Metsu)
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Focus on Woman Reading a Letter (Metsu) and discuss the History.
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The pair of paintings were owned by Hendrick Sorgh, a broker in Amsterdam. After his death they were sold for 560 guilders on 28 March 1720 to George Bruyn. After he in turn died they were sold on 16 March 1724 for 785 guilders to Johannes Coop, a wealthy cotton printer and dyer. Approximately between 1744 and 1750, for 500 guilders, they came into the possession of Gerrit Braamcamp, a collector who owned no fewer than ten works by Metsu; his heirs benefited from the artist's popularity. On 31 July 1771 the two paintings were bought for 5,205 guilders by Jan Hope. They would descend to Lord Francis Pelham Clinton Hope, who sold them in 1898 as part of a collection of Dutch and Flemish paintings that was purchased by the art dealers A. Wertheimer and P. & D. Colnaghi. The pair of paintings were inherited by Sir Alfred Beit, of London and Blessington. Both were among artworks stolen from Russborough House in 1974 and again in 1986, but were eventually recovered. In 1987 both paintings were donated to the National Gallery of Ireland, though they remained missing until 1993.
|
[
"Hendrick Sorgh",
"Blessington",
"Jan Hope",
"Sir Alfred Beit",
"Gerrit Braamcamp",
"collection of Dutch and Flemish paintings",
"guilder",
"Russborough House",
"Lord Francis Pelham Clinton Hope",
"National Gallery of Ireland",
"P. & D. Colnaghi"
] |
|
14229_NT
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Woman Reading a Letter (Metsu)
|
Focus on this artwork and discuss the History.
|
The pair of paintings were owned by Hendrick Sorgh, a broker in Amsterdam. After his death they were sold for 560 guilders on 28 March 1720 to George Bruyn. After he in turn died they were sold on 16 March 1724 for 785 guilders to Johannes Coop, a wealthy cotton printer and dyer. Approximately between 1744 and 1750, for 500 guilders, they came into the possession of Gerrit Braamcamp, a collector who owned no fewer than ten works by Metsu; his heirs benefited from the artist's popularity. On 31 July 1771 the two paintings were bought for 5,205 guilders by Jan Hope. They would descend to Lord Francis Pelham Clinton Hope, who sold them in 1898 as part of a collection of Dutch and Flemish paintings that was purchased by the art dealers A. Wertheimer and P. & D. Colnaghi. The pair of paintings were inherited by Sir Alfred Beit, of London and Blessington. Both were among artworks stolen from Russborough House in 1974 and again in 1986, but were eventually recovered. In 1987 both paintings were donated to the National Gallery of Ireland, though they remained missing until 1993.
|
[
"Hendrick Sorgh",
"Blessington",
"Jan Hope",
"Sir Alfred Beit",
"Gerrit Braamcamp",
"collection of Dutch and Flemish paintings",
"guilder",
"Russborough House",
"Lord Francis Pelham Clinton Hope",
"National Gallery of Ireland",
"P. & D. Colnaghi"
] |
|
14230_T
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Woman Reading a Letter (Metsu)
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How does Woman Reading a Letter (Metsu) elucidate its Reception?
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The pair of paintings are commonly regarded as some of Metsu's best work; reviewing an exhibition of works by Metsu in The New York Times in 2011, Karen Rosenberg called them "stunning", and Susan Stamberg of NPR described them as "gorgeously painted with fabulous technique and meticulously rendered details".
|
[
"The New York Times",
"Susan Stamberg",
"NPR"
] |
|
14230_NT
|
Woman Reading a Letter (Metsu)
|
How does this artwork elucidate its Reception?
|
The pair of paintings are commonly regarded as some of Metsu's best work; reviewing an exhibition of works by Metsu in The New York Times in 2011, Karen Rosenberg called them "stunning", and Susan Stamberg of NPR described them as "gorgeously painted with fabulous technique and meticulously rendered details".
|
[
"The New York Times",
"Susan Stamberg",
"NPR"
] |
|
14231_T
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The Responsibility of Raising a Child
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Focus on The Responsibility of Raising a Child and analyze the abstract.
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The Responsibility of Raising a Child, also known as From the Mad River to the Little Salmon River, or The Responsibility of Raising a Child, is an outdoor 2004 bronze sculpture by Native American artist Rick Bartow, located in Portland, Oregon, United States.
|
[
"Portland, Oregon",
"Native American",
"Rick Bartow"
] |
|
14231_NT
|
The Responsibility of Raising a Child
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Focus on this artwork and analyze the abstract.
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The Responsibility of Raising a Child, also known as From the Mad River to the Little Salmon River, or The Responsibility of Raising a Child, is an outdoor 2004 bronze sculpture by Native American artist Rick Bartow, located in Portland, Oregon, United States.
|
[
"Portland, Oregon",
"Native American",
"Rick Bartow"
] |
|
14232_T
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The Scream
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In The Scream, how is the abstract discussed?
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The Scream is a composition created by Norwegian artist Edvard Munch in 1893. The Norwegian name of the piece is Skrik (Scream), and the German title under which it was first exhibited is Der Schrei der Natur (The Scream of Nature). The agonized face in the painting has become one of the most iconic images of art, seen as symbolizing the anxiety of the human condition. Munch's work, including The Scream, had a formative influence on the Expressionist movement.Munch recalled that he had been out for a walk at sunset when suddenly the setting sun's light turned the clouds "a blood red". He sensed an "infinite scream passing through nature". Scholars have located the spot to a fjord overlooking Oslo and have suggested other explanations for the unnaturally orange sky, ranging from the effects of a volcanic eruption to a psychological reaction by Munch to his sister's commitment at a nearby lunatic asylum.
Munch created two versions in paint and two in pastels, as well as a lithograph stone from which several prints survive. Both painted versions have been stolen, but since recovered. In 2012, one of the pastel versions commanded the at-the-time highest nominal price paid for an artwork at a public auction.
|
[
"paint",
"Scream",
"lithograph",
"pastel",
"Edvard Munch",
"a blood red",
"Oslo",
"Expressionist",
"lithograph stone",
"anxiety",
"lunatic asylum",
"fjord",
"human condition"
] |
|
14232_NT
|
The Scream
|
In this artwork, how is the abstract discussed?
|
The Scream is a composition created by Norwegian artist Edvard Munch in 1893. The Norwegian name of the piece is Skrik (Scream), and the German title under which it was first exhibited is Der Schrei der Natur (The Scream of Nature). The agonized face in the painting has become one of the most iconic images of art, seen as symbolizing the anxiety of the human condition. Munch's work, including The Scream, had a formative influence on the Expressionist movement.Munch recalled that he had been out for a walk at sunset when suddenly the setting sun's light turned the clouds "a blood red". He sensed an "infinite scream passing through nature". Scholars have located the spot to a fjord overlooking Oslo and have suggested other explanations for the unnaturally orange sky, ranging from the effects of a volcanic eruption to a psychological reaction by Munch to his sister's commitment at a nearby lunatic asylum.
Munch created two versions in paint and two in pastels, as well as a lithograph stone from which several prints survive. Both painted versions have been stolen, but since recovered. In 2012, one of the pastel versions commanded the at-the-time highest nominal price paid for an artwork at a public auction.
|
[
"paint",
"Scream",
"lithograph",
"pastel",
"Edvard Munch",
"a blood red",
"Oslo",
"Expressionist",
"lithograph stone",
"anxiety",
"lunatic asylum",
"fjord",
"human condition"
] |
|
14233_T
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The Scream
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Focus on The Scream and explore the Sources of inspiration.
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In his diary in an entry headed "Nice 22 January 1892", Munch wrote:One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord – the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream.
He later described his inspiration for the image:I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.
Among theories advanced to account for the reddish sky in the background is the artist's memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 1883 and 1884, about a decade before Munch painted The Scream. This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Another explanation for the red skies is that they are due to the appearance of nacreous clouds which occur at the latitude of Norway and which look remarkably similar to the skies depicted in The Scream. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration. The scene was identified as being the view from a road overlooking Oslo, by the Oslofjord and Hovedøya, from the hill of Ekeberg. At the time of painting the work, Munch's manic depressive sister Laura Catherine was a patient at the mental asylum at the foot of Ekeberg.
In 1978, the Munch scholar Robert Rosenblum suggested that the strange, skeletal creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Paul Gauguin: it stood as a model for figures in more than twenty of Gauguin's paintings, among those the central figure in his painting Human misery (Grape harvest at Arles) and for the old woman at the left in his 1897 painting Where Do We Come From? What Are We? Where Are We Going?. In 2004, Italian anthropologist Piero Mannucci speculated that Munch might have seen a mummy in Florence's Museum of Natural History which bears an even more striking resemblance to the painting. However, later studies have disputed that theory, as Munch did not visit Florence until after painting The Scream.The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one's self.Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time." It has been widely interpreted as representing the universal anxiety of modern humanity.
|
[
"1889 Exposition Universelle",
"Ekeberg",
"paint",
"Scream",
"nacreous clouds",
"Florence",
"mummy",
"Peru",
"Arthur Lubow",
"eruption of Krakatoa",
"Museum of Natural History",
"Hovedøya",
"Paul Gauguin",
"Oslo",
"anxiety",
"depersonalization disorder",
"Robert Rosenblum",
"Where Do We Come From? What Are We? Where Are We Going?",
"lunatic asylum",
"Oslofjord",
"Mona Lisa",
"manic depressive",
"fjord"
] |
|
14233_NT
|
The Scream
|
Focus on this artwork and explore the Sources of inspiration.
|
In his diary in an entry headed "Nice 22 January 1892", Munch wrote:One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord – the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream.
He later described his inspiration for the image:I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.
Among theories advanced to account for the reddish sky in the background is the artist's memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 1883 and 1884, about a decade before Munch painted The Scream. This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Another explanation for the red skies is that they are due to the appearance of nacreous clouds which occur at the latitude of Norway and which look remarkably similar to the skies depicted in The Scream. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration. The scene was identified as being the view from a road overlooking Oslo, by the Oslofjord and Hovedøya, from the hill of Ekeberg. At the time of painting the work, Munch's manic depressive sister Laura Catherine was a patient at the mental asylum at the foot of Ekeberg.
In 1978, the Munch scholar Robert Rosenblum suggested that the strange, skeletal creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Paul Gauguin: it stood as a model for figures in more than twenty of Gauguin's paintings, among those the central figure in his painting Human misery (Grape harvest at Arles) and for the old woman at the left in his 1897 painting Where Do We Come From? What Are We? Where Are We Going?. In 2004, Italian anthropologist Piero Mannucci speculated that Munch might have seen a mummy in Florence's Museum of Natural History which bears an even more striking resemblance to the painting. However, later studies have disputed that theory, as Munch did not visit Florence until after painting The Scream.The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one's self.Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time." It has been widely interpreted as representing the universal anxiety of modern humanity.
|
[
"1889 Exposition Universelle",
"Ekeberg",
"paint",
"Scream",
"nacreous clouds",
"Florence",
"mummy",
"Peru",
"Arthur Lubow",
"eruption of Krakatoa",
"Museum of Natural History",
"Hovedøya",
"Paul Gauguin",
"Oslo",
"anxiety",
"depersonalization disorder",
"Robert Rosenblum",
"Where Do We Come From? What Are We? Where Are We Going?",
"lunatic asylum",
"Oslofjord",
"Mona Lisa",
"manic depressive",
"fjord"
] |
|
14234_T
|
The Scream
|
Focus on The Scream and explain the Versions.
|
Munch created four versions, two in paint and two in pastels. The first painted version was the first exhibited, debuting in 1893. It is in the collection of the National Museum of Art, Architecture and Design of Norway in Oslo. This is the version that has the barely visible pencil inscription "Kan kun være malet af en gal Mand!" ("could only have been painted by a madman"). A pastel version from that year, which may have been a preliminary study, is in the collection of the Munch Museum, also in Oslo. The second pastel version, from 1895, was owned by the German Jewish art collector Hugo Simon who sold it to Norwegian ship owner Thomas Olsen "around 1937". It was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black. The auction was contested by the heirs of Hugo Simon. The second painted version dates from 1910, during a period when Munch revisited some of his prior compositions. It is also in the collection of the Munch Museum. These versions have seldom traveled, though the 1895 pastel was exhibited at the Museum of Modern Art in New York from October 2012 to April 2013, and the 1893 pastel was exhibited at the Van Gogh Museum in Amsterdam in 2015.Additionally, Munch created a lithograph stone of the composition in 1895 from which several prints produced by Munch survive. Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch's absence.The material composition of the 1893 painted version was examined in 2010. The pigment analysis revealed the use of cadmium yellow, vermilion, ultramarine and viridian, among other pigments in use in the 19th century.
|
[
"Leon Black",
"paint",
"Amsterdam",
"Hugo Simon",
"vermilion",
"lithograph",
"pastel",
"Museum of Modern Art",
"viridian",
"ultramarine",
"Oslo",
"lithograph stone",
"National Museum of Art, Architecture and Design",
"Sotheby's",
"Munch Museum",
"Van Gogh Museum",
"cadmium yellow"
] |
|
14234_NT
|
The Scream
|
Focus on this artwork and explain the Versions.
|
Munch created four versions, two in paint and two in pastels. The first painted version was the first exhibited, debuting in 1893. It is in the collection of the National Museum of Art, Architecture and Design of Norway in Oslo. This is the version that has the barely visible pencil inscription "Kan kun være malet af en gal Mand!" ("could only have been painted by a madman"). A pastel version from that year, which may have been a preliminary study, is in the collection of the Munch Museum, also in Oslo. The second pastel version, from 1895, was owned by the German Jewish art collector Hugo Simon who sold it to Norwegian ship owner Thomas Olsen "around 1937". It was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black. The auction was contested by the heirs of Hugo Simon. The second painted version dates from 1910, during a period when Munch revisited some of his prior compositions. It is also in the collection of the Munch Museum. These versions have seldom traveled, though the 1895 pastel was exhibited at the Museum of Modern Art in New York from October 2012 to April 2013, and the 1893 pastel was exhibited at the Van Gogh Museum in Amsterdam in 2015.Additionally, Munch created a lithograph stone of the composition in 1895 from which several prints produced by Munch survive. Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch's absence.The material composition of the 1893 painted version was examined in 2010. The pigment analysis revealed the use of cadmium yellow, vermilion, ultramarine and viridian, among other pigments in use in the 19th century.
|
[
"Leon Black",
"paint",
"Amsterdam",
"Hugo Simon",
"vermilion",
"lithograph",
"pastel",
"Museum of Modern Art",
"viridian",
"ultramarine",
"Oslo",
"lithograph stone",
"National Museum of Art, Architecture and Design",
"Sotheby's",
"Munch Museum",
"Van Gogh Museum",
"cadmium yellow"
] |
|
14235_T
|
The Scream
|
Explore the Pencil inscription of this artwork, The Scream.
|
The version held by the National Museum of Norway has a pencil inscription, in small lettering, in the upper left corner, saying "Kan kun være malet af en gal Mand!" ("could only have been painted by a madman"). It can only be seen on close examination of the painting. This had been presumed to be a comment by a critic or a visitor to an exhibition. It was first noticed when the painting was exhibited in Copenhagen in 1904, eleven years after this version was painted. Following infrared photography, study of the handwriting now shows that the comment was added by Munch. The theory has been put forward that Munch added the inscription after the critical comments made when the painting was first exhibited in Norway in October 1895. There is good evidence that Munch was deeply hurt by that criticism, being sensitive to the mental illness that was prevalent in his family.
|
[
"paint",
"National Museum of Norway",
"infrared photography"
] |
|
14235_NT
|
The Scream
|
Explore the Pencil inscription of this artwork.
|
The version held by the National Museum of Norway has a pencil inscription, in small lettering, in the upper left corner, saying "Kan kun være malet af en gal Mand!" ("could only have been painted by a madman"). It can only be seen on close examination of the painting. This had been presumed to be a comment by a critic or a visitor to an exhibition. It was first noticed when the painting was exhibited in Copenhagen in 1904, eleven years after this version was painted. Following infrared photography, study of the handwriting now shows that the comment was added by Munch. The theory has been put forward that Munch added the inscription after the critical comments made when the painting was first exhibited in Norway in October 1895. There is good evidence that Munch was deeply hurt by that criticism, being sensitive to the mental illness that was prevalent in his family.
|
[
"paint",
"National Museum of Norway",
"infrared photography"
] |
|
14236_T
|
The Scream
|
Focus on The Scream and discuss the Thefts.
|
The Scream has been the target of a number of thefts and theft attempts. Some damage has been suffered in these thefts.
|
[
"Scream"
] |
|
14236_NT
|
The Scream
|
Focus on this artwork and discuss the Thefts.
|
The Scream has been the target of a number of thefts and theft attempts. Some damage has been suffered in these thefts.
|
[
"Scream"
] |
|
14237_T
|
The Scream
|
In The Scream, how is the 1994 theft of the Thefts elucidated?
|
On 12 February 1994, the same day as the opening of the 1994 Winter Olympics in Lillehammer, two men broke into the National Gallery, Oslo, and stole its version of The Scream, leaving a note reading "Thanks for the poor security". The painting had been moved down to a second-story gallery as part of the Olympic festivities. After the gallery refused to pay a ransom demand of US$1 million in March 1994, Norwegian police set up a sting operation with assistance from the British police (SO10) and the Getty Museum and the painting was recovered undamaged on 7 May 1994. In January 1996, four men were convicted in connection with the theft, including Pål Enger, who had been convicted of stealing Munch's Love and Pain in 1988. They were released on appeal on legal grounds: the British agents involved in the sting operation had entered Norway under false identities.
|
[
"paint",
"Scream",
"ransom",
"Getty Museum",
"1994 Winter Olympics",
"sting operation",
"Pål Enger",
"Oslo",
"SO10",
"Lillehammer"
] |
|
14237_NT
|
The Scream
|
In this artwork, how is the 1994 theft of the Thefts elucidated?
|
On 12 February 1994, the same day as the opening of the 1994 Winter Olympics in Lillehammer, two men broke into the National Gallery, Oslo, and stole its version of The Scream, leaving a note reading "Thanks for the poor security". The painting had been moved down to a second-story gallery as part of the Olympic festivities. After the gallery refused to pay a ransom demand of US$1 million in March 1994, Norwegian police set up a sting operation with assistance from the British police (SO10) and the Getty Museum and the painting was recovered undamaged on 7 May 1994. In January 1996, four men were convicted in connection with the theft, including Pål Enger, who had been convicted of stealing Munch's Love and Pain in 1988. They were released on appeal on legal grounds: the British agents involved in the sting operation had entered Norway under false identities.
|
[
"paint",
"Scream",
"ransom",
"Getty Museum",
"1994 Winter Olympics",
"sting operation",
"Pål Enger",
"Oslo",
"SO10",
"Lillehammer"
] |
|
14238_T
|
The Scream
|
In the context of The Scream, analyze the 2004 theft of the Thefts.
|
The 1910 version of The Scream was stolen on 22 August 2004, during daylight hours, when masked gunmen entered the Munch Museum in Oslo and stole it and Munch's Madonna. A bystander photographed the robbers as they escaped to their car with the artwork. On 8 April 2005, Norwegian police arrested a suspect in connection with the theft, but the paintings remained missing and it was rumored that they had been burned by the thieves to destroy evidence. On 1 June 2005, with four suspects already in custody in connection with the crime, the city government of Oslo offered a reward of 2 million Norwegian krone (roughly US$313,500 or €231,200) for information that could help locate the paintings. Although the paintings remained missing, six men went on trial in early 2006, variously charged with either helping to plan or participating in the robbery. Three of the men were convicted and sentenced to between four and eight years in prison in May 2006, and two of the convicted, Bjørn Hoen and Petter Tharaldsen, were also ordered to pay compensation of 750 million kroner (roughly US$117.6 million or €86.7 million) to the City of Oslo. The Munch Museum was closed for ten months for a security overhaul.On 31 August 2006, Norwegian police announced that a police operation had recovered both The Scream and Madonna, but did not reveal detailed circumstances of the recovery. The paintings were said to be in a better-than-expected condition. "We are 100 percent certain they are the originals," police chief Iver Stensrud told a news conference. "The damage was much less than feared." Munch Museum director Ingebjørg Ydstie confirmed the condition of the paintings, saying it was much better than expected and that the damage could be repaired. The Scream had moisture damage on the lower left corner, while Madonna suffered several tears on the right side of the painting as well as two holes in Madonna's arm. Before repairs and restoration began, the paintings were put on public display by the Munch Museum beginning 27 September 2006. During the five-day exhibition, 5,500 people viewed the damaged paintings. The conserved works went back on display on 23 May 2008, when the exhibition "Scream and Madonna – Revisited" at the Munch Museum in Oslo displayed the paintings together.In 2008 Idemitsu Petroleum Norge AS committed an endowment of 4 million Norwegian krone towards the conservation, research and presentation of The Scream and Madonna.
|
[
"Madonna",
"paint",
"Scream",
"right",
"Norwegian krone",
"Oslo",
"Munch Museum",
"Idemitsu Petroleum Norge AS"
] |
|
14238_NT
|
The Scream
|
In the context of this artwork, analyze the 2004 theft of the Thefts.
|
The 1910 version of The Scream was stolen on 22 August 2004, during daylight hours, when masked gunmen entered the Munch Museum in Oslo and stole it and Munch's Madonna. A bystander photographed the robbers as they escaped to their car with the artwork. On 8 April 2005, Norwegian police arrested a suspect in connection with the theft, but the paintings remained missing and it was rumored that they had been burned by the thieves to destroy evidence. On 1 June 2005, with four suspects already in custody in connection with the crime, the city government of Oslo offered a reward of 2 million Norwegian krone (roughly US$313,500 or €231,200) for information that could help locate the paintings. Although the paintings remained missing, six men went on trial in early 2006, variously charged with either helping to plan or participating in the robbery. Three of the men were convicted and sentenced to between four and eight years in prison in May 2006, and two of the convicted, Bjørn Hoen and Petter Tharaldsen, were also ordered to pay compensation of 750 million kroner (roughly US$117.6 million or €86.7 million) to the City of Oslo. The Munch Museum was closed for ten months for a security overhaul.On 31 August 2006, Norwegian police announced that a police operation had recovered both The Scream and Madonna, but did not reveal detailed circumstances of the recovery. The paintings were said to be in a better-than-expected condition. "We are 100 percent certain they are the originals," police chief Iver Stensrud told a news conference. "The damage was much less than feared." Munch Museum director Ingebjørg Ydstie confirmed the condition of the paintings, saying it was much better than expected and that the damage could be repaired. The Scream had moisture damage on the lower left corner, while Madonna suffered several tears on the right side of the painting as well as two holes in Madonna's arm. Before repairs and restoration began, the paintings were put on public display by the Munch Museum beginning 27 September 2006. During the five-day exhibition, 5,500 people viewed the damaged paintings. The conserved works went back on display on 23 May 2008, when the exhibition "Scream and Madonna – Revisited" at the Munch Museum in Oslo displayed the paintings together.In 2008 Idemitsu Petroleum Norge AS committed an endowment of 4 million Norwegian krone towards the conservation, research and presentation of The Scream and Madonna.
|
[
"Madonna",
"paint",
"Scream",
"right",
"Norwegian krone",
"Oslo",
"Munch Museum",
"Idemitsu Petroleum Norge AS"
] |
|
14239_T
|
The Scream
|
In The Scream, how is the Record sale at auction discussed?
|
The 1895 pastel-on-board version of the work, owned by Norwegian businessman Petter Olsen, sold at Sotheby's in London for a record price of nearly US$120 million at auction on 2 May 2012. The bidding started at $40 million and lasted for over 12 minutes when American businessman Leon Black by phone gave the final offer of US$119,922,500, including the buyer's premium. Sotheby's described the work as "the most colorful and vibrant" of the four versions Munch painted, noting also his hand-colouring of the frame on which he inscribed his poem which detailed the picture's inspiration. After the sale, Sotheby's auctioneer Tobias Meyer said the work was "worth every penny", adding: "It is one of the great icons of art in the world and whoever bought it should be congratulated."The previous record for the most expensive work of art sold at auction had been held by Picasso's Nude, Green Leaves and Bust, which went for US$106.5 million at Christie's two years prior on 4 May 2010. As of 2018, the pastel remains the fourth highest nominal price paid for a painting at auction. The work had a presale estimate of $80 million, the biggest presale estimate ever set by Sotheby's.
|
[
"Leon Black",
"paint",
"US$120 million at auction",
"Christie's",
"Nude, Green Leaves and Bust",
"Tobias Meyer",
"pastel",
"Petter Olsen",
"fourth highest nominal price paid for a painting",
"Sotheby's",
"buyer's premium"
] |
|
14239_NT
|
The Scream
|
In this artwork, how is the Record sale at auction discussed?
|
The 1895 pastel-on-board version of the work, owned by Norwegian businessman Petter Olsen, sold at Sotheby's in London for a record price of nearly US$120 million at auction on 2 May 2012. The bidding started at $40 million and lasted for over 12 minutes when American businessman Leon Black by phone gave the final offer of US$119,922,500, including the buyer's premium. Sotheby's described the work as "the most colorful and vibrant" of the four versions Munch painted, noting also his hand-colouring of the frame on which he inscribed his poem which detailed the picture's inspiration. After the sale, Sotheby's auctioneer Tobias Meyer said the work was "worth every penny", adding: "It is one of the great icons of art in the world and whoever bought it should be congratulated."The previous record for the most expensive work of art sold at auction had been held by Picasso's Nude, Green Leaves and Bust, which went for US$106.5 million at Christie's two years prior on 4 May 2010. As of 2018, the pastel remains the fourth highest nominal price paid for a painting at auction. The work had a presale estimate of $80 million, the biggest presale estimate ever set by Sotheby's.
|
[
"Leon Black",
"paint",
"US$120 million at auction",
"Christie's",
"Nude, Green Leaves and Bust",
"Tobias Meyer",
"pastel",
"Petter Olsen",
"fourth highest nominal price paid for a painting",
"Sotheby's",
"buyer's premium"
] |
|
14240_T
|
The Scream
|
Focus on The Scream and explore the In popular culture.
|
In Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep?, the main character and his then partner, Phil Resch, view the painting in an art gallery. Resch comments that the painting reminds of him of how he imagines androids feel.In the late twentieth century, The Scream was imitated, parodied, and (following the expiration of its copyright) outright copied, which led to it acquiring an iconic status in popular culture. It was used on the cover of some editions of Arthur Janov's 1970 book The Primal Scream.In 1983–1984, pop artist Andy Warhol made a series of silk screen prints copying works by Munch, including The Scream. His stated intention was to desacralize the painting by making it into a mass-reproducible object. Munch had already begun that process, however, by making a lithograph of the work for reproduction. Erró's ironic and irreverent treatment of Munch's masterpiece in his acrylic paintings The Second Scream (1967) and Ding Dong (1979) is considered a characteristic of post-modern art. The expression of Kevin McCallister (Macaulay Culkin) in the poster for the 1990 film Home Alone was inspired by The Scream.The Ghostface mask worn by the primary antagonists of the Scream series of horror movies is based on the painting. It was created by Brigitte Sleiertin of the Fun World costume company for the Halloween market, prior to being discovered by Marianne Maddalena and Wes Craven for the film.The principal alien antagonists depicted in the 2011 BBC series of Doctor Who, named "The Silence", have an appearance partially based on The Scream.In 2013, The Scream was one of four paintings that the Norwegian postal service chose for a series of stamps marking the 150th anniversary of Edvard Munch's birth. In 2018 Norwegian comedy duo Ylvis made a musical based on the painting's theft starring Pål Enger who stole it in 1994.A patient resource group for trigeminal neuralgia (which has been described as the most painful condition in existence) have also adopted the image as a symbol of the condition.In most renderings, the emoji U+1F631 😱 FACE SCREAMING IN FEAR is made to resemble the subject of the painting.
A simplified version of the subject of the painting is one of the pictographs that was considered by the US Department of Energy for use as a non-language-specific symbol of danger in order to warn future human civilizations of the presence of radioactive waste.The cover art for the 2018 MGMT album Little Dark Age shows a figure resembling the subject of the painting, albeit in clown-like makeup.
|
[
"paint",
"Scream",
"radioactive waste",
"trigeminal neuralgia",
"emoji",
"Home Alone",
"Ylvis",
"right",
"The Silence",
"Norwegian postal service",
"lithograph",
"post-modern",
"pictographs",
"Wes Craven",
"Pål Enger",
"BBC",
"The Primal Scream",
"Andy Warhol",
"Little Dark Age",
"Edvard Munch",
"US Department of Energy",
"Marianne Maddalena",
"Ghostface",
"silk screen print",
"Philip K. Dick",
"ironic",
"Erró",
"Doctor Who",
"Arthur Janov",
"Do Androids Dream of Electric Sheep?",
"iconic status",
"Macaulay Culkin",
"Halloween"
] |
|
14240_NT
|
The Scream
|
Focus on this artwork and explore the In popular culture.
|
In Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep?, the main character and his then partner, Phil Resch, view the painting in an art gallery. Resch comments that the painting reminds of him of how he imagines androids feel.In the late twentieth century, The Scream was imitated, parodied, and (following the expiration of its copyright) outright copied, which led to it acquiring an iconic status in popular culture. It was used on the cover of some editions of Arthur Janov's 1970 book The Primal Scream.In 1983–1984, pop artist Andy Warhol made a series of silk screen prints copying works by Munch, including The Scream. His stated intention was to desacralize the painting by making it into a mass-reproducible object. Munch had already begun that process, however, by making a lithograph of the work for reproduction. Erró's ironic and irreverent treatment of Munch's masterpiece in his acrylic paintings The Second Scream (1967) and Ding Dong (1979) is considered a characteristic of post-modern art. The expression of Kevin McCallister (Macaulay Culkin) in the poster for the 1990 film Home Alone was inspired by The Scream.The Ghostface mask worn by the primary antagonists of the Scream series of horror movies is based on the painting. It was created by Brigitte Sleiertin of the Fun World costume company for the Halloween market, prior to being discovered by Marianne Maddalena and Wes Craven for the film.The principal alien antagonists depicted in the 2011 BBC series of Doctor Who, named "The Silence", have an appearance partially based on The Scream.In 2013, The Scream was one of four paintings that the Norwegian postal service chose for a series of stamps marking the 150th anniversary of Edvard Munch's birth. In 2018 Norwegian comedy duo Ylvis made a musical based on the painting's theft starring Pål Enger who stole it in 1994.A patient resource group for trigeminal neuralgia (which has been described as the most painful condition in existence) have also adopted the image as a symbol of the condition.In most renderings, the emoji U+1F631 😱 FACE SCREAMING IN FEAR is made to resemble the subject of the painting.
A simplified version of the subject of the painting is one of the pictographs that was considered by the US Department of Energy for use as a non-language-specific symbol of danger in order to warn future human civilizations of the presence of radioactive waste.The cover art for the 2018 MGMT album Little Dark Age shows a figure resembling the subject of the painting, albeit in clown-like makeup.
|
[
"paint",
"Scream",
"radioactive waste",
"trigeminal neuralgia",
"emoji",
"Home Alone",
"Ylvis",
"right",
"The Silence",
"Norwegian postal service",
"lithograph",
"post-modern",
"pictographs",
"Wes Craven",
"Pål Enger",
"BBC",
"The Primal Scream",
"Andy Warhol",
"Little Dark Age",
"Edvard Munch",
"US Department of Energy",
"Marianne Maddalena",
"Ghostface",
"silk screen print",
"Philip K. Dick",
"ironic",
"Erró",
"Doctor Who",
"Arthur Janov",
"Do Androids Dream of Electric Sheep?",
"iconic status",
"Macaulay Culkin",
"Halloween"
] |
|
14241_T
|
Togatus Barberini
|
Focus on Togatus Barberini and explain the abstract.
|
Togatus Barberini is a Roman marble sculpture from around the first-century AD that depicts a full-body figure, referred to as a togatus, holding the heads of deceased ancestors in either hand. It is housed in the Centrale Montemartini in Rome, Italy (formerly in the Capitoline Museums). Little is known about this sculpture and who it depicts, but it is speculated to be a representation of the Roman funerary practice of creating death masks.
|
[
"Capitoline Museums",
"death mask",
"Roman funerary practice",
"sculpture",
"Rome",
"marble",
"Roman",
"Italy",
"Centrale Montemartini"
] |
|
14241_NT
|
Togatus Barberini
|
Focus on this artwork and explain the abstract.
|
Togatus Barberini is a Roman marble sculpture from around the first-century AD that depicts a full-body figure, referred to as a togatus, holding the heads of deceased ancestors in either hand. It is housed in the Centrale Montemartini in Rome, Italy (formerly in the Capitoline Museums). Little is known about this sculpture and who it depicts, but it is speculated to be a representation of the Roman funerary practice of creating death masks.
|
[
"Capitoline Museums",
"death mask",
"Roman funerary practice",
"sculpture",
"Rome",
"marble",
"Roman",
"Italy",
"Centrale Montemartini"
] |
|
14242_T
|
Togatus Barberini
|
Explore the Speculation of identity of this artwork, Togatus Barberini.
|
Little is known about the identity of those depicted in the sculpture, but it is known that the type of shoes the middle figure is depicted to wear distinguishes them as a member of the Roman noble class. From this small bit of information, many theories have risen in speculation of the true identity of the center figure, but little evidence has been provided to back up many of these claims and as such they remain only theories.
Recent research has suggested that represents a patrician senator, holding the heads of his ancestors. The head on the right is that of a famous general, which is evident thanks to the palm-tree support. Furthermore, it is now known that the head and body of the middle figure do not, in fact, belong to each other, evident due to the marble of the head and body being of different types and colors (the head being a white marble and the body being a yellow). This is made more evident due to the toga's finish from behind and the evidence of the restoration of the nose and ears.According to some, the figure is supposed to represent Brutus, holding the severed heads of his two sons, while others claim that instead it is the portrait of a sculptor. Other still believe the prominent figure to be that of Julius Caesar, while many simply claim that the figure is an unknown Roman senator.
|
[
"sculpture",
"general",
"patrician",
"marble",
"Roman",
"senator",
"Julius Caesar",
"Brutus"
] |
|
14242_NT
|
Togatus Barberini
|
Explore the Speculation of identity of this artwork.
|
Little is known about the identity of those depicted in the sculpture, but it is known that the type of shoes the middle figure is depicted to wear distinguishes them as a member of the Roman noble class. From this small bit of information, many theories have risen in speculation of the true identity of the center figure, but little evidence has been provided to back up many of these claims and as such they remain only theories.
Recent research has suggested that represents a patrician senator, holding the heads of his ancestors. The head on the right is that of a famous general, which is evident thanks to the palm-tree support. Furthermore, it is now known that the head and body of the middle figure do not, in fact, belong to each other, evident due to the marble of the head and body being of different types and colors (the head being a white marble and the body being a yellow). This is made more evident due to the toga's finish from behind and the evidence of the restoration of the nose and ears.According to some, the figure is supposed to represent Brutus, holding the severed heads of his two sons, while others claim that instead it is the portrait of a sculptor. Other still believe the prominent figure to be that of Julius Caesar, while many simply claim that the figure is an unknown Roman senator.
|
[
"sculpture",
"general",
"patrician",
"marble",
"Roman",
"senator",
"Julius Caesar",
"Brutus"
] |
|
14243_T
|
The Kreutzer Sonata (painting)
|
Focus on The Kreutzer Sonata (painting) and discuss the abstract.
|
The Kreutzer Sonata (1901) is an oil painting on canvas by René-Xavier Prinet, inspired by Leo Tolstoy's 1889 novella of the same title, which was named after Beethoven's violin and piano composition dedicated to Rudolph Kreutzer.
It depicts a female pianist, dressed in a golden gown, who is pulled up from her stool by a male violinist, who embraces her with one hand around her waist while they kiss. It was first exhibited at Paris, Salon in 1901, and then in Munich and Stuttgart.
The painting was later used to advertise the perfume Tabu by Dana, and may possibly have been the inspiration of a scene in Raj Kapoor's 1949 film Barsaat and subsequently his R. K. logo.
|
[
"Paris, Salon",
"canvas",
"The Kreutzer Sonata",
"Barsaat",
"Tabu",
"René-Xavier Prinet",
"oil painting",
"of the same title",
"R. K. logo",
"Rudolph Kreutzer",
"Leo Tolstoy",
"violin and piano composition",
"Raj Kapoor",
"novella",
"Tabu by Dana"
] |
|
14243_NT
|
The Kreutzer Sonata (painting)
|
Focus on this artwork and discuss the abstract.
|
The Kreutzer Sonata (1901) is an oil painting on canvas by René-Xavier Prinet, inspired by Leo Tolstoy's 1889 novella of the same title, which was named after Beethoven's violin and piano composition dedicated to Rudolph Kreutzer.
It depicts a female pianist, dressed in a golden gown, who is pulled up from her stool by a male violinist, who embraces her with one hand around her waist while they kiss. It was first exhibited at Paris, Salon in 1901, and then in Munich and Stuttgart.
The painting was later used to advertise the perfume Tabu by Dana, and may possibly have been the inspiration of a scene in Raj Kapoor's 1949 film Barsaat and subsequently his R. K. logo.
|
[
"Paris, Salon",
"canvas",
"The Kreutzer Sonata",
"Barsaat",
"Tabu",
"René-Xavier Prinet",
"oil painting",
"of the same title",
"R. K. logo",
"Rudolph Kreutzer",
"Leo Tolstoy",
"violin and piano composition",
"Raj Kapoor",
"novella",
"Tabu by Dana"
] |
|
14244_T
|
The Kreutzer Sonata (painting)
|
How does The Kreutzer Sonata (painting) elucidate its Composition?
|
The painting measures 116.8 by 104.1 cm. It depicts a female pianist dressed in a golden gown, who is pulled up from her stool by a formally dressed male violinist, who holds her with his right hand around her waist. His violin is held up in his left outstretched hand, while her fingers still just about touch the piano keys. She is semi-upright in his embrace as they kiss. They are the focus of the painting, with the surroundings blurred or empty. A candle provides some illumination.
|
[] |
|
14244_NT
|
The Kreutzer Sonata (painting)
|
How does this artwork elucidate its Composition?
|
The painting measures 116.8 by 104.1 cm. It depicts a female pianist dressed in a golden gown, who is pulled up from her stool by a formally dressed male violinist, who holds her with his right hand around her waist. His violin is held up in his left outstretched hand, while her fingers still just about touch the piano keys. She is semi-upright in his embrace as they kiss. They are the focus of the painting, with the surroundings blurred or empty. A candle provides some illumination.
|
[] |
|
14245_T
|
The Kreutzer Sonata (painting)
|
Focus on The Kreutzer Sonata (painting) and analyze the Adaptations and responses.
|
For decades from 1941, the painting was reproduced to promote the perfume Tabu; a "forbidden" fragrance, created in 1931. It first appeared in Vogue, Harper's Bazaar and Town & Country. By 1961, the advert had appeared in publications nearly 4,000 times. The New York Times described it as the advertising industry's "longest kiss". Donald Eaton Carr wrote in his Forgotten senses (1972) that it was probably "the longest kiss in history". People looked at the advertisement and assumed the company paying for it linked the embracing couple with the fragrance. Some objected to the advertising slogans such as "stay away from Tabu if you can't accept its challenge". In 1973, the advert appeared with female and male roles reversed. Gershon Legman, in his Rationale of the Dirty Joke (2007), noted the use of the painting in the Tabu advertisement and described the pair's pose as "inspired by Tolstoy's shocked remarks about the 'eroticism' of Beethoven's Kreutzer Sonata when played by a man and a woman".According to Rahul Rawail, it may possibly have been the inspiration of a scene in Raj Kapoor's 1949 film Barsaat. The scene in turn inspired the R. K. logo by M. R. Acharekar, depicting Kapoor as the violinist, with the actress Nargis in his arms, and was in use by the time of release of Kapoor's film Awaara (1951).Adrian Daub questioned why the violin is positioned so far out, and why is the curtain behind them missing. The violinist has also been described as "dishevelled", and hairy.
|
[
"Town & Country",
"New York Times",
"The New York Times",
"Vogue",
"Awaara",
"Barsaat",
"Tabu",
"M. R. Acharekar",
"Harper's Bazaar",
"R. K. logo",
"Nargis",
"Gershon Legman",
"Rationale of the Dirty Joke",
"Donald Eaton Carr",
"Adrian Daub",
"Raj Kapoor",
"Rahul Rawail",
"hairy"
] |
|
14245_NT
|
The Kreutzer Sonata (painting)
|
Focus on this artwork and analyze the Adaptations and responses.
|
For decades from 1941, the painting was reproduced to promote the perfume Tabu; a "forbidden" fragrance, created in 1931. It first appeared in Vogue, Harper's Bazaar and Town & Country. By 1961, the advert had appeared in publications nearly 4,000 times. The New York Times described it as the advertising industry's "longest kiss". Donald Eaton Carr wrote in his Forgotten senses (1972) that it was probably "the longest kiss in history". People looked at the advertisement and assumed the company paying for it linked the embracing couple with the fragrance. Some objected to the advertising slogans such as "stay away from Tabu if you can't accept its challenge". In 1973, the advert appeared with female and male roles reversed. Gershon Legman, in his Rationale of the Dirty Joke (2007), noted the use of the painting in the Tabu advertisement and described the pair's pose as "inspired by Tolstoy's shocked remarks about the 'eroticism' of Beethoven's Kreutzer Sonata when played by a man and a woman".According to Rahul Rawail, it may possibly have been the inspiration of a scene in Raj Kapoor's 1949 film Barsaat. The scene in turn inspired the R. K. logo by M. R. Acharekar, depicting Kapoor as the violinist, with the actress Nargis in his arms, and was in use by the time of release of Kapoor's film Awaara (1951).Adrian Daub questioned why the violin is positioned so far out, and why is the curtain behind them missing. The violinist has also been described as "dishevelled", and hairy.
|
[
"Town & Country",
"New York Times",
"The New York Times",
"Vogue",
"Awaara",
"Barsaat",
"Tabu",
"M. R. Acharekar",
"Harper's Bazaar",
"R. K. logo",
"Nargis",
"Gershon Legman",
"Rationale of the Dirty Joke",
"Donald Eaton Carr",
"Adrian Daub",
"Raj Kapoor",
"Rahul Rawail",
"hairy"
] |
|
14246_T
|
Wind Gate
|
In Wind Gate, how is the abstract discussed?
|
Wind Gate, also known as Wind Passage and Windgate, is an outdoor bronze sculpture by American artist Hilda Grossman Morris, located in front of Eliot Hall on the Reed College campus in Portland, Oregon, United States. It was created during 1967–1968 and permanently installed on the campus in 1980.
|
[
"Oregon",
"Reed College",
"Portland, Oregon",
"bronze sculpture",
"Portland",
"Eliot Hall",
"Hilda Grossman Morris"
] |
|
14246_NT
|
Wind Gate
|
In this artwork, how is the abstract discussed?
|
Wind Gate, also known as Wind Passage and Windgate, is an outdoor bronze sculpture by American artist Hilda Grossman Morris, located in front of Eliot Hall on the Reed College campus in Portland, Oregon, United States. It was created during 1967–1968 and permanently installed on the campus in 1980.
|
[
"Oregon",
"Reed College",
"Portland, Oregon",
"bronze sculpture",
"Portland",
"Eliot Hall",
"Hilda Grossman Morris"
] |
|
14247_T
|
Wind Gate
|
Focus on Wind Gate and explore the Description.
|
The cast and welded bronze sculpture measures approximately 12 feet (3.7 m) x 7 feet (2.1 m) x 7 feet (2.1 m), marking Morris' largest sculpture up to the time it was completed. The Smithsonian Institution categorizes the work as abstract, allegorical (wind) and architectural (gate). It has been described as "three knife-sail forms that slash through space, radiating out from a central void at roughly equal distances from each other."
|
[
"bronze sculpture",
"architectural",
"Smithsonian Institution",
"allegorical",
"abstract"
] |
|
14247_NT
|
Wind Gate
|
Focus on this artwork and explore the Description.
|
The cast and welded bronze sculpture measures approximately 12 feet (3.7 m) x 7 feet (2.1 m) x 7 feet (2.1 m), marking Morris' largest sculpture up to the time it was completed. The Smithsonian Institution categorizes the work as abstract, allegorical (wind) and architectural (gate). It has been described as "three knife-sail forms that slash through space, radiating out from a central void at roughly equal distances from each other."
|
[
"bronze sculpture",
"architectural",
"Smithsonian Institution",
"allegorical",
"abstract"
] |
|
14248_T
|
Wind Gate
|
Focus on Wind Gate and explain the History.
|
Wind Gate took two years to create (1967–1968) and was largely completed in Morris' studio in the Mariana foundry in Pietrasanta, Italy. The piece was installed permanently in 1980 and dedicated at the October exhibition of the Reed Art Associates, called "Hilda Morris: Wind Gate". On October 11, a ceremony was held on the front lawn of Eliot Hall after a reception in the faculty office building gallery. A "process exhibition" showcasing how Morris created Wind Gate was displayed from October 9 to November 11. It featured studies in the form of a bronze maquette and a midstage bronze, original plaster sections, drawings, and pictures of the casting and installation processes.Financial contributors included Morris, the J.M. Kaplan Fund, Mr. and Mrs. Julian Cheatham, Mr. and Mrs. Alfred Corbett, Mr. and Mrs. C. Girard Davidson, Mrs. Joan Kaplain Davidson, Mr. and Mrs. Paul Feldenheimer, Mrs. and Mrs. Carl Halvorson, Mr. and Mrs. Harold Hirsch, Mr. and Mrs. John Platt, Mr. and Mrs. David Pugh, Mr. and Mrs. Howard Vollum, Mrs. Simeon Reed Winch, the H.A. Andersen Company, Northwest Stone, Skidmore, Owings & Merrill, and the Wilhelm Trucking Company.According to Scott Sonniksen, then Reed gallery director and associate professor of art, Morris' exhibition marked the last in the faculty office building gallery. He said, "It is quite fitting that she bring to a close the long tradition of fine art exhibitions in the old gallery, because of her long association with the College." The exhibition program was then moved to the college center. The gallery series, of which Morris' exhibition was a part, was supported by the Reed Art Associates, Metropolitan Arts Commission, Oregon Arts Commission and the National Endowment for the Arts.The sculpture's condition was deemed "treatment needed" by Smithsonian's "Save Outdoor Sculpture!" program in 1994. It is administered by Reed College.
|
[
"Oregon",
"Oregon Arts Commission",
"Howard Vollum",
"Reed College",
"Skidmore, Owings & Merrill",
"Pietrasanta, Italy",
"Eliot Hall",
"National Endowment for the Arts",
"Save Outdoor Sculpture!",
"Pietrasanta"
] |
|
14248_NT
|
Wind Gate
|
Focus on this artwork and explain the History.
|
Wind Gate took two years to create (1967–1968) and was largely completed in Morris' studio in the Mariana foundry in Pietrasanta, Italy. The piece was installed permanently in 1980 and dedicated at the October exhibition of the Reed Art Associates, called "Hilda Morris: Wind Gate". On October 11, a ceremony was held on the front lawn of Eliot Hall after a reception in the faculty office building gallery. A "process exhibition" showcasing how Morris created Wind Gate was displayed from October 9 to November 11. It featured studies in the form of a bronze maquette and a midstage bronze, original plaster sections, drawings, and pictures of the casting and installation processes.Financial contributors included Morris, the J.M. Kaplan Fund, Mr. and Mrs. Julian Cheatham, Mr. and Mrs. Alfred Corbett, Mr. and Mrs. C. Girard Davidson, Mrs. Joan Kaplain Davidson, Mr. and Mrs. Paul Feldenheimer, Mrs. and Mrs. Carl Halvorson, Mr. and Mrs. Harold Hirsch, Mr. and Mrs. John Platt, Mr. and Mrs. David Pugh, Mr. and Mrs. Howard Vollum, Mrs. Simeon Reed Winch, the H.A. Andersen Company, Northwest Stone, Skidmore, Owings & Merrill, and the Wilhelm Trucking Company.According to Scott Sonniksen, then Reed gallery director and associate professor of art, Morris' exhibition marked the last in the faculty office building gallery. He said, "It is quite fitting that she bring to a close the long tradition of fine art exhibitions in the old gallery, because of her long association with the College." The exhibition program was then moved to the college center. The gallery series, of which Morris' exhibition was a part, was supported by the Reed Art Associates, Metropolitan Arts Commission, Oregon Arts Commission and the National Endowment for the Arts.The sculpture's condition was deemed "treatment needed" by Smithsonian's "Save Outdoor Sculpture!" program in 1994. It is administered by Reed College.
|
[
"Oregon",
"Oregon Arts Commission",
"Howard Vollum",
"Reed College",
"Skidmore, Owings & Merrill",
"Pietrasanta, Italy",
"Eliot Hall",
"National Endowment for the Arts",
"Save Outdoor Sculpture!",
"Pietrasanta"
] |
|
14249_T
|
Flora (Titian)
|
Explore the abstract of this artwork, Flora (Titian).
|
Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.
|
[
"Florence",
"Uffizi",
"Renaissance",
"Titian",
"Uffizi Gallery",
"Flora"
] |
|
14249_NT
|
Flora (Titian)
|
Explore the abstract of this artwork.
|
Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.
|
[
"Florence",
"Uffizi",
"Renaissance",
"Titian",
"Uffizi Gallery",
"Flora"
] |
|
14250_T
|
Flora (Titian)
|
Focus on Flora (Titian) and discuss the History.
|
The work was reproduced in numerous 16th century etchings. Later, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora of London and in two portraits in Dresden and New York. Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.
In the 18th century, it was erroneously attributed to Palma the Elder.
|
[
"Amsterdam",
"Uffizi",
"Palma the Elder",
"Kunsthistorisches Museum",
"Rembrandt",
"Flora",
"Saskia Dressing as Flora",
"Vienna",
"Archduke Leopold Wilhelm of Austria",
"Brussels"
] |
|
14250_NT
|
Flora (Titian)
|
Focus on this artwork and discuss the History.
|
The work was reproduced in numerous 16th century etchings. Later, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora of London and in two portraits in Dresden and New York. Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.
In the 18th century, it was erroneously attributed to Palma the Elder.
|
[
"Amsterdam",
"Uffizi",
"Palma the Elder",
"Kunsthistorisches Museum",
"Rembrandt",
"Flora",
"Saskia Dressing as Flora",
"Vienna",
"Archduke Leopold Wilhelm of Austria",
"Brussels"
] |
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