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|---|---|---|---|---|---|
14251_T
|
Flora (Titian)
|
How does Flora (Titian) elucidate its Description?
|
It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.
The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.
|
[
"Laura",
"Salome",
"Violante",
"Woman at the Mirror",
"Vanity",
"Titian",
"Flora",
"Giorgione",
"courtesan"
] |
|
14251_NT
|
Flora (Titian)
|
How does this artwork elucidate its Description?
|
It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.
The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.
|
[
"Laura",
"Salome",
"Violante",
"Woman at the Mirror",
"Vanity",
"Titian",
"Flora",
"Giorgione",
"courtesan"
] |
|
14252_T
|
Ecce Homo (Bosch, Indianapolis)
|
Focus on Ecce Homo (Bosch, Indianapolis) and analyze the abstract.
|
Ecce Homo is a painting by a follower of the Netherlandish painter Hieronymus Bosch. It depicts the presentation of Jesus Christ by Pontius Pilate to the throngs of Jerusalem. This painting is at the Indianapolis Museum of Art in Indianapolis, Indiana; it is closely similar to one at the Philadelphia Museum of Art.They are not to be confused with the 1470s Bosch painting of the same name.
|
[
"Jesus",
"Indianapolis",
"Bosch",
"Jesus Christ",
"Pontius Pilate",
"Hieronymus Bosch",
"Indianapolis, Indiana",
"Jerusalem",
"Indianapolis Museum of Art",
"Bosch painting of the same name",
"Philadelphia Museum of Art"
] |
|
14252_NT
|
Ecce Homo (Bosch, Indianapolis)
|
Focus on this artwork and analyze the abstract.
|
Ecce Homo is a painting by a follower of the Netherlandish painter Hieronymus Bosch. It depicts the presentation of Jesus Christ by Pontius Pilate to the throngs of Jerusalem. This painting is at the Indianapolis Museum of Art in Indianapolis, Indiana; it is closely similar to one at the Philadelphia Museum of Art.They are not to be confused with the 1470s Bosch painting of the same name.
|
[
"Jesus",
"Indianapolis",
"Bosch",
"Jesus Christ",
"Pontius Pilate",
"Hieronymus Bosch",
"Indianapolis, Indiana",
"Jerusalem",
"Indianapolis Museum of Art",
"Bosch painting of the same name",
"Philadelphia Museum of Art"
] |
|
14253_T
|
Beasts of the Sea
|
In Beasts of the Sea, how is the abstract discussed?
|
Beasts of the Sea (French: Les bêtes de la mer) is a paper collage on canvas by Henri Matisse from 1950. It is currently in the collection of the National Gallery of Art, Washington, DC. During the early-to-mid-1940s Matisse was in poor health. Eventually by 1950 he stopped painting in favor of his paper cutouts. Beasts of the Sea, is an example of Matisse's final body of works known as the cutouts.
|
[
"Henri Matisse",
"Washington, DC",
"National Gallery of Art",
"Washington, DC."
] |
|
14253_NT
|
Beasts of the Sea
|
In this artwork, how is the abstract discussed?
|
Beasts of the Sea (French: Les bêtes de la mer) is a paper collage on canvas by Henri Matisse from 1950. It is currently in the collection of the National Gallery of Art, Washington, DC. During the early-to-mid-1940s Matisse was in poor health. Eventually by 1950 he stopped painting in favor of his paper cutouts. Beasts of the Sea, is an example of Matisse's final body of works known as the cutouts.
|
[
"Henri Matisse",
"Washington, DC",
"National Gallery of Art",
"Washington, DC."
] |
|
14254_T
|
Barbarigo Altarpiece
|
Focus on Barbarigo Altarpiece and explore the abstract.
|
The Barbarigo Altarpiece or Enthroned Madonna and Child with Angel Musicians and Saint Mark, Saint Augustine and Doge Agostino Barbarigo is a 1488 (dated on the throne) oil painting on panel by Giovanni Bellini, now in the church of San Pietro Martire in Murano.
Its commission is unusually well-documented for a work by Bellini. Uniquely Agostino Barbarigo had taken over from his brother Marco Barbarigo as doge. Marco and Agostino were not on good terms and Agostino was even suspected of killing his brother. To quell these rumours, Agostino began commissioning works promoting himself as the heir to and loyal supporter of his brother's work. These included St Mark's Clocktower (Torre dell'Orologio) from Mauro Codussi, and at the Doge's Palace, the monumental steps (Scala dei Giganti) from the brothers Marco and Pietro Lombardo, and a new wing reaching towards the Rio. He also privately commissioned a majestic funeral monument for Marco and himself in Santa Maria della Carità and commissioned Bellini twice, first to produce the official portrait of Marco for the Sala del Maggior Consiglio (1486–87) and then to produce a "large panel", as his ex-voto for the Doge's Palace.
|
[
"Giovanni Bellini",
"Sala del Maggior Consiglio",
"Doge",
"Murano",
"Agostino Barbarigo",
"doge",
"Marco",
"St Mark's Clocktower",
"Saint Augustine",
"Mauro Codussi",
"San Pietro Martire",
"Doge's Palace",
"Saint Mark",
"ex-voto",
"Marco Barbarigo",
"Pietro Lombardo"
] |
|
14254_NT
|
Barbarigo Altarpiece
|
Focus on this artwork and explore the abstract.
|
The Barbarigo Altarpiece or Enthroned Madonna and Child with Angel Musicians and Saint Mark, Saint Augustine and Doge Agostino Barbarigo is a 1488 (dated on the throne) oil painting on panel by Giovanni Bellini, now in the church of San Pietro Martire in Murano.
Its commission is unusually well-documented for a work by Bellini. Uniquely Agostino Barbarigo had taken over from his brother Marco Barbarigo as doge. Marco and Agostino were not on good terms and Agostino was even suspected of killing his brother. To quell these rumours, Agostino began commissioning works promoting himself as the heir to and loyal supporter of his brother's work. These included St Mark's Clocktower (Torre dell'Orologio) from Mauro Codussi, and at the Doge's Palace, the monumental steps (Scala dei Giganti) from the brothers Marco and Pietro Lombardo, and a new wing reaching towards the Rio. He also privately commissioned a majestic funeral monument for Marco and himself in Santa Maria della Carità and commissioned Bellini twice, first to produce the official portrait of Marco for the Sala del Maggior Consiglio (1486–87) and then to produce a "large panel", as his ex-voto for the Doge's Palace.
|
[
"Giovanni Bellini",
"Sala del Maggior Consiglio",
"Doge",
"Murano",
"Agostino Barbarigo",
"doge",
"Marco",
"St Mark's Clocktower",
"Saint Augustine",
"Mauro Codussi",
"San Pietro Martire",
"Doge's Palace",
"Saint Mark",
"ex-voto",
"Marco Barbarigo",
"Pietro Lombardo"
] |
|
14255_T
|
Barbarigo Altarpiece
|
Focus on Barbarigo Altarpiece and explain the Ex-voto.
|
In Venice it became the custom in the Renaissance for the higher officials, beginning with the Doge, to commission (at their personal expense) an ex-voto painting in the form of a portrait of themselves with religious figures, usually the Virgin or saints, in thanks for achieving their office. For lower officials only their coat of arms might represent the official. The painting was hung in the public building where they worked or presided.Aspects of the picture hint at what many contemporaries saw as the excessive self-aggrandizement of the Barberigo brothers. Rather being presented to the Virgin and Child by his name-saint Augustine, as was usual, the Doge is presented by Saint Mark, patron saint of the Venetian Republic, as well as Marco Barberigo. Instead of looking towards the Child, the Doge looks out towards the Venetians passing the painting. There was opposition to hanging it in the Doge's Palace, which may be why Barberigo instead bequeathed it to a convent (so probably saving it from a later fire). Before this it apparently hung in his home, the Palazzo Barbarigo Nani Mocenigo (which survives; not the Palazzo Barbarigo).In 1501, already dying, Agostino left the canvas to the nunnery of Santa Maria degli Angeli in Murano to be its high altarpiece, but it was soon moved from there (to make room for Titian's Annunciation) to San Pietro Martire. Vasari mentioned it as being in San Michele di Murano but probably mistook it for another Bellini work, now lost, which was already in the Cappella della Santissima Croce in the church of the Camaldolese.
|
[
"Palazzo Barbarigo",
"Ex-voto",
"Venetian Republic",
"Doge",
"Murano",
"Marco",
"San Pietro Martire",
"Titian",
"Doge's Palace",
"Palazzo Barbarigo Nani Mocenigo",
"Saint Mark",
"ex-voto",
"Santa Maria degli Angeli",
"Camaldolese",
"San Michele di Murano",
"Vasari"
] |
|
14255_NT
|
Barbarigo Altarpiece
|
Focus on this artwork and explain the Ex-voto.
|
In Venice it became the custom in the Renaissance for the higher officials, beginning with the Doge, to commission (at their personal expense) an ex-voto painting in the form of a portrait of themselves with religious figures, usually the Virgin or saints, in thanks for achieving their office. For lower officials only their coat of arms might represent the official. The painting was hung in the public building where they worked or presided.Aspects of the picture hint at what many contemporaries saw as the excessive self-aggrandizement of the Barberigo brothers. Rather being presented to the Virgin and Child by his name-saint Augustine, as was usual, the Doge is presented by Saint Mark, patron saint of the Venetian Republic, as well as Marco Barberigo. Instead of looking towards the Child, the Doge looks out towards the Venetians passing the painting. There was opposition to hanging it in the Doge's Palace, which may be why Barberigo instead bequeathed it to a convent (so probably saving it from a later fire). Before this it apparently hung in his home, the Palazzo Barbarigo Nani Mocenigo (which survives; not the Palazzo Barbarigo).In 1501, already dying, Agostino left the canvas to the nunnery of Santa Maria degli Angeli in Murano to be its high altarpiece, but it was soon moved from there (to make room for Titian's Annunciation) to San Pietro Martire. Vasari mentioned it as being in San Michele di Murano but probably mistook it for another Bellini work, now lost, which was already in the Cappella della Santissima Croce in the church of the Camaldolese.
|
[
"Palazzo Barbarigo",
"Ex-voto",
"Venetian Republic",
"Doge",
"Murano",
"Marco",
"San Pietro Martire",
"Titian",
"Doge's Palace",
"Palazzo Barbarigo Nani Mocenigo",
"Saint Mark",
"ex-voto",
"Santa Maria degli Angeli",
"Camaldolese",
"San Michele di Murano",
"Vasari"
] |
|
14256_T
|
Moroccan wall hanging
|
Explore the abstract of this artwork, Moroccan wall hanging.
|
This large, mid-19th century Moroccan wall hanging, or haiti, is a highlight of the textile collection of the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Made in the cultural center of Fez, it is crafted of the finest materials: silk velvet embroidered with gold metallic thread.
|
[
"Indianapolis",
"Indianapolis Museum of Art",
"Fez",
"Indiana",
"silk velvet",
"gold",
"Moroccan",
"textile"
] |
|
14256_NT
|
Moroccan wall hanging
|
Explore the abstract of this artwork.
|
This large, mid-19th century Moroccan wall hanging, or haiti, is a highlight of the textile collection of the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Made in the cultural center of Fez, it is crafted of the finest materials: silk velvet embroidered with gold metallic thread.
|
[
"Indianapolis",
"Indianapolis Museum of Art",
"Fez",
"Indiana",
"silk velvet",
"gold",
"Moroccan",
"textile"
] |
|
14257_T
|
Moroccan wall hanging
|
Focus on Moroccan wall hanging and discuss the Description.
|
The seven panels of this wall hanging, in alternating crimson and emerald velvet, were sewn not by women, as was typical of Moroccan embroidery, but by professional male needleworkers. That is because this haiti represents the most prestigious and complicated form of textile. The men were under close supervision by the leatherworkers' guild, since the work was so complex it required custom-made leather templates. They stitched around the templates with a special technique known as underside couching that kept the precious gold thread from being wasted on the unseen underside. The interlaced mihrab motif, echoing a mosque's arch-shaped niche, makes this wall hanging a magnificent backdrop for special occasions.
|
[
"underside couching",
"gold",
"Moroccan",
"mosque",
"mihrab",
"textile"
] |
|
14257_NT
|
Moroccan wall hanging
|
Focus on this artwork and discuss the Description.
|
The seven panels of this wall hanging, in alternating crimson and emerald velvet, were sewn not by women, as was typical of Moroccan embroidery, but by professional male needleworkers. That is because this haiti represents the most prestigious and complicated form of textile. The men were under close supervision by the leatherworkers' guild, since the work was so complex it required custom-made leather templates. They stitched around the templates with a special technique known as underside couching that kept the precious gold thread from being wasted on the unseen underside. The interlaced mihrab motif, echoing a mosque's arch-shaped niche, makes this wall hanging a magnificent backdrop for special occasions.
|
[
"underside couching",
"gold",
"Moroccan",
"mosque",
"mihrab",
"textile"
] |
|
14258_T
|
Moroccan wall hanging
|
How does Moroccan wall hanging elucidate its Historical information?
|
Artisans in Fez had been creating sumptuous wall hangings like this since the 16th century. Magnificent embroideries of this particular type, with their large size and architectural elements, were reserved for very grand occasions such as the week-long weddings of the very wealthy. They provided a suitable backdrop for the bride in her lavish finery.
|
[
"Fez"
] |
|
14258_NT
|
Moroccan wall hanging
|
How does this artwork elucidate its Historical information?
|
Artisans in Fez had been creating sumptuous wall hangings like this since the 16th century. Magnificent embroideries of this particular type, with their large size and architectural elements, were reserved for very grand occasions such as the week-long weddings of the very wealthy. They provided a suitable backdrop for the bride in her lavish finery.
|
[
"Fez"
] |
|
14259_T
|
Moroccan wall hanging
|
Focus on Moroccan wall hanging and analyze the Location history.
|
In 2003, the IMA loaned this artwork to the National Museum of African Art as part of an exhibit entitled "The Fabric of Moroccan Art," which was sponsored by Mohammed VI, king of Morocco. Of the dozens of textiles displayed, this one was lauded as "One of the most important pieces in the exhibition--and in the IMA's entire textile collection."
|
[
"Mohammed VI",
"National Museum of African Art",
"Morocco",
"Moroccan",
"textile"
] |
|
14259_NT
|
Moroccan wall hanging
|
Focus on this artwork and analyze the Location history.
|
In 2003, the IMA loaned this artwork to the National Museum of African Art as part of an exhibit entitled "The Fabric of Moroccan Art," which was sponsored by Mohammed VI, king of Morocco. Of the dozens of textiles displayed, this one was lauded as "One of the most important pieces in the exhibition--and in the IMA's entire textile collection."
|
[
"Mohammed VI",
"National Museum of African Art",
"Morocco",
"Moroccan",
"textile"
] |
|
14260_T
|
Moroccan wall hanging
|
In Moroccan wall hanging, how is the Acquisition discussed?
|
This haiti was donated to the IMA by Eliza M. and Sarah L. Niblack in 1932. It became an official part of the museum's collection in 1983 per Sarah's bequest, and was given the accession number 1983.66. The Niblack family had acquired it when Admiral Albert Parker Niblack, Eliza's brother, was stationed in Gibraltar in 1917. His discerning eye led to a collection of 2,500 Moroccan, European, and Indonesian textiles, all of which found their way into the IMA's collection. The family's generosity means the museum holds one of the most important collections of Moroccan textiles in the United States, since most institutions focus on Turkish and Persian textiles.
|
[
"Indonesia",
"Albert Parker Niblack",
"Persia",
"Turkish",
"Gibraltar",
"Moroccan",
"textile"
] |
|
14260_NT
|
Moroccan wall hanging
|
In this artwork, how is the Acquisition discussed?
|
This haiti was donated to the IMA by Eliza M. and Sarah L. Niblack in 1932. It became an official part of the museum's collection in 1983 per Sarah's bequest, and was given the accession number 1983.66. The Niblack family had acquired it when Admiral Albert Parker Niblack, Eliza's brother, was stationed in Gibraltar in 1917. His discerning eye led to a collection of 2,500 Moroccan, European, and Indonesian textiles, all of which found their way into the IMA's collection. The family's generosity means the museum holds one of the most important collections of Moroccan textiles in the United States, since most institutions focus on Turkish and Persian textiles.
|
[
"Indonesia",
"Albert Parker Niblack",
"Persia",
"Turkish",
"Gibraltar",
"Moroccan",
"textile"
] |
|
14261_T
|
Massacre in Korea
|
Focus on Massacre in Korea and explore the Background.
|
Massacre in Korea is the third in a series of anti-war paintings created by Picasso. It was preceded by the monumental Guernica, painted in 1937, and The Charnel House, painted from 1944 to 1945. The title of this painting refers to the outbreak of the Korean War, which had started in the previous year, yet the subject matter is ambiguous, as Picasso does not point directly to a period or location within the composition.Picasso was exposed to the effects of war throughout his entire life and this had a direct impact on his artwork. From a young age, he began to include war motifs in his work. When the Spanish Civil War broke out, Picasso was deeply affected by it, which led to his painting of Guernica in 1937. Although Picasso did not take part in any war or serve as a soldier, he would use his artwork to make political statements. He claimed that his artwork was a "journal" that documented not only his personal life, but also the conflicts of his era. World War II marked a period of major upheaval and during this period, Picasso lived in occupied Paris. When France was liberated from the Nazis, he became committed to using his art for political statements. His post-war art therefore displays anti-war images and symbols of peace. Reports of German atrocities in the Holocaust are also thought to be the main inspiration behind the unfinished Charnel House, though its content was drawn from Picasso's experiences in Spain similar to Guernica.
|
[
"Holocaust",
"occupied Paris",
"Charnel House",
"France was liberated",
"Nazis",
"The Charnel House",
"Spanish Civil War",
"Guernica",
"Korean War",
"Paris",
"World War II"
] |
|
14261_NT
|
Massacre in Korea
|
Focus on this artwork and explore the Background.
|
Massacre in Korea is the third in a series of anti-war paintings created by Picasso. It was preceded by the monumental Guernica, painted in 1937, and The Charnel House, painted from 1944 to 1945. The title of this painting refers to the outbreak of the Korean War, which had started in the previous year, yet the subject matter is ambiguous, as Picasso does not point directly to a period or location within the composition.Picasso was exposed to the effects of war throughout his entire life and this had a direct impact on his artwork. From a young age, he began to include war motifs in his work. When the Spanish Civil War broke out, Picasso was deeply affected by it, which led to his painting of Guernica in 1937. Although Picasso did not take part in any war or serve as a soldier, he would use his artwork to make political statements. He claimed that his artwork was a "journal" that documented not only his personal life, but also the conflicts of his era. World War II marked a period of major upheaval and during this period, Picasso lived in occupied Paris. When France was liberated from the Nazis, he became committed to using his art for political statements. His post-war art therefore displays anti-war images and symbols of peace. Reports of German atrocities in the Holocaust are also thought to be the main inspiration behind the unfinished Charnel House, though its content was drawn from Picasso's experiences in Spain similar to Guernica.
|
[
"Holocaust",
"occupied Paris",
"Charnel House",
"France was liberated",
"Nazis",
"The Charnel House",
"Spanish Civil War",
"Guernica",
"Korean War",
"Paris",
"World War II"
] |
|
14262_T
|
Massacre in Korea
|
Focus on Massacre in Korea and explain the Description.
|
The painting may depict an event similar to the No Gun Ri Massacre in July 1950, when an undetermined number of South Korean refugees were massacred by U.S. soldiers, or the Sinchon Massacre of the same year, a mass killing carried out in the county of Sinchon, South Hwanghae Province, North Korea. Massacre in Korea depicts civilians being killed by anti-communist forces. The art critic Kirsten Hoving Keen says that it is "inspired by reports of American atrocities" in Korea. At 43 inches (1.1 m) by 82 inches (2.1 m), the work is smaller than his Guernica, to which it bears a conceptual resemblance as well as an expressive vehemence.Picasso's work is influenced by Francisco Goya's painting The Third of May 1808, which shows Napoleon's soldiers executing Spanish civilians under the orders of Joachim Murat. It stands in the same iconographic tradition of an earlier work modeled after Goya: Édouard Manet's series of five paintings depicting the execution of Emperor Maximilian, completed between 1867 and 1869. As with Goya's The Third of May 1808, Picasso's painting is marked by a bifurcated composition, divided into two distinct parts. To the left, a group of naked women and children are seen situated at the foot of a mass grave. A number of heavily armed "knights" stand to the right, also naked, but equipped with "gigantic limbs and hard muscles similar to those of prehistoric giants." The firing squad is rigidly poised as in Goya. In Picasso's representation, however, the group is manifestly helter-skelter – as was often apparent in his portrayals of armored soldiers in drawings and lithographs – which may be taken to indicate an attitude of mockery of the idiocy of war. Their helmets are misshapen, and their weaponry is a mishmash amalgamation of the instruments of aggression from the medieval period to the modern era; not quite guns nor lances, they perhaps most resemble candlesticks. What is more, none of the soldiers have penises. This representational feature is highlighted by the pregnant state of the women on the left side of the panel. Many viewers have interpreted that the soldiers, in their capacity as destroyers of life, have substituted guns for their penises, thereby castrating themselves and depriving the world of the next generation of human life. Along with Guernica and The Charnel House (1944–45), this is one of Picasso's works that he composed to depict the politics of his time.
|
[
"Napoleon",
"Francisco Goya",
"South Hwanghae Province",
"North Korea",
"Joachim Murat",
"Charnel House",
"the execution of Emperor Maximilian",
"left",
"The Charnel House",
"Guernica",
"Sinchon Massacre",
"The Third of May 1808",
"Édouard Manet",
"No Gun Ri Massacre",
"U.S. soldiers"
] |
|
14262_NT
|
Massacre in Korea
|
Focus on this artwork and explain the Description.
|
The painting may depict an event similar to the No Gun Ri Massacre in July 1950, when an undetermined number of South Korean refugees were massacred by U.S. soldiers, or the Sinchon Massacre of the same year, a mass killing carried out in the county of Sinchon, South Hwanghae Province, North Korea. Massacre in Korea depicts civilians being killed by anti-communist forces. The art critic Kirsten Hoving Keen says that it is "inspired by reports of American atrocities" in Korea. At 43 inches (1.1 m) by 82 inches (2.1 m), the work is smaller than his Guernica, to which it bears a conceptual resemblance as well as an expressive vehemence.Picasso's work is influenced by Francisco Goya's painting The Third of May 1808, which shows Napoleon's soldiers executing Spanish civilians under the orders of Joachim Murat. It stands in the same iconographic tradition of an earlier work modeled after Goya: Édouard Manet's series of five paintings depicting the execution of Emperor Maximilian, completed between 1867 and 1869. As with Goya's The Third of May 1808, Picasso's painting is marked by a bifurcated composition, divided into two distinct parts. To the left, a group of naked women and children are seen situated at the foot of a mass grave. A number of heavily armed "knights" stand to the right, also naked, but equipped with "gigantic limbs and hard muscles similar to those of prehistoric giants." The firing squad is rigidly poised as in Goya. In Picasso's representation, however, the group is manifestly helter-skelter – as was often apparent in his portrayals of armored soldiers in drawings and lithographs – which may be taken to indicate an attitude of mockery of the idiocy of war. Their helmets are misshapen, and their weaponry is a mishmash amalgamation of the instruments of aggression from the medieval period to the modern era; not quite guns nor lances, they perhaps most resemble candlesticks. What is more, none of the soldiers have penises. This representational feature is highlighted by the pregnant state of the women on the left side of the panel. Many viewers have interpreted that the soldiers, in their capacity as destroyers of life, have substituted guns for their penises, thereby castrating themselves and depriving the world of the next generation of human life. Along with Guernica and The Charnel House (1944–45), this is one of Picasso's works that he composed to depict the politics of his time.
|
[
"Napoleon",
"Francisco Goya",
"South Hwanghae Province",
"North Korea",
"Joachim Murat",
"Charnel House",
"the execution of Emperor Maximilian",
"left",
"The Charnel House",
"Guernica",
"Sinchon Massacre",
"The Third of May 1808",
"Édouard Manet",
"No Gun Ri Massacre",
"U.S. soldiers"
] |
|
14263_T
|
Massacre in Korea
|
Explore the Significance and legacy of this artwork, Massacre in Korea.
|
Massacre in Korea is often overlooked and overshadowed in cultural consciousness by Guernica. It is more literal in its visual storytelling than the fragmented symbolism of the earlier, more famous work. When the painting was first viewed in 1951, it was not well received. Isabelle Limousin, exhibition curator, explained that the work was dismissed, as "too easy, too readable for contemporaries of the artist", yet she considers it to be "a very strong work".Museu Picasso de Barcelona describes the painting as, "one of Picasso's most important pacifist works in defense of human rights, beyond ideologies and sides."
Pierre Daix, an expert on Picasso, opined that the painting has "entered within the great tradition of paintings of cruelty, a 20th century version of the Massacre of the Innocents".
|
[
"Pierre Daix",
"Museu Picasso",
"Guernica",
"Museu Picasso de Barcelona"
] |
|
14263_NT
|
Massacre in Korea
|
Explore the Significance and legacy of this artwork.
|
Massacre in Korea is often overlooked and overshadowed in cultural consciousness by Guernica. It is more literal in its visual storytelling than the fragmented symbolism of the earlier, more famous work. When the painting was first viewed in 1951, it was not well received. Isabelle Limousin, exhibition curator, explained that the work was dismissed, as "too easy, too readable for contemporaries of the artist", yet she considers it to be "a very strong work".Museu Picasso de Barcelona describes the painting as, "one of Picasso's most important pacifist works in defense of human rights, beyond ideologies and sides."
Pierre Daix, an expert on Picasso, opined that the painting has "entered within the great tradition of paintings of cruelty, a 20th century version of the Massacre of the Innocents".
|
[
"Pierre Daix",
"Museu Picasso",
"Guernica",
"Museu Picasso de Barcelona"
] |
|
14264_T
|
Massacre in Korea
|
Focus on Massacre in Korea and discuss the Attempted vandalism in Melbourne.
|
On 9 October 2022, two activists from the environmental pressure group Extinction Rebellion glued their hands to the painting using superglue while it was on loan to the National Gallery of Victoria in Melbourne. Their hands were attached to the perspex glazing protecting the painting but later removed without damage to the artwork. The activists were arrested but later released without charge.
|
[
"National Gallery of Victoria",
"Extinction Rebellion"
] |
|
14264_NT
|
Massacre in Korea
|
Focus on this artwork and discuss the Attempted vandalism in Melbourne.
|
On 9 October 2022, two activists from the environmental pressure group Extinction Rebellion glued their hands to the painting using superglue while it was on loan to the National Gallery of Victoria in Melbourne. Their hands were attached to the perspex glazing protecting the painting but later removed without damage to the artwork. The activists were arrested but later released without charge.
|
[
"National Gallery of Victoria",
"Extinction Rebellion"
] |
|
14265_T
|
Virgin and Child with Two Angels (Botticelli, Strasbourg)
|
How does Virgin and Child with Two Angels (Botticelli, Strasbourg) elucidate its abstract?
|
Virgin and Child with two Angels is a panel painting by the Italian Renaissance painter Sandro Botticelli. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 558.Owing to its comparatively poor condition, due to the peeling off of some tempera layers as well as some ancient restoration attempts, the painting had not unanimously been attributed to Botticelli himself: critics like Bernard Berenson, who had at first declared it to be genuine, later attributed it to Botticelli's workshop. Today, art historians largely agree that it is indeed an early painting by Sandro Botticelli. Some disagreement existed on how early, given that the painting displays clear influences of Botticelli's master Filippo Lippi (which would put it in the early 1460s), but also an obvious knowledge of the works of Andrea del Verrocchio (which would put it in the later 1460s). It is now agreed upon that the painting was made in the year 1468 or 1469.Virgin and Child with two Angels was bought in London by Karl Trübner in 1904, from the heirs of Horatio Granville Murray-Stewart (1834–1904), former High Sheriff of Donegal. It was inherited by the Strasbourg museum in 1908, together with other paintings from the Trübner collection, such as Van Everdingen's Nordic Landscape with a Castle on a Hill.
|
[
"Karl Trübner",
"Italian Renaissance",
"panel",
"tempera",
"Sandro Botticelli",
"Musée des Beaux-Arts",
"panel painting",
"Van Everdingen",
"Bernard Berenson",
"High Sheriff of Donegal",
"Strasbourg",
"Andrea del Verrocchio",
"London",
"Nordic Landscape with a Castle on a Hill",
"Filippo Lippi"
] |
|
14265_NT
|
Virgin and Child with Two Angels (Botticelli, Strasbourg)
|
How does this artwork elucidate its abstract?
|
Virgin and Child with two Angels is a panel painting by the Italian Renaissance painter Sandro Botticelli. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 558.Owing to its comparatively poor condition, due to the peeling off of some tempera layers as well as some ancient restoration attempts, the painting had not unanimously been attributed to Botticelli himself: critics like Bernard Berenson, who had at first declared it to be genuine, later attributed it to Botticelli's workshop. Today, art historians largely agree that it is indeed an early painting by Sandro Botticelli. Some disagreement existed on how early, given that the painting displays clear influences of Botticelli's master Filippo Lippi (which would put it in the early 1460s), but also an obvious knowledge of the works of Andrea del Verrocchio (which would put it in the later 1460s). It is now agreed upon that the painting was made in the year 1468 or 1469.Virgin and Child with two Angels was bought in London by Karl Trübner in 1904, from the heirs of Horatio Granville Murray-Stewart (1834–1904), former High Sheriff of Donegal. It was inherited by the Strasbourg museum in 1908, together with other paintings from the Trübner collection, such as Van Everdingen's Nordic Landscape with a Castle on a Hill.
|
[
"Karl Trübner",
"Italian Renaissance",
"panel",
"tempera",
"Sandro Botticelli",
"Musée des Beaux-Arts",
"panel painting",
"Van Everdingen",
"Bernard Berenson",
"High Sheriff of Donegal",
"Strasbourg",
"Andrea del Verrocchio",
"London",
"Nordic Landscape with a Castle on a Hill",
"Filippo Lippi"
] |
|
14266_T
|
Toluvila statue
|
In Toluvila statue, how is the abstract discussed?
|
The Toluvila statue is a seated image of the Buddha discovered in 1900 in Anuradhapura, Sri Lanka, that dates back to the 4th or 5th century. Carved out of granite, it is one of the best-preserved sculptures from Sri Lanka and is similar to the Samadhi statue of Anuradhapura. Some features of the statue indicate that it may have been influenced by the Mathura School. The statue is now kept at the National Museum of Colombo.
|
[
"Anuradhapura",
"Sri Lanka",
"granite",
"Buddha",
"Mathura School",
"National Museum of Colombo",
"Samadhi statue"
] |
|
14266_NT
|
Toluvila statue
|
In this artwork, how is the abstract discussed?
|
The Toluvila statue is a seated image of the Buddha discovered in 1900 in Anuradhapura, Sri Lanka, that dates back to the 4th or 5th century. Carved out of granite, it is one of the best-preserved sculptures from Sri Lanka and is similar to the Samadhi statue of Anuradhapura. Some features of the statue indicate that it may have been influenced by the Mathura School. The statue is now kept at the National Museum of Colombo.
|
[
"Anuradhapura",
"Sri Lanka",
"granite",
"Buddha",
"Mathura School",
"National Museum of Colombo",
"Samadhi statue"
] |
|
14267_T
|
Toluvila statue
|
Focus on Toluvila statue and explore the Appearance and characteristics.
|
The Toluvila Buddha statue is considered to be a masterpiece, and is one of the best examples of the ancient Sri Lankan sculpting art, along with the Samadhi statue in Anuradhapura. The Toluvila statue is also one of the best-preserved images of the Buddha that has been found in Sri Lanka. It is carved out of a single block of granite, and bears a close resemblance to the Samadhi statue, although slightly smaller. The Toluvila statue is 5 feet 9 inches (1.75 m) in height. It shows the Buddha seated with his legs crossed and hands together in meditation, depicting the dhyana mudra. The seating style is known as weerasana. The distance between the shoulders is 3 feet 5 inches (1.04 m), while the knees are 5 feet 9 inches (1.75 m) apart.While many other Buddha statues from the same period have long, hanging earlobes, the Toluvila statue lacks this feature. Another unusual feature is three lines that have been carved into the front of the neck that are believed to have been influenced by the Mathura School of India. It is possible that seated Buddha images, such as the one found at the Wat Phra Borom That temple in Chaiya, Thailand, may have been influenced to some extent by statues of the Anuradhapura period like the Toluvila statue.
|
[
"Anuradhapura",
"Anuradhapura period",
"Sri Lanka",
"India",
"Chaiya",
"Thailand",
"granite",
"Buddha",
"Mathura School",
"Wat Phra Borom That",
"dhyana mudra",
"Samadhi statue"
] |
|
14267_NT
|
Toluvila statue
|
Focus on this artwork and explore the Appearance and characteristics.
|
The Toluvila Buddha statue is considered to be a masterpiece, and is one of the best examples of the ancient Sri Lankan sculpting art, along with the Samadhi statue in Anuradhapura. The Toluvila statue is also one of the best-preserved images of the Buddha that has been found in Sri Lanka. It is carved out of a single block of granite, and bears a close resemblance to the Samadhi statue, although slightly smaller. The Toluvila statue is 5 feet 9 inches (1.75 m) in height. It shows the Buddha seated with his legs crossed and hands together in meditation, depicting the dhyana mudra. The seating style is known as weerasana. The distance between the shoulders is 3 feet 5 inches (1.04 m), while the knees are 5 feet 9 inches (1.75 m) apart.While many other Buddha statues from the same period have long, hanging earlobes, the Toluvila statue lacks this feature. Another unusual feature is three lines that have been carved into the front of the neck that are believed to have been influenced by the Mathura School of India. It is possible that seated Buddha images, such as the one found at the Wat Phra Borom That temple in Chaiya, Thailand, may have been influenced to some extent by statues of the Anuradhapura period like the Toluvila statue.
|
[
"Anuradhapura",
"Anuradhapura period",
"Sri Lanka",
"India",
"Chaiya",
"Thailand",
"granite",
"Buddha",
"Mathura School",
"Wat Phra Borom That",
"dhyana mudra",
"Samadhi statue"
] |
|
14268_T
|
Toluvila statue
|
Focus on Toluvila statue and explain the History.
|
Historians believe that it dates back to the latter part of the Anuradhapura period, specifically the 4th or 5th century. It was found in 1900 during archaeological excavations conducted in the village of Toluvila in Anuradhapura by archaeologist Harry Charles Purvis Bell. According to him, it was the best historical artifact found in Anuradhapura. The statue was later taken to the National Museum of Colombo, where it is kept to this day. The museum identifies it as the "most significant" sculpture of ancient Sri Lanka that it possesses, and it is displayed directly in front of the main entrance to the building.
|
[
"Anuradhapura",
"Anuradhapura period",
"Sri Lanka",
"Harry Charles Purvis Bell",
"National Museum of Colombo"
] |
|
14268_NT
|
Toluvila statue
|
Focus on this artwork and explain the History.
|
Historians believe that it dates back to the latter part of the Anuradhapura period, specifically the 4th or 5th century. It was found in 1900 during archaeological excavations conducted in the village of Toluvila in Anuradhapura by archaeologist Harry Charles Purvis Bell. According to him, it was the best historical artifact found in Anuradhapura. The statue was later taken to the National Museum of Colombo, where it is kept to this day. The museum identifies it as the "most significant" sculpture of ancient Sri Lanka that it possesses, and it is displayed directly in front of the main entrance to the building.
|
[
"Anuradhapura",
"Anuradhapura period",
"Sri Lanka",
"Harry Charles Purvis Bell",
"National Museum of Colombo"
] |
|
14269_T
|
Laocoön and His Sons
|
Explore the abstract of this artwork, Laocoön and His Sons.
|
The statue of Laocoön and His Sons, also called the Laocoön Group (Italian: Gruppo del Laocoonte), has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art. The figures in the statue are nearly life-sized, with the entire group measuring just over 2 m (6 ft 7 in) in height. The sculpture depicts the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.The Laocoön Group has been called "the prototypical icon of human agony" in Western art. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly Laocoön's bulging eyebrows, which were noted by Guillaume-Benjamin Duchenne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially Laocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date (27 BC to 68 AD) now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and has undergone several ancient modifications and restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.
|
[
"Trojan",
"Agesander",
"Emperor Titus",
"Museo Pio-Clementino",
"Hellenistic",
"bronze sculpture",
"Laocoön",
"Christian art",
"Passion of Jesus",
"Vatican Museums",
"Rhodes",
"Western art",
"Pliny the Elder",
"Julio-Claudian",
"martyr",
"Titus",
"Pergamene"
] |
|
14269_NT
|
Laocoön and His Sons
|
Explore the abstract of this artwork.
|
The statue of Laocoön and His Sons, also called the Laocoön Group (Italian: Gruppo del Laocoonte), has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art. The figures in the statue are nearly life-sized, with the entire group measuring just over 2 m (6 ft 7 in) in height. The sculpture depicts the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.The Laocoön Group has been called "the prototypical icon of human agony" in Western art. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly Laocoön's bulging eyebrows, which were noted by Guillaume-Benjamin Duchenne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially Laocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date (27 BC to 68 AD) now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and has undergone several ancient modifications and restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.
|
[
"Trojan",
"Agesander",
"Emperor Titus",
"Museo Pio-Clementino",
"Hellenistic",
"bronze sculpture",
"Laocoön",
"Christian art",
"Passion of Jesus",
"Vatican Museums",
"Rhodes",
"Western art",
"Pliny the Elder",
"Julio-Claudian",
"martyr",
"Titus",
"Pergamene"
] |
|
14270_T
|
Laocoön and His Sons
|
Focus on Laocoön and His Sons and discuss the Subject.
|
The story of Laocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid (see the Aeneid quotation at the entry Laocoön), but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, Laocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving Laocoön himself alive to suffer. In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: Laocoön was either punished for doing wrong, or for being right.The snakes are depicted as both biting and constricting, and are probably intended as venomous, as in Virgil. Pietro Aretino thought so, praising the group in 1537:...the two serpents, in attacking the three figures, produce the most striking semblances of fear, suffering and death. The youth embraced in the coils is fearful; the old man struck by the fangs is in torment; the child who has received the poison, dies.
In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.
|
[
"Trojan",
"Aeneid",
"Poseidon",
"Virgil",
"right",
"Laocoön",
"Homer",
"Pietro Aretino",
"Trojan Horse",
"Sophocles",
"Apollo",
"Trojan Wars",
"Epic Cycle"
] |
|
14270_NT
|
Laocoön and His Sons
|
Focus on this artwork and discuss the Subject.
|
The story of Laocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid (see the Aeneid quotation at the entry Laocoön), but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, Laocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving Laocoön himself alive to suffer. In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: Laocoön was either punished for doing wrong, or for being right.The snakes are depicted as both biting and constricting, and are probably intended as venomous, as in Virgil. Pietro Aretino thought so, praising the group in 1537:...the two serpents, in attacking the three figures, produce the most striking semblances of fear, suffering and death. The youth embraced in the coils is fearful; the old man struck by the fangs is in torment; the child who has received the poison, dies.
In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.
|
[
"Trojan",
"Aeneid",
"Poseidon",
"Virgil",
"right",
"Laocoön",
"Homer",
"Pietro Aretino",
"Trojan Horse",
"Sophocles",
"Apollo",
"Trojan Wars",
"Epic Cycle"
] |
|
14271_T
|
Laocoön and His Sons
|
How does Laocoön and His Sons elucidate its Influence?
|
The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II. Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures. Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre. There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.
The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522. A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.
|
[
"Napoleon",
"Sistine Chapel",
"Raphael",
"Haman",
"Uffizi",
"Trojan",
"Antwerp Cathedral",
"Titian",
"Musée Napoléon",
"Raphael Rooms",
"Musée du Louvre",
"Florence",
"Florentine",
"Hellenistic",
"Parnassus",
"Sistine Chapel ceiling",
"Grand Palace",
"Laocoön",
"Homer",
"Napoleon Bonaparte",
"Baccio Bandinelli",
"Louvre",
"Primaticcio",
"Knights of St. John",
"Rhodes",
"Baroque",
"Pope Leo X",
"prints",
"Descent from the Cross",
"Belvedere Torso",
"Dying Slave",
"ignudi",
"Michelangelo",
"Fontainebleau",
"Rubens",
"Averoldi Altarpiece",
"Pope Julius II",
"woodcut",
"François I of France",
"Rebellious Slave"
] |
|
14271_NT
|
Laocoön and His Sons
|
How does this artwork elucidate its Influence?
|
The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II. Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures. Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre. There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.
The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522. A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.
|
[
"Napoleon",
"Sistine Chapel",
"Raphael",
"Haman",
"Uffizi",
"Trojan",
"Antwerp Cathedral",
"Titian",
"Musée Napoléon",
"Raphael Rooms",
"Musée du Louvre",
"Florence",
"Florentine",
"Hellenistic",
"Parnassus",
"Sistine Chapel ceiling",
"Grand Palace",
"Laocoön",
"Homer",
"Napoleon Bonaparte",
"Baccio Bandinelli",
"Louvre",
"Primaticcio",
"Knights of St. John",
"Rhodes",
"Baroque",
"Pope Leo X",
"prints",
"Descent from the Cross",
"Belvedere Torso",
"Dying Slave",
"ignudi",
"Michelangelo",
"Fontainebleau",
"Rubens",
"Averoldi Altarpiece",
"Pope Julius II",
"woodcut",
"François I of France",
"Rebellious Slave"
] |
|
14272_T
|
Laocoön and His Sons
|
In the context of Laocoön and His Sons, analyze the Laocoön as an ideal of art of the Influence.
|
Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure. The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.
The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.
John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakes – the fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:
For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. A large serpent never wants to bite, it wants to hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about.
In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.
|
[
"Sistine Chapel",
"Clement Greenberg",
"fiery serpents",
"Roman art",
"sublimity",
"Gotthold Ephraim Lessing",
"Johann Goethe",
"Virgil",
"John Ruskin",
"Laocoön",
"Charles Dickens",
"Henry Moore Institute",
"The Rescue",
"Indian",
"Irving Babbitt",
"A Christmas Carol",
"Johann Joachim Winckelmann",
"Book of Numbers",
"Michelangelo",
"Dardan",
"Horatio Greenough",
"left",
"United States Capitol",
"William Blake"
] |
|
14272_NT
|
Laocoön and His Sons
|
In the context of this artwork, analyze the Laocoön as an ideal of art of the Influence.
|
Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure. The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.
The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.
John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakes – the fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:
For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. A large serpent never wants to bite, it wants to hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about.
In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.
|
[
"Sistine Chapel",
"Clement Greenberg",
"fiery serpents",
"Roman art",
"sublimity",
"Gotthold Ephraim Lessing",
"Johann Goethe",
"Virgil",
"John Ruskin",
"Laocoön",
"Charles Dickens",
"Henry Moore Institute",
"The Rescue",
"Indian",
"Irving Babbitt",
"A Christmas Carol",
"Johann Joachim Winckelmann",
"Book of Numbers",
"Michelangelo",
"Dardan",
"Horatio Greenough",
"left",
"United States Capitol",
"William Blake"
] |
|
14273_T
|
Laocoön and His Sons
|
In Laocoön and His Sons, how is the Findspot discussed?
|
The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope. But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum. An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue. The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent. The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it. The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts. He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD. Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate. If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors. The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them.
|
[
"ducat",
"aqueduct",
"Tiberius",
"Vespasian",
"Emperor Nero",
"Gardens of Maecenas",
"Sette Sale",
"Laocoön",
"Santa Maria in Aracoeli",
"Esquiline Hill",
"hectare",
"Oppian Hill",
"Domus Aurea",
"Gaius Maecenas",
"cistern",
"Colosseum",
"Titus",
"Nero",
"Augustus",
"Servian Wall"
] |
|
14273_NT
|
Laocoön and His Sons
|
In this artwork, how is the Findspot discussed?
|
The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope. But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum. An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue. The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent. The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it. The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts. He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD. Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate. If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors. The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them.
|
[
"ducat",
"aqueduct",
"Tiberius",
"Vespasian",
"Emperor Nero",
"Gardens of Maecenas",
"Sette Sale",
"Laocoön",
"Santa Maria in Aracoeli",
"Esquiline Hill",
"hectare",
"Oppian Hill",
"Domus Aurea",
"Gaius Maecenas",
"cistern",
"Colosseum",
"Titus",
"Nero",
"Augustus",
"Servian Wall"
] |
|
14274_T
|
Lady in Blue (Cézanne)
|
Focus on Lady in Blue (Cézanne) and explore the abstract.
|
Lady in Blue is an oil on canvas painting by Paul Cézanne, executed c. 1900, now in the Hermitage Museum in Saint Petersburg, Russia.One of Cézanne's last portraits of a woman, it shows the painter's governess Madame Brémond. Its tones, shapes and colours prefigure Fauvism and Cubism.
|
[
"Fauvism",
"Hermitage Museum",
"Cubism",
"Saint Petersburg",
"Paul Cézanne"
] |
|
14274_NT
|
Lady in Blue (Cézanne)
|
Focus on this artwork and explore the abstract.
|
Lady in Blue is an oil on canvas painting by Paul Cézanne, executed c. 1900, now in the Hermitage Museum in Saint Petersburg, Russia.One of Cézanne's last portraits of a woman, it shows the painter's governess Madame Brémond. Its tones, shapes and colours prefigure Fauvism and Cubism.
|
[
"Fauvism",
"Hermitage Museum",
"Cubism",
"Saint Petersburg",
"Paul Cézanne"
] |
|
14275_T
|
The Holy Kinship (Geertgen tot Sint Jans)
|
Focus on The Holy Kinship (Geertgen tot Sint Jans) and explain the abstract.
|
The Holy Kinship is a circa 1495 oil on panel painting of Holy Kinship by the workshop of the renaissance artist Geertgen tot Sint Jans in the collection of the Rijksmuseum.
|
[
"Holy Kinship",
"Geertgen tot Sint Jans",
"tot Sint Jans",
"Rijksmuseum",
"oil on panel"
] |
|
14275_NT
|
The Holy Kinship (Geertgen tot Sint Jans)
|
Focus on this artwork and explain the abstract.
|
The Holy Kinship is a circa 1495 oil on panel painting of Holy Kinship by the workshop of the renaissance artist Geertgen tot Sint Jans in the collection of the Rijksmuseum.
|
[
"Holy Kinship",
"Geertgen tot Sint Jans",
"tot Sint Jans",
"Rijksmuseum",
"oil on panel"
] |
|
14276_T
|
The Holy Kinship (Geertgen tot Sint Jans)
|
Explore the Painting of this artwork, The Holy Kinship (Geertgen tot Sint Jans).
|
The Holy Kinship shows the Virgin and Child in the left center with Saint Elizabeth and John the Baptist slightly more prominently positioned center right. The "kinship" members have been further identified as Saint Anne with a book on the left with her husband Joachim behind her and behind him Saint Joseph holding a lily towards his wife as a gesture of the immaculate conception. Three young cousins of the infants, the later disciples Simon, Jacob and John, pour wine into a chalice in the centre of the painting which is a reference to the Eucharist, and beyond them a sculpture of Abraham's sacrifice of Isaac on the altar represents God's sacrifice of Jesus. A young Judas stands lighting the candles of the choir gate. In the doorways of the choir gate stand the other two former husbands of Saint Anne, the fathers of the other two Marias who are positioned behind St. Elisabeth.
|
[
"Holy Kinship",
"Judas",
"Jesus",
"Eucharist",
"John the Baptist",
"Saint Joseph",
"Abraham's sacrifice of Isaac"
] |
|
14276_NT
|
The Holy Kinship (Geertgen tot Sint Jans)
|
Explore the Painting of this artwork.
|
The Holy Kinship shows the Virgin and Child in the left center with Saint Elizabeth and John the Baptist slightly more prominently positioned center right. The "kinship" members have been further identified as Saint Anne with a book on the left with her husband Joachim behind her and behind him Saint Joseph holding a lily towards his wife as a gesture of the immaculate conception. Three young cousins of the infants, the later disciples Simon, Jacob and John, pour wine into a chalice in the centre of the painting which is a reference to the Eucharist, and beyond them a sculpture of Abraham's sacrifice of Isaac on the altar represents God's sacrifice of Jesus. A young Judas stands lighting the candles of the choir gate. In the doorways of the choir gate stand the other two former husbands of Saint Anne, the fathers of the other two Marias who are positioned behind St. Elisabeth.
|
[
"Holy Kinship",
"Judas",
"Jesus",
"Eucharist",
"John the Baptist",
"Saint Joseph",
"Abraham's sacrifice of Isaac"
] |
|
14277_T
|
The Holy Kinship (Geertgen tot Sint Jans)
|
Focus on The Holy Kinship (Geertgen tot Sint Jans) and discuss the Provenance.
|
This painting is a former altarpiece of an unspecified church, though it is tempting to imagine similarities to the Commanderie van Sint-Jan where Geertgen is known to have lived and worked: Janskerk, Haarlem. The provenance of this painting only goes back to a Brussels sale in 1797 however, and indeed the painting was purchased in 1808 as a work by Jan and Hubert van Eyck. It wasn't until 1888 that it was identified as a work by the Haarlem master. Since then several attempts have been made to determine the origins of the painting. In his translated Schilder-boeck, Hessel Miedema reported that Geertgen died somewhere between 1486 and 1492, while recent dendrochronology, on the other hand, places the painting around 1496 at the earliest. The painting has many similar details in common with Albert van Ouwater's circa 1445 Lazarus and the tiled floor is similar to a contemporary painting by the Master of Alkmaar:
|
[
"Master of Alkmaar",
"Hubert van Eyck",
"Janskerk, Haarlem",
"dendrochronology",
"Schilder-boeck",
"Hessel Miedema",
"Albert van Ouwater"
] |
|
14277_NT
|
The Holy Kinship (Geertgen tot Sint Jans)
|
Focus on this artwork and discuss the Provenance.
|
This painting is a former altarpiece of an unspecified church, though it is tempting to imagine similarities to the Commanderie van Sint-Jan where Geertgen is known to have lived and worked: Janskerk, Haarlem. The provenance of this painting only goes back to a Brussels sale in 1797 however, and indeed the painting was purchased in 1808 as a work by Jan and Hubert van Eyck. It wasn't until 1888 that it was identified as a work by the Haarlem master. Since then several attempts have been made to determine the origins of the painting. In his translated Schilder-boeck, Hessel Miedema reported that Geertgen died somewhere between 1486 and 1492, while recent dendrochronology, on the other hand, places the painting around 1496 at the earliest. The painting has many similar details in common with Albert van Ouwater's circa 1445 Lazarus and the tiled floor is similar to a contemporary painting by the Master of Alkmaar:
|
[
"Master of Alkmaar",
"Hubert van Eyck",
"Janskerk, Haarlem",
"dendrochronology",
"Schilder-boeck",
"Hessel Miedema",
"Albert van Ouwater"
] |
|
14278_T
|
The Holy Kinship (Geertgen tot Sint Jans)
|
How does The Holy Kinship (Geertgen tot Sint Jans) elucidate its Exhibitions?
|
This painting has been considered a highlight of the collection since it was bought in 1808 and has been included in all Highlights of the Rijksmuseum catalogs. It was the subject of a mini-exhibition after 17 years were spent 1983-2000 restoring 12 centimeters of water damage at the bottom of the painting.
|
[
"Rijksmuseum"
] |
|
14278_NT
|
The Holy Kinship (Geertgen tot Sint Jans)
|
How does this artwork elucidate its Exhibitions?
|
This painting has been considered a highlight of the collection since it was bought in 1808 and has been included in all Highlights of the Rijksmuseum catalogs. It was the subject of a mini-exhibition after 17 years were spent 1983-2000 restoring 12 centimeters of water damage at the bottom of the painting.
|
[
"Rijksmuseum"
] |
|
14279_T
|
To Honor the Immigrants
|
Focus on To Honor the Immigrants and analyze the abstract.
|
To Honor the Immigrants (also known as Immigrants: Strength of Our Nation or simply Immigrants) is an outdoor 1991–1992 bronze sculpture by Gary Ross, installed at Columbus, Ohio's Battelle Riverfront Park, in the United States.Gary Ross, a longtime Columbus resident, also sculpted Governor James A. Rhodes, a work depicting former Ohio Governor Jim Rhodes, today situated in front of the Rhodes State Office Tower.
|
[
"bronze sculpture",
"Rhodes State Office Tower",
"Governor James A. Rhodes",
"Gary Ross",
"Battelle Riverfront Park",
"Jim Rhodes",
"Columbus, Ohio"
] |
|
14279_NT
|
To Honor the Immigrants
|
Focus on this artwork and analyze the abstract.
|
To Honor the Immigrants (also known as Immigrants: Strength of Our Nation or simply Immigrants) is an outdoor 1991–1992 bronze sculpture by Gary Ross, installed at Columbus, Ohio's Battelle Riverfront Park, in the United States.Gary Ross, a longtime Columbus resident, also sculpted Governor James A. Rhodes, a work depicting former Ohio Governor Jim Rhodes, today situated in front of the Rhodes State Office Tower.
|
[
"bronze sculpture",
"Rhodes State Office Tower",
"Governor James A. Rhodes",
"Gary Ross",
"Battelle Riverfront Park",
"Jim Rhodes",
"Columbus, Ohio"
] |
|
14280_T
|
To Honor the Immigrants
|
In To Honor the Immigrants, how is the Description and history discussed?
|
The artwork depicts an immigrant couple; the man carries a trunk and the woman holds an infant. It measures approximately 7 feet (2.1 m) x 4 feet (1.2 m), 5.75 inches (14.6 cm) x 3 feet (0.91 m), 6.5 inches (17 cm), and rests on a stone base measuring approximately 5 feet (1.5 m) x 64 inches (160 cm) x 4 feet (1.2 m), 4 inches (10 cm). Inscriptions on the base include the artist's name, "To Honor the Immigrants / The Strength of Our Nation / A Gift to the City of Columbus / From / United Italian Americans / For 1992", and a list of names associated with the Columbus Italian Club.
The sculpture was modeled in 1991 and dedicated on May 29, 1992. It was conceived by Mary Lou Casanta, who founded the United Italian Americans (UIA) more than three years before the statue's dedication. 21 organizations affiliated with UIA contributed $70,000 to the project. Ground broke in December 1991, and the work's dedication coincided with the 500th anniversary of Christopher Columbus' landing. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992.
|
[
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Christopher Columbus"
] |
|
14280_NT
|
To Honor the Immigrants
|
In this artwork, how is the Description and history discussed?
|
The artwork depicts an immigrant couple; the man carries a trunk and the woman holds an infant. It measures approximately 7 feet (2.1 m) x 4 feet (1.2 m), 5.75 inches (14.6 cm) x 3 feet (0.91 m), 6.5 inches (17 cm), and rests on a stone base measuring approximately 5 feet (1.5 m) x 64 inches (160 cm) x 4 feet (1.2 m), 4 inches (10 cm). Inscriptions on the base include the artist's name, "To Honor the Immigrants / The Strength of Our Nation / A Gift to the City of Columbus / From / United Italian Americans / For 1992", and a list of names associated with the Columbus Italian Club.
The sculpture was modeled in 1991 and dedicated on May 29, 1992. It was conceived by Mary Lou Casanta, who founded the United Italian Americans (UIA) more than three years before the statue's dedication. 21 organizations affiliated with UIA contributed $70,000 to the project. Ground broke in December 1991, and the work's dedication coincided with the 500th anniversary of Christopher Columbus' landing. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992.
|
[
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Christopher Columbus"
] |
|
14281_T
|
Madonna and Child with the Infant John the Baptist (Perugino)
|
Focus on Madonna and Child with the Infant John the Baptist (Perugino) and explore the Bibliography (in Italian).
|
Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Florence, 2004 ISBN 88-8117-099-X
Pierluigi De Vecchi, Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milan, 1999. ISBN 88-451-7212-0
Stefano Zuffi, Il Quattrocento, Electa, Milan, 2004. ISBN 88-370-2315-4
|
[
"Perugino",
"Bompiani"
] |
|
14281_NT
|
Madonna and Child with the Infant John the Baptist (Perugino)
|
Focus on this artwork and explore the Bibliography (in Italian).
|
Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Florence, 2004 ISBN 88-8117-099-X
Pierluigi De Vecchi, Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milan, 1999. ISBN 88-451-7212-0
Stefano Zuffi, Il Quattrocento, Electa, Milan, 2004. ISBN 88-370-2315-4
|
[
"Perugino",
"Bompiani"
] |
|
14282_T
|
Partners (statue)
|
Focus on Partners (statue) and explain the abstract.
|
Partners is a 1993 copper statue by Blaine Gibson depicting Walt Disney holding the hand of the most popular character he created, Mickey Mouse. The statue is 6 feet 5 inches (196 cm), 7 inches (18 cm) taller than Disney himself. It is the central point of attention as guests enter some of the Disney parks. Gibson took a year to create the piece. He used a 1960 bust of Disney as his model for Disney's half. To sculpt Disney and Mickey's joined hands, he consulted the 1940 film Fantasia, where Mickey shook hands with conductor Leopold Stokowski.
There has been speculation regarding Disney's stance in the sculpture. Many believed his outstretched hand indicated he was showing Mickey what had come of his (Disney's) dream. Gibson said, “I chose to depict Walt as he was in 1954. I think that was when [he] was in his prime. It was tough trying to match the media image of Walt Disney, the one the public knows, to the real Walt, the one we knew. I think Walt is admiring the park and saying to Mickey, ‘Look what we’ve accomplished together,’ because truly they were very much a team through it all. ‘Look at all the happy people who have come to visit us today.’”
As revealed in "A Virtual Tour of Walt Disney Imagineering: Part 2", Mickey was initially going to be portrayed holding an ice cream cone, but it was decided it would make him appear too juvenile.The plaque beneath the statues bear slightly different versions of words that Disney never actually uttered. His closest actual words to the inscriptions were, "I think what I want most of all is for Disneyland to be a happy place". Parts of sentences from an unrelated interview were added to this.
|
[
"Imagineer",
"Walt Disney",
"Disney",
"ice cream cone",
"Mickey Mouse",
"Fantasia",
"Disney parks",
"Disneyland",
"Leopold Stokowski",
"Blaine Gibson",
"copper"
] |
|
14282_NT
|
Partners (statue)
|
Focus on this artwork and explain the abstract.
|
Partners is a 1993 copper statue by Blaine Gibson depicting Walt Disney holding the hand of the most popular character he created, Mickey Mouse. The statue is 6 feet 5 inches (196 cm), 7 inches (18 cm) taller than Disney himself. It is the central point of attention as guests enter some of the Disney parks. Gibson took a year to create the piece. He used a 1960 bust of Disney as his model for Disney's half. To sculpt Disney and Mickey's joined hands, he consulted the 1940 film Fantasia, where Mickey shook hands with conductor Leopold Stokowski.
There has been speculation regarding Disney's stance in the sculpture. Many believed his outstretched hand indicated he was showing Mickey what had come of his (Disney's) dream. Gibson said, “I chose to depict Walt as he was in 1954. I think that was when [he] was in his prime. It was tough trying to match the media image of Walt Disney, the one the public knows, to the real Walt, the one we knew. I think Walt is admiring the park and saying to Mickey, ‘Look what we’ve accomplished together,’ because truly they were very much a team through it all. ‘Look at all the happy people who have come to visit us today.’”
As revealed in "A Virtual Tour of Walt Disney Imagineering: Part 2", Mickey was initially going to be portrayed holding an ice cream cone, but it was decided it would make him appear too juvenile.The plaque beneath the statues bear slightly different versions of words that Disney never actually uttered. His closest actual words to the inscriptions were, "I think what I want most of all is for Disneyland to be a happy place". Parts of sentences from an unrelated interview were added to this.
|
[
"Imagineer",
"Walt Disney",
"Disney",
"ice cream cone",
"Mickey Mouse",
"Fantasia",
"Disney parks",
"Disneyland",
"Leopold Stokowski",
"Blaine Gibson",
"copper"
] |
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14283_T
|
Partners (statue)
|
Explore the Sculptor of this artwork, Partners (statue).
|
Blaine Gibson (February 11, 1918 – July 5, 2015) was born on a small farm in Rocky Ford, Colorado. After graduating high school, he attended Colorado University. When he was 21, he applied for a position at Walt Disney Studios. He applied through the mail, requesting information regarding any job opportunities there. He received a reply explaining that he could apply by mail, and should include a drawing with his application. His illustration of a little boy milking a cow and squirting the milk into a kitten's mouth, won him a job as an effects animator for the studios in 1939. Later, as a Disney Imagineer, drawing was his focus for many years.
Gibson is most known for his animations in Fantasia, Bambi, Song of the South, Alice in Wonderland, Peter Pan, Sleeping Beauty, and One Hundred and One Dalmatians. After ten years, he became an assistant animator to Frank Thomas. While Gibson was very successful in animation, sculpting had always been his passion. He designed and animated at work, and took classes at Pasadena City College to perfect his sculpting techniques. Disney soon took interest in his sculptures, and assigned him to the Disneyland Project. From there, he sculpted full-time for the park's attractions. Some of his most noticeable works are the pirates in Pirates of the Caribbean, the ghosts and ghouls of the Haunted Mansion, the birds in the Enchanted Tiki Room, and the children of It's a Small World. He also sculpted busts of the presidents for the Hall of Presidents. After his retirement in 1983, he was consulted on the bust of Barack Obama.
Gibson died of heart failure on July 5, 2015 at the age of 97.
|
[
"Pirates of the Caribbean",
"Barack Obama",
"Imagineer",
"Walt Disney",
"Song of the South",
"Rocky Ford, Colorado",
"One Hundred and One Dalmatians",
"Sleeping Beauty",
"Alice in Wonderland",
"Pasadena City College",
"Disney",
"Hall of Presidents",
"Haunted Mansion",
"Fantasia",
"Frank Thomas",
"Disneyland",
"Walt Disney Studios",
"animator",
"It's a Small World",
"Bambi",
"Colorado University",
"Blaine Gibson",
"Enchanted Tiki Room",
"Peter Pan"
] |
|
14283_NT
|
Partners (statue)
|
Explore the Sculptor of this artwork.
|
Blaine Gibson (February 11, 1918 – July 5, 2015) was born on a small farm in Rocky Ford, Colorado. After graduating high school, he attended Colorado University. When he was 21, he applied for a position at Walt Disney Studios. He applied through the mail, requesting information regarding any job opportunities there. He received a reply explaining that he could apply by mail, and should include a drawing with his application. His illustration of a little boy milking a cow and squirting the milk into a kitten's mouth, won him a job as an effects animator for the studios in 1939. Later, as a Disney Imagineer, drawing was his focus for many years.
Gibson is most known for his animations in Fantasia, Bambi, Song of the South, Alice in Wonderland, Peter Pan, Sleeping Beauty, and One Hundred and One Dalmatians. After ten years, he became an assistant animator to Frank Thomas. While Gibson was very successful in animation, sculpting had always been his passion. He designed and animated at work, and took classes at Pasadena City College to perfect his sculpting techniques. Disney soon took interest in his sculptures, and assigned him to the Disneyland Project. From there, he sculpted full-time for the park's attractions. Some of his most noticeable works are the pirates in Pirates of the Caribbean, the ghosts and ghouls of the Haunted Mansion, the birds in the Enchanted Tiki Room, and the children of It's a Small World. He also sculpted busts of the presidents for the Hall of Presidents. After his retirement in 1983, he was consulted on the bust of Barack Obama.
Gibson died of heart failure on July 5, 2015 at the age of 97.
|
[
"Pirates of the Caribbean",
"Barack Obama",
"Imagineer",
"Walt Disney",
"Song of the South",
"Rocky Ford, Colorado",
"One Hundred and One Dalmatians",
"Sleeping Beauty",
"Alice in Wonderland",
"Pasadena City College",
"Disney",
"Hall of Presidents",
"Haunted Mansion",
"Fantasia",
"Frank Thomas",
"Disneyland",
"Walt Disney Studios",
"animator",
"It's a Small World",
"Bambi",
"Colorado University",
"Blaine Gibson",
"Enchanted Tiki Room",
"Peter Pan"
] |
|
14284_T
|
Partners (statue)
|
Focus on Partners (statue) and discuss the Locations.
|
The original statue is in front of Sleeping Beauty Castle in Disneyland. It was unveiled there in 1993 on Mickey Mouse’s birthday, November 18. The plaque below it in Disneyland quotes Walt Disney as saying, "I think most of all what I want Disneyland to be is a happy place...where parents and children can have fun...together".
It was recreated for Walt Disney World's Magic Kingdom and placed there on June 19, 1995. Its plaque has a slightly different quote: "We believe in our idea: a family park where parents and children could have fun — together".
There are now five versions of the Partners statue. The third was placed in the Tokyo Disney Resort in Tokyo Disneyland on April 15, 1998. The fourth was installed in Walt Disney Studios in Burbank, California on December 5, 2001. The fifth was added to Walt Disney Studios Park at Disneyland Paris on March 16, 2002.An award, Partners In Excellence, is awarded to less than 2% of cast members who work at Disney Parks around the world. It demonstrates characteristics of an excellent worker, who has the company in mind through all of their actions. Should someone be awarded this, they receive a pin of the statue to put on their name tag. In 1981, to honor the 200-millionth guest to enter the gates of Disneyland, Charles Boyer was instructed to create a lithograph of Mickey Mouse and Walt Disney holding hands. Only 2,500 were made to sell to cast members only. This image became very popular and is the basis for Partners. (Partners looks very different compared to the lithograph due to artistic differences). The letters “STR” on Walt’s tie represent Smoke Tree Ranch, a resort in Palm Springs where Disney owned a home.
|
[
"Burbank, California",
"Tokyo Disney Resort",
"Walt Disney",
"Sleeping Beauty",
"lithograph",
"Disney",
"Palm Springs",
"Mickey Mouse",
"Disneyland Paris",
"Disneyland",
"Sleeping Beauty Castle",
"Walt Disney Studios",
"Magic Kingdom",
"Tokyo Disneyland",
"Disney Parks",
"Walt Disney Studios Park",
"Walt Disney World",
"Charles Boyer"
] |
|
14284_NT
|
Partners (statue)
|
Focus on this artwork and discuss the Locations.
|
The original statue is in front of Sleeping Beauty Castle in Disneyland. It was unveiled there in 1993 on Mickey Mouse’s birthday, November 18. The plaque below it in Disneyland quotes Walt Disney as saying, "I think most of all what I want Disneyland to be is a happy place...where parents and children can have fun...together".
It was recreated for Walt Disney World's Magic Kingdom and placed there on June 19, 1995. Its plaque has a slightly different quote: "We believe in our idea: a family park where parents and children could have fun — together".
There are now five versions of the Partners statue. The third was placed in the Tokyo Disney Resort in Tokyo Disneyland on April 15, 1998. The fourth was installed in Walt Disney Studios in Burbank, California on December 5, 2001. The fifth was added to Walt Disney Studios Park at Disneyland Paris on March 16, 2002.An award, Partners In Excellence, is awarded to less than 2% of cast members who work at Disney Parks around the world. It demonstrates characteristics of an excellent worker, who has the company in mind through all of their actions. Should someone be awarded this, they receive a pin of the statue to put on their name tag. In 1981, to honor the 200-millionth guest to enter the gates of Disneyland, Charles Boyer was instructed to create a lithograph of Mickey Mouse and Walt Disney holding hands. Only 2,500 were made to sell to cast members only. This image became very popular and is the basis for Partners. (Partners looks very different compared to the lithograph due to artistic differences). The letters “STR” on Walt’s tie represent Smoke Tree Ranch, a resort in Palm Springs where Disney owned a home.
|
[
"Burbank, California",
"Tokyo Disney Resort",
"Walt Disney",
"Sleeping Beauty",
"lithograph",
"Disney",
"Palm Springs",
"Mickey Mouse",
"Disneyland Paris",
"Disneyland",
"Sleeping Beauty Castle",
"Walt Disney Studios",
"Magic Kingdom",
"Tokyo Disneyland",
"Disney Parks",
"Walt Disney Studios Park",
"Walt Disney World",
"Charles Boyer"
] |
|
14285_T
|
Statue of John the Baptist, Maltézské Square
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How does Statue of John the Baptist, Maltézské Square elucidate its abstract?
|
The statue of John the Baptist (Czech: Sousoší svatého Jana Křtitele) is an outdoor sculpture by Ferdinand Maxmilián Brokoff, installed at Maltézské Square in Malá Strana, Prague, Czech Republic.
|
[
"Malá Strana",
"Ferdinand Maxmilián Brokoff",
"Prague",
"John the Baptist"
] |
|
14285_NT
|
Statue of John the Baptist, Maltézské Square
|
How does this artwork elucidate its abstract?
|
The statue of John the Baptist (Czech: Sousoší svatého Jana Křtitele) is an outdoor sculpture by Ferdinand Maxmilián Brokoff, installed at Maltézské Square in Malá Strana, Prague, Czech Republic.
|
[
"Malá Strana",
"Ferdinand Maxmilián Brokoff",
"Prague",
"John the Baptist"
] |
|
14286_T
|
The Circus (Seurat)
|
Focus on The Circus (Seurat) and analyze the abstract.
|
The Circus (French: Le Cirque) is an oil on canvas painting by Georges Seurat. It was his last painting, made in a Neo-Impressionist style in 1890–91, and remained unfinished at his death in March 1891. The painting is located at the Musée d'Orsay in Paris.
|
[
"Georges Seurat",
"Musée d'Orsay",
"oil on canvas",
"Paris",
"Neo-Impressionist"
] |
|
14286_NT
|
The Circus (Seurat)
|
Focus on this artwork and analyze the abstract.
|
The Circus (French: Le Cirque) is an oil on canvas painting by Georges Seurat. It was his last painting, made in a Neo-Impressionist style in 1890–91, and remained unfinished at his death in March 1891. The painting is located at the Musée d'Orsay in Paris.
|
[
"Georges Seurat",
"Musée d'Orsay",
"oil on canvas",
"Paris",
"Neo-Impressionist"
] |
|
14287_T
|
The Circus (Seurat)
|
In The Circus (Seurat), how is the Background discussed?
|
The painting was Seurat's third major work treating the theme of the circus, after his Parade (Circus sideshow) of 1887-88 and Le Chahut of 1889–90. It depicts a female performer standing on a horse at the Circus Fernando (renamed the Circus Médrano in 1890, after its most famous clown). The Circus Médrano was located at the corner of the Rue des Martyrs and the Boulevard de Rochechouart, close to Seurat's studio. It was a popular entertainment in Paris, depicted in the 1880s by other artists such as Renoir (for example, Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg)), Degas (for example, Miss La La at the Cirque Fernando) and Toulouse-Lautrec (for example, Equestrienne (At the Circus Fernando)).
Seurat makes use of Charles Henry's theories on the emotional and symbolic meaning of lines and colours, and the works of Chevreul and Ogden Rood on complementary colours. He was also influenced by Japanese prints, and the graphic works of Jules Chéret. The work is similar to chromolithograph Au cirque by Karl Gampenrieder, but it is not clear if Seurat had seen it.
|
[
"Chevreul",
"Miss La La at the Cirque Fernando",
"Equestrienne (At the Circus Fernando)",
"Degas",
"Le Chahut",
"Rue des Martyrs",
"complementary colour",
"Ogden Rood",
"Boulevard de Rochechouart",
"Charles Henry",
"Renoir",
" Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg)",
"Parade (Circus sideshow)",
"Jules Chéret",
"Karl Gampenrieder",
"Paris",
"Circus Fernando",
"chromolithograph",
"Toulouse-Lautrec"
] |
|
14287_NT
|
The Circus (Seurat)
|
In this artwork, how is the Background discussed?
|
The painting was Seurat's third major work treating the theme of the circus, after his Parade (Circus sideshow) of 1887-88 and Le Chahut of 1889–90. It depicts a female performer standing on a horse at the Circus Fernando (renamed the Circus Médrano in 1890, after its most famous clown). The Circus Médrano was located at the corner of the Rue des Martyrs and the Boulevard de Rochechouart, close to Seurat's studio. It was a popular entertainment in Paris, depicted in the 1880s by other artists such as Renoir (for example, Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg)), Degas (for example, Miss La La at the Cirque Fernando) and Toulouse-Lautrec (for example, Equestrienne (At the Circus Fernando)).
Seurat makes use of Charles Henry's theories on the emotional and symbolic meaning of lines and colours, and the works of Chevreul and Ogden Rood on complementary colours. He was also influenced by Japanese prints, and the graphic works of Jules Chéret. The work is similar to chromolithograph Au cirque by Karl Gampenrieder, but it is not clear if Seurat had seen it.
|
[
"Chevreul",
"Miss La La at the Cirque Fernando",
"Equestrienne (At the Circus Fernando)",
"Degas",
"Le Chahut",
"Rue des Martyrs",
"complementary colour",
"Ogden Rood",
"Boulevard de Rochechouart",
"Charles Henry",
"Renoir",
" Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg)",
"Parade (Circus sideshow)",
"Jules Chéret",
"Karl Gampenrieder",
"Paris",
"Circus Fernando",
"chromolithograph",
"Toulouse-Lautrec"
] |
|
14288_T
|
The Circus (Seurat)
|
Focus on The Circus (Seurat) and explore the Description.
|
The work measures 185 × 152 centimetres (73 × 60 in) (dimensions with frame painted by the artist: 232 x 198.5 cm). Seurat used a Neo-Impressionist Divisionist style, with pointillist dots creating the sense of other colours. The work is dominated by white and the three primary colours, mainly red and yellow with blue shading. A deeper blue border painted around the edge of the canvas, merging into a flat frame in the same shade of blue.
The painting is divided into two spaces, with the circus artists occupying the lower right, characterised by curves and spirals creating a sense of movement, and the audience occupying the upper left, confined to rows of benches. The audience shows the distinctions between social classes sitting in rows, from the well-dressed higher classes near the front (sitting in the front row, in a top hat, is Seurat's friend and fellow painter Charles Angrand) to the lower classes in the gallery at the back.
A sense of space is created by the whiteface clown in the foreground, facing away from the viewer, and the tiers of bleachers. Another pair of clowns are tumbling to the right behind the ringmaster.
Seurat made few preparatory studies, concentrating on creating dynamic lines and using few colours.
|
[
"primary colour",
"Divisionist",
"whiteface",
"pointillist",
"Charles Angrand",
"Neo-Impressionist"
] |
|
14288_NT
|
The Circus (Seurat)
|
Focus on this artwork and explore the Description.
|
The work measures 185 × 152 centimetres (73 × 60 in) (dimensions with frame painted by the artist: 232 x 198.5 cm). Seurat used a Neo-Impressionist Divisionist style, with pointillist dots creating the sense of other colours. The work is dominated by white and the three primary colours, mainly red and yellow with blue shading. A deeper blue border painted around the edge of the canvas, merging into a flat frame in the same shade of blue.
The painting is divided into two spaces, with the circus artists occupying the lower right, characterised by curves and spirals creating a sense of movement, and the audience occupying the upper left, confined to rows of benches. The audience shows the distinctions between social classes sitting in rows, from the well-dressed higher classes near the front (sitting in the front row, in a top hat, is Seurat's friend and fellow painter Charles Angrand) to the lower classes in the gallery at the back.
A sense of space is created by the whiteface clown in the foreground, facing away from the viewer, and the tiers of bleachers. Another pair of clowns are tumbling to the right behind the ringmaster.
Seurat made few preparatory studies, concentrating on creating dynamic lines and using few colours.
|
[
"primary colour",
"Divisionist",
"whiteface",
"pointillist",
"Charles Angrand",
"Neo-Impressionist"
] |
|
14289_T
|
The Circus (Seurat)
|
Focus on The Circus (Seurat) and explain the Reception.
|
Le Cirque was first exhibited at the Salon des Indépendants in March 1891, in an unfinished state. The work remained unfinished at Seurat's death a few days later: in places, the white ground and a grid of blue lines used by Seurat to create his composition are still visible. Early critics complained that the subjects were stiff, like automatons. Others later saw it as a forerunner of Cubism.
The painting was returned to Seurat's mother after the exhibition in 1891, and she hung it in the room in the Boulevard de Magenta where he had died. The painting was acquired by Paul Signac around 1900, and then by American collector John Quinn, who donated the painting to the Louvre in 1927. It was exhibited at the Musée du Luxembourg, the Musée National d'Art Moderne and the Galerie du Jeu de Paume. It has been located at the Musée d'Orsay since 1977.
|
[
"Musée d'Orsay",
"Paul Signac",
"John Quinn",
"the Louvre",
"Galerie du Jeu de Paume",
"Cubism",
"Boulevard de Magenta",
"Musée du Luxembourg",
"Musée National d'Art Moderne",
"Salon des Indépendants"
] |
|
14289_NT
|
The Circus (Seurat)
|
Focus on this artwork and explain the Reception.
|
Le Cirque was first exhibited at the Salon des Indépendants in March 1891, in an unfinished state. The work remained unfinished at Seurat's death a few days later: in places, the white ground and a grid of blue lines used by Seurat to create his composition are still visible. Early critics complained that the subjects were stiff, like automatons. Others later saw it as a forerunner of Cubism.
The painting was returned to Seurat's mother after the exhibition in 1891, and she hung it in the room in the Boulevard de Magenta where he had died. The painting was acquired by Paul Signac around 1900, and then by American collector John Quinn, who donated the painting to the Louvre in 1927. It was exhibited at the Musée du Luxembourg, the Musée National d'Art Moderne and the Galerie du Jeu de Paume. It has been located at the Musée d'Orsay since 1977.
|
[
"Musée d'Orsay",
"Paul Signac",
"John Quinn",
"the Louvre",
"Galerie du Jeu de Paume",
"Cubism",
"Boulevard de Magenta",
"Musée du Luxembourg",
"Musée National d'Art Moderne",
"Salon des Indépendants"
] |
|
14290_T
|
Escoffion
|
Explore the abstract of this artwork, Escoffion.
|
An escoffion ([ɛsˈkɔfiˌjã]) was a piece of female medieval headwear which was popular during the Late Middle Ages (1250–1500). It originated and was popular in European countries such as England, France and Germany, and other Balkan states. The headpiece was made out of a thick, circular roll of material like wool, felt or silk. The material was shaped, by sewing or starching, into a double-horned configuration, with each horn sometimes being up to a yard long. Over the headdress, gauze or silk was sometimes draped for weight distribution or aesthetic purposes. The escoffion style was a sub-branch of a popular style of headwear called hennin.
The style of the escoffion developed over time, eventually given its own name because of its popularity and distinct features which differed from the original conical hennin. The escoffion was a type of "reticulated headdress", meaning that it was bound together by a network of golden thread or wire. The headdress itself was made out of various types of materials, predominantly wool, using looms. The more intricate details were sewn on by skilled craftswomen or men. The hair of the wearer was tucked away under the headdress in a number of ways; the hair could either be braided and tucked underneath the escoffion or pinned into place on each side of the head in configurations sometimes known as "side-pillars". Alternatively, the headdress was worn over a wimple or caul, simple pieces of cloth which kept the wearer's hair out of sight and provided a base for the larger headdress to attach on to. The covering of hair, sometimes called a bongrace, was a common custom amongst women of the Middle Ages, and continued to be a prominent feature in headwear for many centuries. The escoffion was usually worn by women of high status, such as those who lived in the court, or those who were a part of the Royal Family. Who exactly could wear headwear such as the escoffion, or other luxury clothing items, was dictated by sumptuary laws which controlled the over-expenditure on luxury items and also maintained a type of social hierarchy based on birth, influence or economic income. While the escoffion was deemed a luxury item for a time, it was later deemed as ungraceful or clunky, as well as being condemned by moralist or religious groups for supposedly depicting satanic imagery. Additionally, the headwear came out of fashion into the 16th century simply because of its size; some wearers were often unable to do certain activities because their mobility was hindered by the weight upon their head. Thus, many women adopted a more simple style of headwear leading into the 16th century, which was seen as both practical and conservatively religious.
The escoffion was sometimes called the bourrelet, a word that originally simply means something stuffed or padded (rembourré < bourre).
|
[
"Late Middle Ages",
"Balkan",
"looms",
"Royal Family",
"France",
"Middle Ages",
"wimple",
"caul",
"hennin",
"wool",
"sumptuary laws",
"England",
"Germany"
] |
|
14290_NT
|
Escoffion
|
Explore the abstract of this artwork.
|
An escoffion ([ɛsˈkɔfiˌjã]) was a piece of female medieval headwear which was popular during the Late Middle Ages (1250–1500). It originated and was popular in European countries such as England, France and Germany, and other Balkan states. The headpiece was made out of a thick, circular roll of material like wool, felt or silk. The material was shaped, by sewing or starching, into a double-horned configuration, with each horn sometimes being up to a yard long. Over the headdress, gauze or silk was sometimes draped for weight distribution or aesthetic purposes. The escoffion style was a sub-branch of a popular style of headwear called hennin.
The style of the escoffion developed over time, eventually given its own name because of its popularity and distinct features which differed from the original conical hennin. The escoffion was a type of "reticulated headdress", meaning that it was bound together by a network of golden thread or wire. The headdress itself was made out of various types of materials, predominantly wool, using looms. The more intricate details were sewn on by skilled craftswomen or men. The hair of the wearer was tucked away under the headdress in a number of ways; the hair could either be braided and tucked underneath the escoffion or pinned into place on each side of the head in configurations sometimes known as "side-pillars". Alternatively, the headdress was worn over a wimple or caul, simple pieces of cloth which kept the wearer's hair out of sight and provided a base for the larger headdress to attach on to. The covering of hair, sometimes called a bongrace, was a common custom amongst women of the Middle Ages, and continued to be a prominent feature in headwear for many centuries. The escoffion was usually worn by women of high status, such as those who lived in the court, or those who were a part of the Royal Family. Who exactly could wear headwear such as the escoffion, or other luxury clothing items, was dictated by sumptuary laws which controlled the over-expenditure on luxury items and also maintained a type of social hierarchy based on birth, influence or economic income. While the escoffion was deemed a luxury item for a time, it was later deemed as ungraceful or clunky, as well as being condemned by moralist or religious groups for supposedly depicting satanic imagery. Additionally, the headwear came out of fashion into the 16th century simply because of its size; some wearers were often unable to do certain activities because their mobility was hindered by the weight upon their head. Thus, many women adopted a more simple style of headwear leading into the 16th century, which was seen as both practical and conservatively religious.
The escoffion was sometimes called the bourrelet, a word that originally simply means something stuffed or padded (rembourré < bourre).
|
[
"Late Middle Ages",
"Balkan",
"looms",
"Royal Family",
"France",
"Middle Ages",
"wimple",
"caul",
"hennin",
"wool",
"sumptuary laws",
"England",
"Germany"
] |
|
14291_T
|
Escoffion
|
Focus on Escoffion and discuss the The Escoffion and the Hennin.
|
There is often some mislabelling in terms of what style or type of headwear the Escoffion falls under. Often, it is categorised as a separate kind of medieval headwear called hennin, often being referred to as a "two-horned-" or "heart-shaped hennin", etc. However, it is important to make a distinction between the hennin and the escoffion, as the escoffion was a distinct piece of headwear in terms of its design. The hennin was typically a tall, conical headdress, to which long strips of gauze or silk were sometimes attached. The headpiece itself could be so tall that it made the wearer stand up to 12 feet in height. While the hennin was known for its height, the Escoffion was much wider in nature and sat over the wearer's head. Both headpieces were in fashion at about the same time amongst women of the court and as such, this is one of the reasons they are often categorised together. In fact, the Escoffion was originally labelled a hennin, but developed its own name due to its increase in popularity. This is covered in the Origins and Design section.
|
[
"hennin",
"Origins and Design",
"Hennin"
] |
|
14291_NT
|
Escoffion
|
Focus on this artwork and discuss the The Escoffion and the Hennin.
|
There is often some mislabelling in terms of what style or type of headwear the Escoffion falls under. Often, it is categorised as a separate kind of medieval headwear called hennin, often being referred to as a "two-horned-" or "heart-shaped hennin", etc. However, it is important to make a distinction between the hennin and the escoffion, as the escoffion was a distinct piece of headwear in terms of its design. The hennin was typically a tall, conical headdress, to which long strips of gauze or silk were sometimes attached. The headpiece itself could be so tall that it made the wearer stand up to 12 feet in height. While the hennin was known for its height, the Escoffion was much wider in nature and sat over the wearer's head. Both headpieces were in fashion at about the same time amongst women of the court and as such, this is one of the reasons they are often categorised together. In fact, the Escoffion was originally labelled a hennin, but developed its own name due to its increase in popularity. This is covered in the Origins and Design section.
|
[
"hennin",
"Origins and Design",
"Hennin"
] |
|
14292_T
|
Escoffion
|
How does Escoffion elucidate its Origins and design?
|
It is difficult to pinpoint the exact country or region where the escoffion first originated, because the style as it is now known developed in a number of stages over almost a century. In the 15th century, there was an upsurge of interest in large, sometimes extravagant headwear, which emerged into popular court fashion across Europe. Prior to the 14th century, simple veils or hoods which were fitted close to the face had been the most popular form of headwear for women of all classes. The hair was completely covered by the hoods, sometimes even shaved or plucked to heighten the hairline; this was a common symbol of female attractiveness at the time. The material of the hood grew in length leading up to the end of the 14th century, eventually resulting in one or more lengths of material hanging down the back of the wearer, sometimes being so long that they had to be tucked into a belt or dress so that the wearer would not trip over it. Progressing into the late 14th century, hair was still being covered, but larger headdresses - rolls of material of various shapes, such as a heart, turban or double-horned shapes - were placed on top of these coverings. It was only later that the double-horned configuration got its own name; the escoffion.Shown to the right is a detail of an illumination on parchment showing Queen Isabeau of Bavaria wearing a heart-shaped escoffion. The headpiece was worn mostly by women of the court, or those of a higher class. The conventions surrounding who was able to wear the escoffion is covered in the Medieval clothing laws and headwear section below. Court fashion had become increasingly more extravagant across Europe in the Late Middle Ages, particularly in England, France, Germany and other countries in Western Europe. The escoffion varied in terms of style across Europe, with the English 'Tudor' escoffion coming into prominence. Essentially, the Tudor style of headwear was a more subdued and conservative version of the original large headdress.
|
[
"Late Middle Ages",
"Isabeau of Bavaria",
"right",
"Queen Isabeau of Bavaria",
"France",
"Middle Ages",
"Queen Isabeau",
"Medieval clothing laws and headwear",
"England",
"Germany"
] |
|
14292_NT
|
Escoffion
|
How does this artwork elucidate its Origins and design?
|
It is difficult to pinpoint the exact country or region where the escoffion first originated, because the style as it is now known developed in a number of stages over almost a century. In the 15th century, there was an upsurge of interest in large, sometimes extravagant headwear, which emerged into popular court fashion across Europe. Prior to the 14th century, simple veils or hoods which were fitted close to the face had been the most popular form of headwear for women of all classes. The hair was completely covered by the hoods, sometimes even shaved or plucked to heighten the hairline; this was a common symbol of female attractiveness at the time. The material of the hood grew in length leading up to the end of the 14th century, eventually resulting in one or more lengths of material hanging down the back of the wearer, sometimes being so long that they had to be tucked into a belt or dress so that the wearer would not trip over it. Progressing into the late 14th century, hair was still being covered, but larger headdresses - rolls of material of various shapes, such as a heart, turban or double-horned shapes - were placed on top of these coverings. It was only later that the double-horned configuration got its own name; the escoffion.Shown to the right is a detail of an illumination on parchment showing Queen Isabeau of Bavaria wearing a heart-shaped escoffion. The headpiece was worn mostly by women of the court, or those of a higher class. The conventions surrounding who was able to wear the escoffion is covered in the Medieval clothing laws and headwear section below. Court fashion had become increasingly more extravagant across Europe in the Late Middle Ages, particularly in England, France, Germany and other countries in Western Europe. The escoffion varied in terms of style across Europe, with the English 'Tudor' escoffion coming into prominence. Essentially, the Tudor style of headwear was a more subdued and conservative version of the original large headdress.
|
[
"Late Middle Ages",
"Isabeau of Bavaria",
"right",
"Queen Isabeau of Bavaria",
"France",
"Middle Ages",
"Queen Isabeau",
"Medieval clothing laws and headwear",
"England",
"Germany"
] |
|
14293_T
|
Escoffion
|
Focus on Escoffion and analyze the Production.
|
Textile production changed drastically from the Early to Late Middle Ages. Textiles were made using a number of materials - predominantly wool which was fabricated using various types of looms. Archaeological studies have found that before the 11th century, textiles were predominantly made using vertical looms, while after this point, great innovation in the textile industry gave way to the use of horizontal looms. This evolution in technology meant that more complex patterns could be achieved. Textiles were made by skilled female workers in textile factories. Later, hydraulic mills came to the forefront of textile production. Materials were dyed using dye extracted from organic substances such as insects. As the making of the headwear was very intricate, the escoffion was hand-crafted by skilled craftsmen or women and could take a matter of months to be completed, depending on the complexity of the piece. More recently, various types of medieval headwear, including the escoffion, have been re-made as a form of arts and crafts or for costume purposes for medieval conventions or theatrical work. Various examples of the modern fabrications of the escoffion appear on sites like Pinterest.
|
[
"Late Middle Ages",
"looms",
"Pinterest",
"Middle Ages",
"Early",
"Textile",
"wool"
] |
|
14293_NT
|
Escoffion
|
Focus on this artwork and analyze the Production.
|
Textile production changed drastically from the Early to Late Middle Ages. Textiles were made using a number of materials - predominantly wool which was fabricated using various types of looms. Archaeological studies have found that before the 11th century, textiles were predominantly made using vertical looms, while after this point, great innovation in the textile industry gave way to the use of horizontal looms. This evolution in technology meant that more complex patterns could be achieved. Textiles were made by skilled female workers in textile factories. Later, hydraulic mills came to the forefront of textile production. Materials were dyed using dye extracted from organic substances such as insects. As the making of the headwear was very intricate, the escoffion was hand-crafted by skilled craftsmen or women and could take a matter of months to be completed, depending on the complexity of the piece. More recently, various types of medieval headwear, including the escoffion, have been re-made as a form of arts and crafts or for costume purposes for medieval conventions or theatrical work. Various examples of the modern fabrications of the escoffion appear on sites like Pinterest.
|
[
"Late Middle Ages",
"looms",
"Pinterest",
"Middle Ages",
"Early",
"Textile",
"wool"
] |
|
14294_T
|
Escoffion
|
In Escoffion, how is the Medieval clothing laws and headwear discussed?
|
In the Middle Ages, the types of clothing which people could wear were dictated by clothing laws. These laws dictated which classes of people could obtain and wear certain types of clothing. The laws were based on a hierarchy of wealth or status. These laws are sometimes labelled as sumptuary laws. The first English sumptuary law was passed in 1337, banning clothing made out of any foreign (non-English) materials to be worn. These kinds of laws were put into place so as to stop the over-expenditure of the upper classes on luxury items. Alternatively, these laws could be viewed as protectionist in nature, enacted in order to protect the textile industries of the time from overproduction and encourage local industry to develop. However, economics played a relatively small role in the overall larger effect social order and hierarchy had on clothing laws. In a sub-section of the Statutes of Savoy (1430) there were thirty-nine supposed different groups of people in English society - mostly separated by birth or occupation - sorted into a hierarchy, with each level given specifications about what type of clothing they could wear, the value of the material and which accessories they could adorn. The more elaborate clothing designs, which required more material and a higher level of craftsmanship, were reserved for these higher classes, such as the nobility, men and women of the court or the Royal Family (who had access to almost everything). People of lower-class or socio-economic status wore simpler clothes, often without a headdress at all. One symbol of sumptuary law which could be commonly seen in the 15th century was the dress custom amongst women of making their hairline higher, called a bongrace. This custom was originally achieved by tying a ribbon of varying materials around the head and later evolved into shaving of the hairline. Certain materials has specific meanings; for example, wearing velvet meant that the wearer had an annual income of £10 or more. At that time, clothing dyes were made from organic materials such as plants and insects. Dyes were expensive to make, often yielding little produce and as a result the richest and darkest of dyes were reserved only for people of higher status. The wearing of the escoffion and other extravagant types of headwear was regulated by these sumptuary laws in England, although similar edicts were passed in other parts of Europe.
|
[
"Royal Family",
"Middle Ages",
"sumptuary laws",
"Medieval clothing laws and headwear",
"England",
"protectionist"
] |
|
14294_NT
|
Escoffion
|
In this artwork, how is the Medieval clothing laws and headwear discussed?
|
In the Middle Ages, the types of clothing which people could wear were dictated by clothing laws. These laws dictated which classes of people could obtain and wear certain types of clothing. The laws were based on a hierarchy of wealth or status. These laws are sometimes labelled as sumptuary laws. The first English sumptuary law was passed in 1337, banning clothing made out of any foreign (non-English) materials to be worn. These kinds of laws were put into place so as to stop the over-expenditure of the upper classes on luxury items. Alternatively, these laws could be viewed as protectionist in nature, enacted in order to protect the textile industries of the time from overproduction and encourage local industry to develop. However, economics played a relatively small role in the overall larger effect social order and hierarchy had on clothing laws. In a sub-section of the Statutes of Savoy (1430) there were thirty-nine supposed different groups of people in English society - mostly separated by birth or occupation - sorted into a hierarchy, with each level given specifications about what type of clothing they could wear, the value of the material and which accessories they could adorn. The more elaborate clothing designs, which required more material and a higher level of craftsmanship, were reserved for these higher classes, such as the nobility, men and women of the court or the Royal Family (who had access to almost everything). People of lower-class or socio-economic status wore simpler clothes, often without a headdress at all. One symbol of sumptuary law which could be commonly seen in the 15th century was the dress custom amongst women of making their hairline higher, called a bongrace. This custom was originally achieved by tying a ribbon of varying materials around the head and later evolved into shaving of the hairline. Certain materials has specific meanings; for example, wearing velvet meant that the wearer had an annual income of £10 or more. At that time, clothing dyes were made from organic materials such as plants and insects. Dyes were expensive to make, often yielding little produce and as a result the richest and darkest of dyes were reserved only for people of higher status. The wearing of the escoffion and other extravagant types of headwear was regulated by these sumptuary laws in England, although similar edicts were passed in other parts of Europe.
|
[
"Royal Family",
"Middle Ages",
"sumptuary laws",
"Medieval clothing laws and headwear",
"England",
"protectionist"
] |
|
14295_T
|
Escoffion
|
Focus on Escoffion and explore the Decline.
|
The extravagances of headwear in the late fifteenth century was so notorious that it prompted the retaliation of a number of religious and moralist groups of the time, who likened the shape of some pieces of headwear to a goat or ram, animals which were strongly associated with Baphomet, a deity representative of the Devil. This did not dissuade many women of the court or higher class to change their style until the early 16th century, when many adopted styles that were more simplistic and conservative. The new style of headwear which would gain popularity, especially in England, into the 16th century was the 'gable' hood, a piece of headwear which covered most of the face and hair and had a starched, steeple-shaped point in the middle of the head.
|
[
"gable",
"Devil",
"the Devil",
"England",
"Baphomet"
] |
|
14295_NT
|
Escoffion
|
Focus on this artwork and explore the Decline.
|
The extravagances of headwear in the late fifteenth century was so notorious that it prompted the retaliation of a number of religious and moralist groups of the time, who likened the shape of some pieces of headwear to a goat or ram, animals which were strongly associated with Baphomet, a deity representative of the Devil. This did not dissuade many women of the court or higher class to change their style until the early 16th century, when many adopted styles that were more simplistic and conservative. The new style of headwear which would gain popularity, especially in England, into the 16th century was the 'gable' hood, a piece of headwear which covered most of the face and hair and had a starched, steeple-shaped point in the middle of the head.
|
[
"gable",
"Devil",
"the Devil",
"England",
"Baphomet"
] |
|
14296_T
|
Madonna of the Rose Garden (Verona)
|
Focus on Madonna of the Rose Garden (Verona) and explain the abstract.
|
The Madonna of the Rose Garden (Italian: Madonna del Roseto) is an International Gothic painting attributed to Michelino da Besozzo or Stefano da Verona. Dating to c. 1420–1435, it is now in the Castelvecchio Museum in Verona, northern Italy.
|
[
"Castelvecchio Museum",
"Verona",
"Stefano da Verona",
"Madonna of the Rose Garden",
"International Gothic",
"Michelino da Besozzo"
] |
|
14296_NT
|
Madonna of the Rose Garden (Verona)
|
Focus on this artwork and explain the abstract.
|
The Madonna of the Rose Garden (Italian: Madonna del Roseto) is an International Gothic painting attributed to Michelino da Besozzo or Stefano da Verona. Dating to c. 1420–1435, it is now in the Castelvecchio Museum in Verona, northern Italy.
|
[
"Castelvecchio Museum",
"Verona",
"Stefano da Verona",
"Madonna of the Rose Garden",
"International Gothic",
"Michelino da Besozzo"
] |
|
14297_T
|
The Merciful Knight
|
Explore the abstract of this artwork, The Merciful Knight.
|
The Merciful Knight is a watercolour by the pre-Raphaelite artist Edward Burne-Jones which was completed in 1863 and is currently housed at the Birmingham Museum & Art Gallery.
|
[
"Birmingham",
"Knight",
"Birmingham Museum & Art Gallery",
"pre-Raphaelite",
"Edward Burne-Jones"
] |
|
14297_NT
|
The Merciful Knight
|
Explore the abstract of this artwork.
|
The Merciful Knight is a watercolour by the pre-Raphaelite artist Edward Burne-Jones which was completed in 1863 and is currently housed at the Birmingham Museum & Art Gallery.
|
[
"Birmingham",
"Knight",
"Birmingham Museum & Art Gallery",
"pre-Raphaelite",
"Edward Burne-Jones"
] |
|
14298_T
|
The Merciful Knight
|
Focus on The Merciful Knight and discuss the History.
|
This picture is based on an 11th-century legend retold by Sir Kenelm Digby in Broadstone of Honour, its hero is a Florentine knight named John Gualbert (an anglicisation of Giovanni Gualberto). The explanatory inscription provided by Burne-Jones tells the viewer of a knight who forgave his enemy when he might have destroyed him and how the image of Christ kissed him in token that his acts had pleased God.John Gualbert was an Italian Roman Catholic saint, the founder of the Vallumbrosan Order. He was a member of the Visdomini family of Florentine nobility. One Good Friday he was entering Florence accompanied by armed followers, when in a narrow lane he came upon a man who had killed his brother. He was about to kill the man in revenge, when the other fell upon his knees with arms outstretched in the form of a cross and begged for mercy in the name of Christ, who had been crucified on that day. John forgave him. He entered the Benedictine Church at San Miniato to pray, and the figure on the crucifix bowed its head to him in recognition of his generosity. John Gualbert was later canonised.
This arguably being Burne-Jones's most important early work, it demonstrates a new and more personal style, evident in its design, technique and expression. It remained Burne-Jones's own favourite among his early works: this interest in knights and chivalry was aroused when painting the Arthurian Oxford Union murals in 1863 and was to remain with him throughout his life. In 1894 he tried to borrow The Merciful Knight to make a large oil version, and he was actually working on The Last Sleep of Arthur in Avalon when he died in 1898.In Burne-Jones preliminary sketches for The Merciful Knight, the kiss given by Christ is far more passionate, with strong homoerotic overtones. In this finished version, painted in gouache, the kiss became protective and deeply caring, without any sexual implications. The beard of Christ provides a shield over the knight's forehead and inexpressibly sad face; the wounds in Christ's hands draw attention to the vulnerability of the knight's exposed hands – whose armoured gauntlets hang from his waist. Incidentally, the marigolds in the foreground came from the 'town garden' in Russell Square, close to Burne-Jones' house opposite the British Museum.
|
[
"John Gualbert",
"Russell Square",
"Florence",
"chivalry",
"Giovanni Gualberto",
"Florentine",
"marigolds",
"Knight",
"Oxford Union murals",
"Good Friday",
"Vallumbrosan Order",
"knight",
"homoerotic",
"Sir Kenelm Digby",
"Kenelm Digby",
"British Museum",
"The Last Sleep of Arthur in Avalon",
"gouache",
"San Miniato"
] |
|
14298_NT
|
The Merciful Knight
|
Focus on this artwork and discuss the History.
|
This picture is based on an 11th-century legend retold by Sir Kenelm Digby in Broadstone of Honour, its hero is a Florentine knight named John Gualbert (an anglicisation of Giovanni Gualberto). The explanatory inscription provided by Burne-Jones tells the viewer of a knight who forgave his enemy when he might have destroyed him and how the image of Christ kissed him in token that his acts had pleased God.John Gualbert was an Italian Roman Catholic saint, the founder of the Vallumbrosan Order. He was a member of the Visdomini family of Florentine nobility. One Good Friday he was entering Florence accompanied by armed followers, when in a narrow lane he came upon a man who had killed his brother. He was about to kill the man in revenge, when the other fell upon his knees with arms outstretched in the form of a cross and begged for mercy in the name of Christ, who had been crucified on that day. John forgave him. He entered the Benedictine Church at San Miniato to pray, and the figure on the crucifix bowed its head to him in recognition of his generosity. John Gualbert was later canonised.
This arguably being Burne-Jones's most important early work, it demonstrates a new and more personal style, evident in its design, technique and expression. It remained Burne-Jones's own favourite among his early works: this interest in knights and chivalry was aroused when painting the Arthurian Oxford Union murals in 1863 and was to remain with him throughout his life. In 1894 he tried to borrow The Merciful Knight to make a large oil version, and he was actually working on The Last Sleep of Arthur in Avalon when he died in 1898.In Burne-Jones preliminary sketches for The Merciful Knight, the kiss given by Christ is far more passionate, with strong homoerotic overtones. In this finished version, painted in gouache, the kiss became protective and deeply caring, without any sexual implications. The beard of Christ provides a shield over the knight's forehead and inexpressibly sad face; the wounds in Christ's hands draw attention to the vulnerability of the knight's exposed hands – whose armoured gauntlets hang from his waist. Incidentally, the marigolds in the foreground came from the 'town garden' in Russell Square, close to Burne-Jones' house opposite the British Museum.
|
[
"John Gualbert",
"Russell Square",
"Florence",
"chivalry",
"Giovanni Gualberto",
"Florentine",
"marigolds",
"Knight",
"Oxford Union murals",
"Good Friday",
"Vallumbrosan Order",
"knight",
"homoerotic",
"Sir Kenelm Digby",
"Kenelm Digby",
"British Museum",
"The Last Sleep of Arthur in Avalon",
"gouache",
"San Miniato"
] |
|
14299_T
|
Sant'Agostino Altarpiece
|
In the context of Sant'Agostino Altarpiece, analyze the First phase of the Phases.
|
This probably corresponds to the side of the altarpiece which faces the church's nave:God the Father, 145 × 140 cm, Galleria Nazionale dell'Umbria, Perugia.
Baptism of Christ, 261 × 146 cm, Galleria Nazionale dell'Umbria, Perugia.
St John the Evangelist and St Augustine of Hippo, 173 × 91 cm, Musée des Augustins, Toulouse
St Herculanus and St James the Great, 173 × 91 cm, Musée des Beaux-Arts, Lyon.
Archangel Gabriel and Virgin, forming an Annunciation scene, two tondos each with a diameter of 102 cm, the former in the Galleria Nazionale dell'Umbria, Perugia and the latter now lost
Adoration of the Magi, 39.5 × 85 cm, Galleria Nazionale dell'Umbria, Perugia.
St John the Baptist Preaching, 39.5 × 84 cm, Galleria Nazionale dell'Umbria, Perugia.
The Wedding Feast at Cana, 39.5 × 84.5 cm, Galleria Nazionale dell'Umbria, Perugia.
The Presentation in the Temple, 39.5 × 83.5 cm, Galleria Nazionale dell'Umbria, Perugia.The monks caused very long delays, meaning that the predella was completed by Perugino's studio assistants using drawings by the artist himself. The drawings for the works in the first phase probably used silver-point, which can now be seen under infrared light. All the panels are painted with a single light source coming from the left. Baptism re-uses a composition from the Annunziata Polyptych and the symmetrical angels from Madonna della Consolazione. The flanking panels of the saints show precise draughtsmanship as well as high detail in the flowers and small plants on the ground.
|
[
"Annunciation",
"Musée des Augustins",
"Musée des Beaux-Arts",
"Perugia",
"Annunziata Polyptych",
"tondo",
"Baptism of Christ",
"Galleria Nazionale dell'Umbria",
"Toulouse",
"Perugino",
"Madonna della Consolazione",
"Lyon",
"predella"
] |
|
14299_NT
|
Sant'Agostino Altarpiece
|
In the context of this artwork, analyze the First phase of the Phases.
|
This probably corresponds to the side of the altarpiece which faces the church's nave:God the Father, 145 × 140 cm, Galleria Nazionale dell'Umbria, Perugia.
Baptism of Christ, 261 × 146 cm, Galleria Nazionale dell'Umbria, Perugia.
St John the Evangelist and St Augustine of Hippo, 173 × 91 cm, Musée des Augustins, Toulouse
St Herculanus and St James the Great, 173 × 91 cm, Musée des Beaux-Arts, Lyon.
Archangel Gabriel and Virgin, forming an Annunciation scene, two tondos each with a diameter of 102 cm, the former in the Galleria Nazionale dell'Umbria, Perugia and the latter now lost
Adoration of the Magi, 39.5 × 85 cm, Galleria Nazionale dell'Umbria, Perugia.
St John the Baptist Preaching, 39.5 × 84 cm, Galleria Nazionale dell'Umbria, Perugia.
The Wedding Feast at Cana, 39.5 × 84.5 cm, Galleria Nazionale dell'Umbria, Perugia.
The Presentation in the Temple, 39.5 × 83.5 cm, Galleria Nazionale dell'Umbria, Perugia.The monks caused very long delays, meaning that the predella was completed by Perugino's studio assistants using drawings by the artist himself. The drawings for the works in the first phase probably used silver-point, which can now be seen under infrared light. All the panels are painted with a single light source coming from the left. Baptism re-uses a composition from the Annunziata Polyptych and the symmetrical angels from Madonna della Consolazione. The flanking panels of the saints show precise draughtsmanship as well as high detail in the flowers and small plants on the ground.
|
[
"Annunciation",
"Musée des Augustins",
"Musée des Beaux-Arts",
"Perugia",
"Annunziata Polyptych",
"tondo",
"Baptism of Christ",
"Galleria Nazionale dell'Umbria",
"Toulouse",
"Perugino",
"Madonna della Consolazione",
"Lyon",
"predella"
] |
|
14300_T
|
Sant'Agostino Altarpiece
|
Describe the characteristics of the Second phase in Sant'Agostino Altarpiece's Phases.
|
The other side of the altarpiece faced the church's choir and work on its panels began in 1513, delivered at irregular intervals right up to Perugino's death. The cymatium panels on both sides were produced during this phase, with God the Father facing the nave and a Pietà towards the choir - the latter formed a single panel with the flanking tondi of David and Daniel, but was later split up. Apart from these two purely decorative tempera tondi, the rest of the panels show a lack of underdrawing and near-transparent colour to show the contours of the figures - the speed of their execution dates them to Perugino's late period. The rural backgrounds are very simple, with almost no flowers in the foreground to increase focus on the classically-influenced figures, in which Perugino seems to have assimilated the style of his old pupil Raphael.
Adoration of the Shepherds, 263 × 147 cm, Galleria Nazionale dell'Umbria, Perugia.
St Sebastian and St Irene or Apollina, Museum of Grenoble, Grenoble.
St Jerome and St Mary Magdalene, 174 × 95 cm, Galleria Nazionale dell'Umbria, Perugia.
Young Saint with a Sword, 102 cm in diameter, Musée du Louvre, Paris
St Bartholomew, 89.5 × 74.8 cm, Birmingham Museum and Art Gallery, Birmingham
Pietà, 144 × 152 cm, Galleria Nazionale dell'Umbria, Perugia.
David and Daniel, two tondi, each 61 cm in diameter, Galleria Nazionale dell'Umbria, Perugia.
|
[
"Musée du Louvre",
"Raphael",
"Birmingham",
"tempera",
"Museum of Grenoble",
"Perugia",
"Grenoble",
"Galleria Nazionale dell'Umbria",
"Perugino",
"Louvre",
"cymatium",
"Paris",
"Birmingham Museum and Art Gallery"
] |
|
14300_NT
|
Sant'Agostino Altarpiece
|
Describe the characteristics of the Second phase in this artwork's Phases.
|
The other side of the altarpiece faced the church's choir and work on its panels began in 1513, delivered at irregular intervals right up to Perugino's death. The cymatium panels on both sides were produced during this phase, with God the Father facing the nave and a Pietà towards the choir - the latter formed a single panel with the flanking tondi of David and Daniel, but was later split up. Apart from these two purely decorative tempera tondi, the rest of the panels show a lack of underdrawing and near-transparent colour to show the contours of the figures - the speed of their execution dates them to Perugino's late period. The rural backgrounds are very simple, with almost no flowers in the foreground to increase focus on the classically-influenced figures, in which Perugino seems to have assimilated the style of his old pupil Raphael.
Adoration of the Shepherds, 263 × 147 cm, Galleria Nazionale dell'Umbria, Perugia.
St Sebastian and St Irene or Apollina, Museum of Grenoble, Grenoble.
St Jerome and St Mary Magdalene, 174 × 95 cm, Galleria Nazionale dell'Umbria, Perugia.
Young Saint with a Sword, 102 cm in diameter, Musée du Louvre, Paris
St Bartholomew, 89.5 × 74.8 cm, Birmingham Museum and Art Gallery, Birmingham
Pietà, 144 × 152 cm, Galleria Nazionale dell'Umbria, Perugia.
David and Daniel, two tondi, each 61 cm in diameter, Galleria Nazionale dell'Umbria, Perugia.
|
[
"Musée du Louvre",
"Raphael",
"Birmingham",
"tempera",
"Museum of Grenoble",
"Perugia",
"Grenoble",
"Galleria Nazionale dell'Umbria",
"Perugino",
"Louvre",
"cymatium",
"Paris",
"Birmingham Museum and Art Gallery"
] |
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