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|---|---|---|---|---|---|
14301_T
|
Les raboteurs de parquet
|
Focus on Les raboteurs de parquet and explore the abstract.
|
Les raboteurs de parquet (English title: The Floor Scrapers) is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres (40.2 in × 57.7 in). It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.
|
[
"Musée du Louvre",
"Musée d'Orsay",
"canvas",
"Gustave Caillebotte",
"Musée du Luxembourg",
"Galerie nationale du Jeu de Paume",
"Impressionist",
"oil painting",
"Louvre",
"Paris"
] |
|
14301_NT
|
Les raboteurs de parquet
|
Focus on this artwork and explore the abstract.
|
Les raboteurs de parquet (English title: The Floor Scrapers) is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres (40.2 in × 57.7 in). It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.
|
[
"Musée du Louvre",
"Musée d'Orsay",
"canvas",
"Gustave Caillebotte",
"Musée du Luxembourg",
"Galerie nationale du Jeu de Paume",
"Impressionist",
"oil painting",
"Louvre",
"Paris"
] |
|
14302_T
|
Les raboteurs de parquet
|
Focus on Les raboteurs de parquet and explain the Exhibition and reception.
|
Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."
|
[
"Impressionism",
"Young Man at His Window",
"Emile Porchoron",
"Courbet",
"Florentine",
"Émile Blémont",
"Émile Zola",
"nude",
"Impressionist",
"the Salon",
"perspective",
"Marius Chaumelin",
"Louis Énault",
"Philippe Burty",
"Paris",
"Manet",
"bourgeois"
] |
|
14302_NT
|
Les raboteurs de parquet
|
Focus on this artwork and explain the Exhibition and reception.
|
Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."
|
[
"Impressionism",
"Young Man at His Window",
"Emile Porchoron",
"Courbet",
"Florentine",
"Émile Blémont",
"Émile Zola",
"nude",
"Impressionist",
"the Salon",
"perspective",
"Marius Chaumelin",
"Louis Énault",
"Philippe Burty",
"Paris",
"Manet",
"bourgeois"
] |
|
14303_T
|
Les raboteurs de parquet
|
Explore the Cultural depictions of this artwork, Les raboteurs de parquet.
|
Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).
|
[
"Thierry Lancino",
"Musée d'Orsay",
"Cyril Collard",
"Angelin Preljocaj",
"La Sept"
] |
|
14303_NT
|
Les raboteurs de parquet
|
Explore the Cultural depictions of this artwork.
|
Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).
|
[
"Thierry Lancino",
"Musée d'Orsay",
"Cyril Collard",
"Angelin Preljocaj",
"La Sept"
] |
|
14304_T
|
Beach at Scheveningen in Stormy Weather
|
Focus on Beach at Scheveningen in Stormy Weather and discuss the abstract.
|
Beach at Scheveningen in Stormy Weather, also known as View of the Sea at Scheveningen (Dutch: Zeegezicht bij Scheveningen), is an early oil painting by Vincent van Gogh, painted at Scheveningen near The Hague in August 1882. It is held in the Van Gogh Museum in Amsterdam.
|
[
"Amsterdam",
"Scheveningen",
"Van Gogh Museum",
"The Hague",
"Vincent van Gogh"
] |
|
14304_NT
|
Beach at Scheveningen in Stormy Weather
|
Focus on this artwork and discuss the abstract.
|
Beach at Scheveningen in Stormy Weather, also known as View of the Sea at Scheveningen (Dutch: Zeegezicht bij Scheveningen), is an early oil painting by Vincent van Gogh, painted at Scheveningen near The Hague in August 1882. It is held in the Van Gogh Museum in Amsterdam.
|
[
"Amsterdam",
"Scheveningen",
"Van Gogh Museum",
"The Hague",
"Vincent van Gogh"
] |
|
14305_T
|
Beach at Scheveningen in Stormy Weather
|
How does Beach at Scheveningen in Stormy Weather elucidate its Description?
|
Van Gogh made his first paintings in December 1881, under the supervision of Anton Mauve, the husband of Van Gogh's cousin, Ariëtte (Jet) Sophia Jeannette Carbentus. This work was made in Van Gogh's second attempt at painting in August 1882.
The painting shows the beach at Scheveningen, on the North Sea coast a few miles from The Hague, on a stormy day on 21 or 22 August 1882. The painting was made quickly, en plein air, on an easel at the beach, with the wind whipping up sand and nearly blowing Van Gogh off his feet. He managed to scrape most of the wind-blown sand off the thick wet painting, but some remains.
The painting is an Impressionist take on the grey-tinged seascapes of Hague School paintings such as Hendrik Mesdag's 1881 Panorama of Scheveningen. The composition is broken into three horizontal zones: a threatening grey sky with dark roiling clouds, the greenish-grey sea with lines of white-capped waves crashing onto the shore, and the beach and sand dunes in browns, oranges, yellows and greens. A number of people are on the beach, some fishwives in their white bonnets, watching as a group of men with horses and a cart are about to pull on a rope attached to a waiting fishing boat to bring it safely ashore. The people are suggested by a few economical brushstrokes, and the breakers by thick lines of paint applied directly from the tube.
The work measures 34.5 by 51 centimetres (13.6 in × 20.1 in). It was catalogued as "F4" in Jacob Baart de la Faille's 1928 The Works of Vincent van Gogh and as "JH187" in Jan Hulsker's 1978 The Complete Van Gogh.
The painting was stored at the Van Gogh family house in Breda. Along with many early other works, it was left behind in the attic when the family moved away in 1886, and it came into the possession of a carpenter, Adrianus Schrauwen. It was sold as part of a job lot of worthless "rubbish" to the merchant J.C. Couvreur in 1902, and it came to Kunstzalen Oldenzeel in Rotterdam. It was bought by tobacco importer Gerlach Ribbius Peletier in 1903 for the record price of 2,500 guilders, when other works by Van Gogh were selling for less than 1,000 guilders. It was inherited by his daughter Liesbeth Ribbius Peletier, and she donated it to the state of the Netherlands on her death in 1989.
|
[
"Scheveningen",
"Hendrik Mesdag",
"fishwives",
"JH187",
"Breda",
"The Hague",
"Panorama",
"Hague School",
"Kunstzalen Oldenzeel",
"Jacob Baart de la Faille",
"Anton Mauve",
"en plein air",
"Impressionist",
"guilders",
"seascape",
"Jan Hulsker",
"Liesbeth Ribbius Peletier",
"F4",
"Vincent van Gogh",
"Gerlach Ribbius Peletier"
] |
|
14305_NT
|
Beach at Scheveningen in Stormy Weather
|
How does this artwork elucidate its Description?
|
Van Gogh made his first paintings in December 1881, under the supervision of Anton Mauve, the husband of Van Gogh's cousin, Ariëtte (Jet) Sophia Jeannette Carbentus. This work was made in Van Gogh's second attempt at painting in August 1882.
The painting shows the beach at Scheveningen, on the North Sea coast a few miles from The Hague, on a stormy day on 21 or 22 August 1882. The painting was made quickly, en plein air, on an easel at the beach, with the wind whipping up sand and nearly blowing Van Gogh off his feet. He managed to scrape most of the wind-blown sand off the thick wet painting, but some remains.
The painting is an Impressionist take on the grey-tinged seascapes of Hague School paintings such as Hendrik Mesdag's 1881 Panorama of Scheveningen. The composition is broken into three horizontal zones: a threatening grey sky with dark roiling clouds, the greenish-grey sea with lines of white-capped waves crashing onto the shore, and the beach and sand dunes in browns, oranges, yellows and greens. A number of people are on the beach, some fishwives in their white bonnets, watching as a group of men with horses and a cart are about to pull on a rope attached to a waiting fishing boat to bring it safely ashore. The people are suggested by a few economical brushstrokes, and the breakers by thick lines of paint applied directly from the tube.
The work measures 34.5 by 51 centimetres (13.6 in × 20.1 in). It was catalogued as "F4" in Jacob Baart de la Faille's 1928 The Works of Vincent van Gogh and as "JH187" in Jan Hulsker's 1978 The Complete Van Gogh.
The painting was stored at the Van Gogh family house in Breda. Along with many early other works, it was left behind in the attic when the family moved away in 1886, and it came into the possession of a carpenter, Adrianus Schrauwen. It was sold as part of a job lot of worthless "rubbish" to the merchant J.C. Couvreur in 1902, and it came to Kunstzalen Oldenzeel in Rotterdam. It was bought by tobacco importer Gerlach Ribbius Peletier in 1903 for the record price of 2,500 guilders, when other works by Van Gogh were selling for less than 1,000 guilders. It was inherited by his daughter Liesbeth Ribbius Peletier, and she donated it to the state of the Netherlands on her death in 1989.
|
[
"Scheveningen",
"Hendrik Mesdag",
"fishwives",
"JH187",
"Breda",
"The Hague",
"Panorama",
"Hague School",
"Kunstzalen Oldenzeel",
"Jacob Baart de la Faille",
"Anton Mauve",
"en plein air",
"Impressionist",
"guilders",
"seascape",
"Jan Hulsker",
"Liesbeth Ribbius Peletier",
"F4",
"Vincent van Gogh",
"Gerlach Ribbius Peletier"
] |
|
14306_T
|
Beach at Scheveningen in Stormy Weather
|
Focus on Beach at Scheveningen in Stormy Weather and analyze the Theft and recovery.
|
Beach at Scheveningen in Stormy Weather had been held by the Van Gogh Museum in Amsterdam since 1989 but was stolen, along with Van Gogh's later painting of Congregation Leaving the Reformed Church in Nuenen, on 7 December 2002. It remained missing for over 13 years, until it was recovered in January 2016 by the Italian Guardia di Finanza, together with the other stolen work, at Castellammare di Stabia near Naples. Its recovery, without its original frame, from under the kitchen floor of a villa associated with Camorra gang boss Raffaele Imperiale was not announced until September 2016. It was subsequently returned to the Van Gogh Museum and after some restoration went back on display in March 2017.
|
[
"Amsterdam",
"Scheveningen",
"Van Gogh Museum",
"Castellammare di Stabia",
"Congregation Leaving the Reformed Church in Nuenen",
"Camorra",
"missing",
"Guardia di Finanza",
"Raffaele Imperiale"
] |
|
14306_NT
|
Beach at Scheveningen in Stormy Weather
|
Focus on this artwork and analyze the Theft and recovery.
|
Beach at Scheveningen in Stormy Weather had been held by the Van Gogh Museum in Amsterdam since 1989 but was stolen, along with Van Gogh's later painting of Congregation Leaving the Reformed Church in Nuenen, on 7 December 2002. It remained missing for over 13 years, until it was recovered in January 2016 by the Italian Guardia di Finanza, together with the other stolen work, at Castellammare di Stabia near Naples. Its recovery, without its original frame, from under the kitchen floor of a villa associated with Camorra gang boss Raffaele Imperiale was not announced until September 2016. It was subsequently returned to the Van Gogh Museum and after some restoration went back on display in March 2017.
|
[
"Amsterdam",
"Scheveningen",
"Van Gogh Museum",
"Castellammare di Stabia",
"Congregation Leaving the Reformed Church in Nuenen",
"Camorra",
"missing",
"Guardia di Finanza",
"Raffaele Imperiale"
] |
|
14307_T
|
From Copenhagen Stock Exchange
|
In From Copenhagen Stock Exchange, how is the abstract discussed?
|
From Copenhagen Stock Exchange (Danish: Fra Kjøbenhavns Børs) is a monumental 1895 oil on canvas group portrait painting by Peder Severin Krøyer, featuring 50 representatives of the Danish commercial and financial industries gathered in the Great Hall of the Exchange Building in Copenhagen, Denmark.
|
[
"Copenhagen",
"Peder Severin Krøyer",
"Denmark",
"Exchange Building"
] |
|
14307_NT
|
From Copenhagen Stock Exchange
|
In this artwork, how is the abstract discussed?
|
From Copenhagen Stock Exchange (Danish: Fra Kjøbenhavns Børs) is a monumental 1895 oil on canvas group portrait painting by Peder Severin Krøyer, featuring 50 representatives of the Danish commercial and financial industries gathered in the Great Hall of the Exchange Building in Copenhagen, Denmark.
|
[
"Copenhagen",
"Peder Severin Krøyer",
"Denmark",
"Exchange Building"
] |
|
14308_T
|
From Copenhagen Stock Exchange
|
Focus on From Copenhagen Stock Exchange and explore the History.
|
The idea for the painting was conceived by Gustav Adolph Hagemann in 1881 while he was entertaining C. F. Tietgen, who was posing for Peder Severin Krøyer's portrait of him. Hagemann presented the idea of four monumental group portrait paintings for the newly refurbished Great Hall in Børsen featuring leading representatives of the trade, industry agriculture and shipping sectors in Denmark.The Exchange Building was selected as the scene for the first of the paintings. The building had been purchased by Grosserer-Societetet in 1857. Krøyer's price for painting it was DKK 20,000 and the plan was to raise the money through contributions from the people seen in it. The price for one of the more prominent locations in the foreground was initially DKK 800 while the price for a location in the middle was DKK 500 and one in the background was DKK 300. It turned out to be more difficult than expected to raise the money and things did not start to move until S. V. Isberg from J. B. Suhr & Søn offered to pay DKK 5,000. This lowered the prices to DKK 500, DKK 300 and DKK 100.The painting was completed in 1895. The original plan of commissioning three more paintings was abandoned. Hagemann did, however, in 1901, commission Men of Industry (Danish: Industriens Mænd), as a private commission for his home in Bredgade.
|
[
"Bredgade",
"Gustav Adolph Hagemann",
"Peder Severin Krøyer",
"Børsen",
"Denmark",
"J. B. Suhr & Søn",
"Grosserer-Societetet",
"DKK",
"C. F. Tietgen",
"Exchange Building",
"Men of Industry"
] |
|
14308_NT
|
From Copenhagen Stock Exchange
|
Focus on this artwork and explore the History.
|
The idea for the painting was conceived by Gustav Adolph Hagemann in 1881 while he was entertaining C. F. Tietgen, who was posing for Peder Severin Krøyer's portrait of him. Hagemann presented the idea of four monumental group portrait paintings for the newly refurbished Great Hall in Børsen featuring leading representatives of the trade, industry agriculture and shipping sectors in Denmark.The Exchange Building was selected as the scene for the first of the paintings. The building had been purchased by Grosserer-Societetet in 1857. Krøyer's price for painting it was DKK 20,000 and the plan was to raise the money through contributions from the people seen in it. The price for one of the more prominent locations in the foreground was initially DKK 800 while the price for a location in the middle was DKK 500 and one in the background was DKK 300. It turned out to be more difficult than expected to raise the money and things did not start to move until S. V. Isberg from J. B. Suhr & Søn offered to pay DKK 5,000. This lowered the prices to DKK 500, DKK 300 and DKK 100.The painting was completed in 1895. The original plan of commissioning three more paintings was abandoned. Hagemann did, however, in 1901, commission Men of Industry (Danish: Industriens Mænd), as a private commission for his home in Bredgade.
|
[
"Bredgade",
"Gustav Adolph Hagemann",
"Peder Severin Krøyer",
"Børsen",
"Denmark",
"J. B. Suhr & Søn",
"Grosserer-Societetet",
"DKK",
"C. F. Tietgen",
"Exchange Building",
"Men of Industry"
] |
|
14309_T
|
From Copenhagen Stock Exchange
|
Explore the Related works of this artwork, From Copenhagen Stock Exchange.
|
Krøyer completed a 49cm x 79 cm oil-on-canvas study for the Stock Exchange painting in 1894. It was previously owned by G. A. Hagemann (1929), Paul Hagemann and the Codan insurance company but was later sold on a Bruun Rasmussen auction to an anonymous buyer. It has been on display at the following exhibitions:
Venice, "Esposizione Internationale d'Arte Della Citta di Venezia", 1909 no. 634
Kunstforeningen, "P. S. Krøyer 1851-1909", 1910 no. 239
Forum Copenhagen, "Det danske Kunststævne", 1929
Charlottenborg, "Mindeudstilling for P. S. Krøyer 1851-1951", 1951Krøyer also painted a number of individual studies for some of the portraits. These include a study for the portrait of S. V. Isberg (The David Collection, 1894) and Peter Nicolaj Damm (Museum of Fine Arts, Ghent, 1894).
Thomas Klugge was in connection with the 100 years anniversary of the painting commissioned to paint a group portrait painting of the CEO and 13 committee members of the Danish Chamber of Commerce. Klugge and Krøyer are seen on the cover of two books held by two of the people seen in the painting. The painting is located in the Exchange Building's library.
|
[
"Copenhagen",
"Museum of Fine Arts, Ghent",
"The David Collection",
"Kunstforeningen",
"Exchange Building",
"Forum Copenhagen",
"Thomas Klugge"
] |
|
14309_NT
|
From Copenhagen Stock Exchange
|
Explore the Related works of this artwork.
|
Krøyer completed a 49cm x 79 cm oil-on-canvas study for the Stock Exchange painting in 1894. It was previously owned by G. A. Hagemann (1929), Paul Hagemann and the Codan insurance company but was later sold on a Bruun Rasmussen auction to an anonymous buyer. It has been on display at the following exhibitions:
Venice, "Esposizione Internationale d'Arte Della Citta di Venezia", 1909 no. 634
Kunstforeningen, "P. S. Krøyer 1851-1909", 1910 no. 239
Forum Copenhagen, "Det danske Kunststævne", 1929
Charlottenborg, "Mindeudstilling for P. S. Krøyer 1851-1951", 1951Krøyer also painted a number of individual studies for some of the portraits. These include a study for the portrait of S. V. Isberg (The David Collection, 1894) and Peter Nicolaj Damm (Museum of Fine Arts, Ghent, 1894).
Thomas Klugge was in connection with the 100 years anniversary of the painting commissioned to paint a group portrait painting of the CEO and 13 committee members of the Danish Chamber of Commerce. Klugge and Krøyer are seen on the cover of two books held by two of the people seen in the painting. The painting is located in the Exchange Building's library.
|
[
"Copenhagen",
"Museum of Fine Arts, Ghent",
"The David Collection",
"Kunstforeningen",
"Exchange Building",
"Forum Copenhagen",
"Thomas Klugge"
] |
|
14310_T
|
The Lute Player (Cariani)
|
Focus on The Lute Player (Cariani) and discuss the abstract.
|
The Lute Player is a 1514-1516 oil on canvas painting by Giovanni Cariani, now in the Musée des Beaux-Arts in Strasbourg, France. Its inventory number is 236.
|
[
"canvas",
"Musée des Beaux-Arts",
"oil",
"Strasbourg",
"Giovanni Cariani",
"Lute"
] |
|
14310_NT
|
The Lute Player (Cariani)
|
Focus on this artwork and discuss the abstract.
|
The Lute Player is a 1514-1516 oil on canvas painting by Giovanni Cariani, now in the Musée des Beaux-Arts in Strasbourg, France. Its inventory number is 236.
|
[
"canvas",
"Musée des Beaux-Arts",
"oil",
"Strasbourg",
"Giovanni Cariani",
"Lute"
] |
|
14311_T
|
The Lute Player (Cariani)
|
How does The Lute Player (Cariani) elucidate its History?
|
In 1899 Adolfo Venturi adjudged the work to be "too high quality to be by Cariani", but Wilhelm von Bode attributed it to Cariani. Bode acquired it from a private Venetian collection in 1890; it entered the Strasbourg museum the following year. Since then it has also been attributed to Giorgione or in 1932 by some art historians to Palma il Vecchio, but is now seen as sharing all the basic characteristics of works securely attributed to Cariani.
|
[
"Wilhelm von Bode",
"Strasbourg",
"Giorgione",
"Venetian",
"Adolfo Venturi",
"Palma il Vecchio"
] |
|
14311_NT
|
The Lute Player (Cariani)
|
How does this artwork elucidate its History?
|
In 1899 Adolfo Venturi adjudged the work to be "too high quality to be by Cariani", but Wilhelm von Bode attributed it to Cariani. Bode acquired it from a private Venetian collection in 1890; it entered the Strasbourg museum the following year. Since then it has also been attributed to Giorgione or in 1932 by some art historians to Palma il Vecchio, but is now seen as sharing all the basic characteristics of works securely attributed to Cariani.
|
[
"Wilhelm von Bode",
"Strasbourg",
"Giorgione",
"Venetian",
"Adolfo Venturi",
"Palma il Vecchio"
] |
|
14312_T
|
Confluence (sculpture)
|
Focus on Confluence (sculpture) and analyze the abstract.
|
Confluence is a land art sculpture by artists Robert Stackhouse and Carol Mickett. The work sits on the grounds of the Indianapolis Art Center located in Indianapolis, Indiana, United States. Confluence was installed as part of the Art Center's ARTSPARK initiative.
|
[
"land art",
"Indianapolis",
"sculpture",
"Indianapolis, Indiana",
"United States",
"Indianapolis Art Center",
"Robert Stackhouse"
] |
|
14312_NT
|
Confluence (sculpture)
|
Focus on this artwork and analyze the abstract.
|
Confluence is a land art sculpture by artists Robert Stackhouse and Carol Mickett. The work sits on the grounds of the Indianapolis Art Center located in Indianapolis, Indiana, United States. Confluence was installed as part of the Art Center's ARTSPARK initiative.
|
[
"land art",
"Indianapolis",
"sculpture",
"Indianapolis, Indiana",
"United States",
"Indianapolis Art Center",
"Robert Stackhouse"
] |
|
14313_T
|
Confluence (sculpture)
|
In Confluence (sculpture), how is the Description discussed?
|
Confluence consists of 100 tons of Indiana limestone cascading in height in a 70-foot boat-like shape. The second part of the artwork lies along the White River, further into the ARTSPARK. Words are chiseled into the vertical stones with one statement reading "My soul has grown deep like the rivers."
|
[
"boat",
"chisel",
"Indiana limestone"
] |
|
14313_NT
|
Confluence (sculpture)
|
In this artwork, how is the Description discussed?
|
Confluence consists of 100 tons of Indiana limestone cascading in height in a 70-foot boat-like shape. The second part of the artwork lies along the White River, further into the ARTSPARK. Words are chiseled into the vertical stones with one statement reading "My soul has grown deep like the rivers."
|
[
"boat",
"chisel",
"Indiana limestone"
] |
|
14314_T
|
Confluence (sculpture)
|
Focus on Confluence (sculpture) and explore the Creation.
|
Stackhouse and Mickett created the piece in residency at the Art Center during the summer of 2004. The installation utilized motorized chisels, gas-powered saws and hammers to create the columns. Stackhouse oversaw the work on the vertical stones and Mickett handled the arranging of the bases. Visitors to the Art Center were encouraged to participate by being allowed to don goggles, dust masks and gloves to contribute to the creation process.
|
[
"saw",
"chisel"
] |
|
14314_NT
|
Confluence (sculpture)
|
Focus on this artwork and explore the Creation.
|
Stackhouse and Mickett created the piece in residency at the Art Center during the summer of 2004. The installation utilized motorized chisels, gas-powered saws and hammers to create the columns. Stackhouse oversaw the work on the vertical stones and Mickett handled the arranging of the bases. Visitors to the Art Center were encouraged to participate by being allowed to don goggles, dust masks and gloves to contribute to the creation process.
|
[
"saw",
"chisel"
] |
|
14315_T
|
Confluence (sculpture)
|
Focus on Confluence (sculpture) and explain the Acquisition.
|
This piece was the first installation acquired for the Art Center's ARTSPARK which, designed by Michael Graves, brings together art and nature. The artwork was a gift from Michael and Mary Ann Browning.
|
[
"Michael Graves"
] |
|
14315_NT
|
Confluence (sculpture)
|
Focus on this artwork and explain the Acquisition.
|
This piece was the first installation acquired for the Art Center's ARTSPARK which, designed by Michael Graves, brings together art and nature. The artwork was a gift from Michael and Mary Ann Browning.
|
[
"Michael Graves"
] |
|
14316_T
|
Transfiguration Altarpiece
|
Explore the abstract of this artwork, Transfiguration Altarpiece.
|
The Transfiguration Altarpiece is an altarpiece of the Transfiguration of Jesus by Perugino, dating to 1517 and now in the Galleria Nazionale dell'Umbria in Perugia.
It was probably produced for Santa Maria dei Servi church in Perugia, where it remained until 1542. This church was one of the most notable in the city and housed the chapels of the Baglioni family and other notable families in the city. It was demolished in the 1540s to make way for the moat of the Rocca Paolina and the Servites moved to the church of Santa Maria Nuova with their large collection of artworks, including Transfiguration, which was moved into that church's Graziani chapel, where it stayed until moving to its present home in 1863.The upper register shows Christ standing on a cloud in a contrapposto pose within a double mandorla and a ring of seraphim. Beside him are Moses and Elijah, kneeling on the same cloud. In the lower register are the apostles John (kneeling), Peter and James (to the right). In the background is a landscape. The composition largely reworks existing drawings made by Perugino, with the two registers and the mandorla originally used in his now lost Assumption in the Sistine Chapel. It is also directly influenced by his Collegio del Cambio Transfiguration fresco in the Sala delle Udienze del Collegio del Cambio, also in Perugia.
|
[
"Sistine Chapel",
"Collegio del Cambio Transfiguration",
"Moses",
"contrapposto",
"Perugia",
"Rocca Paolina",
"Galleria Nazionale dell'Umbria",
"Perugino",
"Transfiguration of Jesus",
"seraphim",
"Servites",
"mandorla",
"Elijah"
] |
|
14316_NT
|
Transfiguration Altarpiece
|
Explore the abstract of this artwork.
|
The Transfiguration Altarpiece is an altarpiece of the Transfiguration of Jesus by Perugino, dating to 1517 and now in the Galleria Nazionale dell'Umbria in Perugia.
It was probably produced for Santa Maria dei Servi church in Perugia, where it remained until 1542. This church was one of the most notable in the city and housed the chapels of the Baglioni family and other notable families in the city. It was demolished in the 1540s to make way for the moat of the Rocca Paolina and the Servites moved to the church of Santa Maria Nuova with their large collection of artworks, including Transfiguration, which was moved into that church's Graziani chapel, where it stayed until moving to its present home in 1863.The upper register shows Christ standing on a cloud in a contrapposto pose within a double mandorla and a ring of seraphim. Beside him are Moses and Elijah, kneeling on the same cloud. In the lower register are the apostles John (kneeling), Peter and James (to the right). In the background is a landscape. The composition largely reworks existing drawings made by Perugino, with the two registers and the mandorla originally used in his now lost Assumption in the Sistine Chapel. It is also directly influenced by his Collegio del Cambio Transfiguration fresco in the Sala delle Udienze del Collegio del Cambio, also in Perugia.
|
[
"Sistine Chapel",
"Collegio del Cambio Transfiguration",
"Moses",
"contrapposto",
"Perugia",
"Rocca Paolina",
"Galleria Nazionale dell'Umbria",
"Perugino",
"Transfiguration of Jesus",
"seraphim",
"Servites",
"mandorla",
"Elijah"
] |
|
14317_T
|
Van Gogh's Chair
|
Focus on Van Gogh's Chair and discuss the Background.
|
On 7 May 1888 Van Gogh moved from the Hôtel Carrel to the Café de la Gare, at Arles, in the south of France. He had befriended the proprietors, Joseph and Marie Ginoux. The Yellow House, at 2 place Lamartine, had to be furnished before he could fully move in, but he was able to use it as a studio. He wanted a gallery to display his work, and started a series of paintings that eventually included Van Gogh's Chair (1888), Bedroom in Arles (1888), The Night Café (1888), Cafe Terrace at Night (September 1888), Starry Night Over the Rhone (1888), and Still Life: Vase with Twelve Sunflowers (1888), all intended for the decoration for the Yellow House.
|
[
"The Night Café",
"Bedroom in Arles",
"Starry Night Over the Rhone",
"Cafe Terrace at Night",
"The Yellow House",
"Still Life: Vase with Twelve Sunflowers",
"Arles",
"Marie Ginoux",
"decoration for the Yellow House"
] |
|
14317_NT
|
Van Gogh's Chair
|
Focus on this artwork and discuss the Background.
|
On 7 May 1888 Van Gogh moved from the Hôtel Carrel to the Café de la Gare, at Arles, in the south of France. He had befriended the proprietors, Joseph and Marie Ginoux. The Yellow House, at 2 place Lamartine, had to be furnished before he could fully move in, but he was able to use it as a studio. He wanted a gallery to display his work, and started a series of paintings that eventually included Van Gogh's Chair (1888), Bedroom in Arles (1888), The Night Café (1888), Cafe Terrace at Night (September 1888), Starry Night Over the Rhone (1888), and Still Life: Vase with Twelve Sunflowers (1888), all intended for the decoration for the Yellow House.
|
[
"The Night Café",
"Bedroom in Arles",
"Starry Night Over the Rhone",
"Cafe Terrace at Night",
"The Yellow House",
"Still Life: Vase with Twelve Sunflowers",
"Arles",
"Marie Ginoux",
"decoration for the Yellow House"
] |
|
14318_T
|
Van Gogh's Chair
|
How does Van Gogh's Chair elucidate its Description?
|
Van Gogh's Chair is a product of the artist's tumultuous time spent with fellow painter Paul Gauguin. Both this work and its pendant piece Paul Gauguin's Armchair are painted in complementary colours, blue and orange for van Gogh, red and green for Gauguin. The two paintings were painted before Van Gogh cut off his ear, but continued to be refined after he was hospitalised. Van Gogh set out to "in these two studies, as in others, I myself sought an effect of light with bright colour"
|
[
"Paul Gauguin"
] |
|
14318_NT
|
Van Gogh's Chair
|
How does this artwork elucidate its Description?
|
Van Gogh's Chair is a product of the artist's tumultuous time spent with fellow painter Paul Gauguin. Both this work and its pendant piece Paul Gauguin's Armchair are painted in complementary colours, blue and orange for van Gogh, red and green for Gauguin. The two paintings were painted before Van Gogh cut off his ear, but continued to be refined after he was hospitalised. Van Gogh set out to "in these two studies, as in others, I myself sought an effect of light with bright colour"
|
[
"Paul Gauguin"
] |
|
14319_T
|
Van Gogh's Chair
|
Focus on Van Gogh's Chair and analyze the Analysis.
|
The contrasts between Van Gogh's Chair and Paul Gauguin's Armchair have led to much analysis of the symbolism of these two paintings. While Van Gogh's chair is simple and unpretentious, Gauguin's is far more lavish and ornate. This has been interpreted in light of Van Gogh and Gauguin's tempestuous relationship.
|
[
"Paul Gauguin"
] |
|
14319_NT
|
Van Gogh's Chair
|
Focus on this artwork and analyze the Analysis.
|
The contrasts between Van Gogh's Chair and Paul Gauguin's Armchair have led to much analysis of the symbolism of these two paintings. While Van Gogh's chair is simple and unpretentious, Gauguin's is far more lavish and ornate. This has been interpreted in light of Van Gogh and Gauguin's tempestuous relationship.
|
[
"Paul Gauguin"
] |
|
14320_T
|
LOOK II (sculpture in Plymouth)
|
In LOOK II (sculpture in Plymouth), how is the abstract discussed?
|
LOOK II (alternatively, Look II, and colloquially, Rusty Reg) is a permanent sculpture by British sculptor Antony Gormley on the south-western leg of West Hoe Pier, Plymouth, Devon, England.
It was commissioned by Plymouth City Council and The Box as part of the city's Mayflower 400 celebrations. The work marks the site where Francis Chichester returned in 1967 following his circumnavigation of the globe in the Gipsy Moth IV.
|
[
"The Box",
"Francis Chichester",
"Plymouth City Council",
"West Hoe",
"circumnavigation",
"Devon",
"Gipsy Moth IV",
"Mayflower",
"Antony Gormley",
"Plymouth",
"England",
"Mayflower 400"
] |
|
14320_NT
|
LOOK II (sculpture in Plymouth)
|
In this artwork, how is the abstract discussed?
|
LOOK II (alternatively, Look II, and colloquially, Rusty Reg) is a permanent sculpture by British sculptor Antony Gormley on the south-western leg of West Hoe Pier, Plymouth, Devon, England.
It was commissioned by Plymouth City Council and The Box as part of the city's Mayflower 400 celebrations. The work marks the site where Francis Chichester returned in 1967 following his circumnavigation of the globe in the Gipsy Moth IV.
|
[
"The Box",
"Francis Chichester",
"Plymouth City Council",
"West Hoe",
"circumnavigation",
"Devon",
"Gipsy Moth IV",
"Mayflower",
"Antony Gormley",
"Plymouth",
"England",
"Mayflower 400"
] |
|
14321_T
|
LOOK II (sculpture in Plymouth)
|
Focus on LOOK II (sculpture in Plymouth) and explore the Construction.
|
LOOK II is 12 feet tall and made of 22 cast iron blocks weighing approximately 3 tonnes in total. It is "stacked like a house of cards, but also substantial, rather like the stones of Stonehenge".
|
[
"cast iron"
] |
|
14321_NT
|
LOOK II (sculpture in Plymouth)
|
Focus on this artwork and explore the Construction.
|
LOOK II is 12 feet tall and made of 22 cast iron blocks weighing approximately 3 tonnes in total. It is "stacked like a house of cards, but also substantial, rather like the stones of Stonehenge".
|
[
"cast iron"
] |
|
14322_T
|
LOOK II (sculpture in Plymouth)
|
In the context of LOOK II (sculpture in Plymouth), explain the Planning application of the Construction.
|
The application submitted for the project, 20/00190/LBC, was received by Plymouth City Council on 5 February 2020 and validated on 12 February 2020. It described LOOK II as "mounted on a fabricated steel stub of bespoke design" and "bolted to the reinforced concrete pile cap".After two extensions of the application process (in April and June 2020), a decision to grant the planning permission was issued on 23 June 2020.
|
[
"Plymouth City Council",
"Plymouth"
] |
|
14322_NT
|
LOOK II (sculpture in Plymouth)
|
In the context of this artwork, explain the Planning application of the Construction.
|
The application submitted for the project, 20/00190/LBC, was received by Plymouth City Council on 5 February 2020 and validated on 12 February 2020. It described LOOK II as "mounted on a fabricated steel stub of bespoke design" and "bolted to the reinforced concrete pile cap".After two extensions of the application process (in April and June 2020), a decision to grant the planning permission was issued on 23 June 2020.
|
[
"Plymouth City Council",
"Plymouth"
] |
|
14323_T
|
LOOK II (sculpture in Plymouth)
|
Explore the Symbolism of this artwork, LOOK II (sculpture in Plymouth).
|
It is Gormley's intention to "evoke the yearning to travel across the horizon in order to establish a new life in another place". Through this work, Gormley aims to "transmit our old-world admiration for the skyscrapers of New York while linking them to our megalithic past".
|
[] |
|
14323_NT
|
LOOK II (sculpture in Plymouth)
|
Explore the Symbolism of this artwork.
|
It is Gormley's intention to "evoke the yearning to travel across the horizon in order to establish a new life in another place". Through this work, Gormley aims to "transmit our old-world admiration for the skyscrapers of New York while linking them to our megalithic past".
|
[] |
|
14324_T
|
LOOK II (sculpture in Plymouth)
|
In LOOK II (sculpture in Plymouth), how is the Design of the Controversy elucidated?
|
LOOK II garnered mixed reactions from local residents. The public consultation period saw Plymouth City Council receive 23 submissions, 19 against the proposal and 4 in support.During an interview in September 2020, one heckler criticised the sculpture, calling it a "waste of money".Gormley responded to critics of LOOK II, arguing that it was "a kind of love letter to the future, to people who are not yet born or people who are just born who are asking 'what kind of life can I lead in this place'". He acknowledged that "some people say '[it's] a load of rubbish, why do we need that lump of rusty stuff right in front of our finest view of the sea', and other people say 'well, it looks like it's yearning'".
|
[
"Plymouth City Council",
"Plymouth"
] |
|
14324_NT
|
LOOK II (sculpture in Plymouth)
|
In this artwork, how is the Design of the Controversy elucidated?
|
LOOK II garnered mixed reactions from local residents. The public consultation period saw Plymouth City Council receive 23 submissions, 19 against the proposal and 4 in support.During an interview in September 2020, one heckler criticised the sculpture, calling it a "waste of money".Gormley responded to critics of LOOK II, arguing that it was "a kind of love letter to the future, to people who are not yet born or people who are just born who are asking 'what kind of life can I lead in this place'". He acknowledged that "some people say '[it's] a load of rubbish, why do we need that lump of rusty stuff right in front of our finest view of the sea', and other people say 'well, it looks like it's yearning'".
|
[
"Plymouth City Council",
"Plymouth"
] |
|
14325_T
|
LOOK II (sculpture in Plymouth)
|
When looking at the Controversy of LOOK II (sculpture in Plymouth), how do you discuss its Expenditure's Freedom of Information Act request?
|
Freedom of Information Act request At first, Plymouth City Council refused to disclose the total sum paid for LOOK II as it was covered by a confidentiality agreement with Gormley.On 28 February 2020, an individual filed a Freedom of Information Act (FOIA) request to Plymouth City Council for "the specific cost of the Gormley statue (in terms of design, construction and installation) due to be erected on West Hoe".On 6 March 2020, the council responded and "withheld the requested information under section 43(2) (commercial interests)" of the FOIA.On 5 April 2020, the individual escalated the matter to the Information Commissioner's Office (ICO) who on 20 November 2020 ruled that "the Council was not obliged to disclose the requested information".
|
[
"Plymouth City Council",
"West Hoe",
"confidentiality agreement",
"FOIA",
"Information Commissioner's Office",
"Freedom of Information Act",
"Plymouth"
] |
|
14325_NT
|
LOOK II (sculpture in Plymouth)
|
When looking at the Controversy of this artwork, how do you discuss its Expenditure's Freedom of Information Act request?
|
Freedom of Information Act request At first, Plymouth City Council refused to disclose the total sum paid for LOOK II as it was covered by a confidentiality agreement with Gormley.On 28 February 2020, an individual filed a Freedom of Information Act (FOIA) request to Plymouth City Council for "the specific cost of the Gormley statue (in terms of design, construction and installation) due to be erected on West Hoe".On 6 March 2020, the council responded and "withheld the requested information under section 43(2) (commercial interests)" of the FOIA.On 5 April 2020, the individual escalated the matter to the Information Commissioner's Office (ICO) who on 20 November 2020 ruled that "the Council was not obliged to disclose the requested information".
|
[
"Plymouth City Council",
"West Hoe",
"confidentiality agreement",
"FOIA",
"Information Commissioner's Office",
"Freedom of Information Act",
"Plymouth"
] |
|
14326_T
|
LOOK II (sculpture in Plymouth)
|
Focusing on the Controversy of LOOK II (sculpture in Plymouth), explore the Plymouth City Council budget about the Expenditure.
|
Plymouth City Council budget In February 2021, a council budget document listing a "Mayflower 400 Monument" was unearthed, suggesting the total cost of LOOK II was £764,038. The council acknowledged that the value represented the cost incurred for "Look II and all the associated works".Local Conservative Party councillors who had already objected to the design of the sculpture, including council leader Nick Kelly and group leader Mark Deacon, criticised the city's spending on LOOK II. In a budgetary planning meeting for 2021–22, Deacon asked, "is it really bringing value for money, since it cost three-quarters of a million pounds to install?"In a page on its official website, Plymouth City Council disputed the claim that the sculpture alone costed in excess of £750,000, suggesting that the figure "included a number of projects in that area including essential strengthening works to protect West Hoe Pier against damage from the sea" and that "the sculpture did not cost £750k".
|
[
"Plymouth City Council",
"West Hoe",
"Conservative Party",
"Mayflower",
"Plymouth",
"Mayflower 400"
] |
|
14326_NT
|
LOOK II (sculpture in Plymouth)
|
Focusing on the Controversy of this artwork, explore the Plymouth City Council budget about the Expenditure.
|
Plymouth City Council budget In February 2021, a council budget document listing a "Mayflower 400 Monument" was unearthed, suggesting the total cost of LOOK II was £764,038. The council acknowledged that the value represented the cost incurred for "Look II and all the associated works".Local Conservative Party councillors who had already objected to the design of the sculpture, including council leader Nick Kelly and group leader Mark Deacon, criticised the city's spending on LOOK II. In a budgetary planning meeting for 2021–22, Deacon asked, "is it really bringing value for money, since it cost three-quarters of a million pounds to install?"In a page on its official website, Plymouth City Council disputed the claim that the sculpture alone costed in excess of £750,000, suggesting that the figure "included a number of projects in that area including essential strengthening works to protect West Hoe Pier against damage from the sea" and that "the sculpture did not cost £750k".
|
[
"Plymouth City Council",
"West Hoe",
"Conservative Party",
"Mayflower",
"Plymouth",
"Mayflower 400"
] |
|
14327_T
|
War and Peace (Portinari)
|
Focus on War and Peace (Portinari) and explain the abstract.
|
War and Peace (Portuguese: Guerra e Paz) are two paintings made by Brazilian painter Candido Portinari between 1952 and 1956. They are 14.32 metres (47.0 ft) tall and 10.66 metres (35.0 ft) large each. They were painted for permanent exhibition in the United Nations General Assembly Building at the United Nations headquarters in New York, as a gift from the Brazilian government.
|
[
"Brazil",
"United Nations General Assembly Building",
"New York",
"Candido Portinari",
"painter",
"United Nations General Assembly",
"United Nations headquarters"
] |
|
14327_NT
|
War and Peace (Portinari)
|
Focus on this artwork and explain the abstract.
|
War and Peace (Portuguese: Guerra e Paz) are two paintings made by Brazilian painter Candido Portinari between 1952 and 1956. They are 14.32 metres (47.0 ft) tall and 10.66 metres (35.0 ft) large each. They were painted for permanent exhibition in the United Nations General Assembly Building at the United Nations headquarters in New York, as a gift from the Brazilian government.
|
[
"Brazil",
"United Nations General Assembly Building",
"New York",
"Candido Portinari",
"painter",
"United Nations General Assembly",
"United Nations headquarters"
] |
|
14328_T
|
War and Peace (Portinari)
|
Explore the Display at the United Nations Headquarters of this artwork, War and Peace (Portinari).
|
Once the completed set of paintings were received in 1956 by the UN headquarters in New York City, they were placed behind glass frames in order to help prevent damage from the public.
Portinari was banned from entering the US to inaugurate the panels, due to his participation in the Communist Party.The panels were originally placed in the entrance hall of the United Nations General Assembly and were therefore viewable only by diplomats, heads of state and other delegates addressing the Assembly. Because of security issues, the paintings were not visible even to visitors on guided tours of the UN.However, the panels were still exposed to sunlight, and during the next 54 years, that exposure took its toll on the masterpieces. In 2010, the UN sent the works to Rio de Janeiro for restoration. After going through a long restoration process, the paintings were displayed to the public in Brazil and France, before being sent back to New York in December 2014. The murals remained covered until the re-inauguration on 8 September 2015.During the re-inauguration Ban Ki-moon also stated, "War and Peace are more than magnificent works of art. They are Portinari’s call to action. Thanks to him, all leaders who enter the United Nations see the terrible toll of war and the universal dream for peace."
|
[
"New York City",
"Communist Party",
"Brazil",
"Ban Ki-moon",
"New York",
"United Nations General Assembly"
] |
|
14328_NT
|
War and Peace (Portinari)
|
Explore the Display at the United Nations Headquarters of this artwork.
|
Once the completed set of paintings were received in 1956 by the UN headquarters in New York City, they were placed behind glass frames in order to help prevent damage from the public.
Portinari was banned from entering the US to inaugurate the panels, due to his participation in the Communist Party.The panels were originally placed in the entrance hall of the United Nations General Assembly and were therefore viewable only by diplomats, heads of state and other delegates addressing the Assembly. Because of security issues, the paintings were not visible even to visitors on guided tours of the UN.However, the panels were still exposed to sunlight, and during the next 54 years, that exposure took its toll on the masterpieces. In 2010, the UN sent the works to Rio de Janeiro for restoration. After going through a long restoration process, the paintings were displayed to the public in Brazil and France, before being sent back to New York in December 2014. The murals remained covered until the re-inauguration on 8 September 2015.During the re-inauguration Ban Ki-moon also stated, "War and Peace are more than magnificent works of art. They are Portinari’s call to action. Thanks to him, all leaders who enter the United Nations see the terrible toll of war and the universal dream for peace."
|
[
"New York City",
"Communist Party",
"Brazil",
"Ban Ki-moon",
"New York",
"United Nations General Assembly"
] |
|
14329_T
|
War and Peace (Portinari)
|
Focus on War and Peace (Portinari) and discuss the Analysis of the work.
|
The two panels do not feature any weapons, but instead feature the suffering of victims from war, which illustrates the barbarity of combat. The contrast between the elements of chaos and harmony show the importance of maintaining peace and the attempts to end violent conflicts. Though painted in the 1950s, they were, and still are a representation of the worldwide struggle for peace. The whole set of paintings work together as a representation of the atrocity of war and the importance of peace in the world.
War and Peace were re-inaugurated in the United Nations Headquarters on 8 September 2015. The murals were celebrated by several guests, among whom were several heads of states, iconic artists, and the UN Secretary-General Ban Ki-moon. During this event people shared a moment of silence in order to honour Portinari and his contributions. Overall, the murals were acknowledged as a symbol of obtaining and working towards worldwide peace.
Portinari reportedly sacrificed his own health for the murals, as during the long-term process of creating the artworks Portinari became increasingly sick because of the paint he used. Doctors had warned him about being intoxicated due to inhalation, which would cause a decline in his health. Despite this, Portinari was dedicated to finishing his masterpieces, through which he hoped to send an important message to the world. He was able to complete the timeless murals, though, this cost him his health: he died on 6 February 1962 due to lead intoxication.
Nevertheless, Portinari remains eternal through his numerous paintings, including the murals of War and Peace. As UN Secretary General Ban Ki-moon stated during the re-installation, "Portinari is no longer alive, but his legacy will live forever at the United Nations. Let us realize his vision and move from war to peace."
|
[
"Ban Ki-moon"
] |
|
14329_NT
|
War and Peace (Portinari)
|
Focus on this artwork and discuss the Analysis of the work.
|
The two panels do not feature any weapons, but instead feature the suffering of victims from war, which illustrates the barbarity of combat. The contrast between the elements of chaos and harmony show the importance of maintaining peace and the attempts to end violent conflicts. Though painted in the 1950s, they were, and still are a representation of the worldwide struggle for peace. The whole set of paintings work together as a representation of the atrocity of war and the importance of peace in the world.
War and Peace were re-inaugurated in the United Nations Headquarters on 8 September 2015. The murals were celebrated by several guests, among whom were several heads of states, iconic artists, and the UN Secretary-General Ban Ki-moon. During this event people shared a moment of silence in order to honour Portinari and his contributions. Overall, the murals were acknowledged as a symbol of obtaining and working towards worldwide peace.
Portinari reportedly sacrificed his own health for the murals, as during the long-term process of creating the artworks Portinari became increasingly sick because of the paint he used. Doctors had warned him about being intoxicated due to inhalation, which would cause a decline in his health. Despite this, Portinari was dedicated to finishing his masterpieces, through which he hoped to send an important message to the world. He was able to complete the timeless murals, though, this cost him his health: he died on 6 February 1962 due to lead intoxication.
Nevertheless, Portinari remains eternal through his numerous paintings, including the murals of War and Peace. As UN Secretary General Ban Ki-moon stated during the re-installation, "Portinari is no longer alive, but his legacy will live forever at the United Nations. Let us realize his vision and move from war to peace."
|
[
"Ban Ki-moon"
] |
|
14330_T
|
Nature morte au poron
|
How does Nature morte au poron elucidate its abstract?
|
Nature morte au poron (English: Still life with porrón) is a 1948 oil-on-canvas painting by Pablo Picasso. It is a still-life painting in a cubist style. Picasso painted three versions of the work on 26 December 1948; one is in the collection of the Welsh National Museum of Art, Cardiff, Wales. The painting measures 50.3 × 61 cm.
|
[
"porrón",
"still-life",
"Cardiff",
"cubist",
"Still life",
"Welsh National Museum of Art",
"oil-on-canvas",
"Pablo Picasso"
] |
|
14330_NT
|
Nature morte au poron
|
How does this artwork elucidate its abstract?
|
Nature morte au poron (English: Still life with porrón) is a 1948 oil-on-canvas painting by Pablo Picasso. It is a still-life painting in a cubist style. Picasso painted three versions of the work on 26 December 1948; one is in the collection of the Welsh National Museum of Art, Cardiff, Wales. The painting measures 50.3 × 61 cm.
|
[
"porrón",
"still-life",
"Cardiff",
"cubist",
"Still life",
"Welsh National Museum of Art",
"oil-on-canvas",
"Pablo Picasso"
] |
|
14331_T
|
Nature morte au poron
|
Focus on Nature morte au poron and analyze the Background.
|
Still life was a recurring theme for Picasso during the 1940s. He repeatedly returned to this genre during the Second World War and also during a later period when he was living in Vallauris with his partner Françoise Gilot. Picasso created few oil paintings during 1948, instead concentrating on his ceramics at the Madoura Pottery in Vallauris on the French Cote d'Azur. His preferred subjects during this period were Françoise Gilot, their son, Claude and still life.
|
[
"Second World War",
"Françoise Gilot",
"Cote d'Azur",
"Vallauris",
"Still life",
"Claude"
] |
|
14331_NT
|
Nature morte au poron
|
Focus on this artwork and analyze the Background.
|
Still life was a recurring theme for Picasso during the 1940s. He repeatedly returned to this genre during the Second World War and also during a later period when he was living in Vallauris with his partner Françoise Gilot. Picasso created few oil paintings during 1948, instead concentrating on his ceramics at the Madoura Pottery in Vallauris on the French Cote d'Azur. His preferred subjects during this period were Françoise Gilot, their son, Claude and still life.
|
[
"Second World War",
"Françoise Gilot",
"Cote d'Azur",
"Vallauris",
"Still life",
"Claude"
] |
|
14332_T
|
Nature morte au poron
|
In Nature morte au poron, how is the Description discussed?
|
Nature morte au poron is an oil-on-canvas still-life painting measuring 50.3 x 61 cm. It is one of three paintings that Picasso produced the day after Christmas day in 1948. It depicts a table, upon which has been placed a porrón (a traditional Spanish drinking vessel), a lemon and a lobster. The painting was created in a cubist style, with flat angular planes and bright colours. The hexagonal tiles on the floor depicted in the painting have been identified as those in Picasso's studio on the Rue des Grands-Augustins in Paris's Saint-Germain-des-Prés quarter. Picasso was greatly influenced by the work of Paul Cézanne, which is evident in the way that the table is tilted towards the viewer in this painting.Many elements of Picasso's artwork were autobiographical, which is evident in the subject matter of this painting. The work therefore offers a glimpse into the food prepared in Picasso's kitchen. Marie-Laure Bernadac noted the autobiographical nature of the work, stating, "Indeed under each pot, bowl of fruit, or guitar, there lurks a story, a person, or an anecdote that is part of the painter's life. Because of the autobiographical nature of his art, and because he assigned an equal value to the animal, mineral, plant, and human realms, he painted whatever was around him. When he was at the seashore, he painted fish and crustaceans".
|
[
"porrón",
"Paul Cézanne",
"still-life",
"Rue des Grands-Augustins",
"cubist",
"oil-on-canvas",
"Saint-Germain-des-Prés"
] |
|
14332_NT
|
Nature morte au poron
|
In this artwork, how is the Description discussed?
|
Nature morte au poron is an oil-on-canvas still-life painting measuring 50.3 x 61 cm. It is one of three paintings that Picasso produced the day after Christmas day in 1948. It depicts a table, upon which has been placed a porrón (a traditional Spanish drinking vessel), a lemon and a lobster. The painting was created in a cubist style, with flat angular planes and bright colours. The hexagonal tiles on the floor depicted in the painting have been identified as those in Picasso's studio on the Rue des Grands-Augustins in Paris's Saint-Germain-des-Prés quarter. Picasso was greatly influenced by the work of Paul Cézanne, which is evident in the way that the table is tilted towards the viewer in this painting.Many elements of Picasso's artwork were autobiographical, which is evident in the subject matter of this painting. The work therefore offers a glimpse into the food prepared in Picasso's kitchen. Marie-Laure Bernadac noted the autobiographical nature of the work, stating, "Indeed under each pot, bowl of fruit, or guitar, there lurks a story, a person, or an anecdote that is part of the painter's life. Because of the autobiographical nature of his art, and because he assigned an equal value to the animal, mineral, plant, and human realms, he painted whatever was around him. When he was at the seashore, he painted fish and crustaceans".
|
[
"porrón",
"Paul Cézanne",
"still-life",
"Rue des Grands-Augustins",
"cubist",
"oil-on-canvas",
"Saint-Germain-des-Prés"
] |
|
14333_T
|
Nature morte au poron
|
Focus on Nature morte au poron and explore the Significance and legacy.
|
The graphic nature and linear emphasis in Picasso's still life painting would eventually provide inspiration for other artists. Sotheby's commented on the significance of this painting, stating, "Paring down the representation of each object to just a few bold, black and white lines, he is able to convey both movement and stasis, light and shadow in a way that would eventually inspire Arshile Gorky and the Abstract Expressionists in the United States".
|
[
"Abstract Expressionists",
"Sotheby's",
"Arshile Gorky"
] |
|
14333_NT
|
Nature morte au poron
|
Focus on this artwork and explore the Significance and legacy.
|
The graphic nature and linear emphasis in Picasso's still life painting would eventually provide inspiration for other artists. Sotheby's commented on the significance of this painting, stating, "Paring down the representation of each object to just a few bold, black and white lines, he is able to convey both movement and stasis, light and shadow in a way that would eventually inspire Arshile Gorky and the Abstract Expressionists in the United States".
|
[
"Abstract Expressionists",
"Sotheby's",
"Arshile Gorky"
] |
|
14334_T
|
A Meeting in the Royal Danish Academy of Sciences and Letters
|
Focus on A Meeting in the Royal Danish Academy of Sciences and Letters and explain the abstract.
|
A Meeting in the Royal Danish Academy of Sciences and Letters is a monumental 1897 oil-on-canvas group portrait painting by Peder Severin Krøyer, depicting the membership of Royal Danish Academy of Sciences and Letters during one of its meetings in the Prince's Mansion in Copenhagen. The painting was commissioned by the Carlsberg Foundation in conjunction with the construction of its new building on H. C. Andersens Boulevard. Measuring 519.4 cm (204.5 in) wide and 266.7 cm (105.0 in) tall, it is Krøyer's largest painting.
|
[
"Copenhagen",
"Peder Severin Krøyer",
"Prince's Mansion",
"H. C. Andersens Boulevard",
"Carlsberg Foundation",
"Royal Danish Academy of Sciences and Letters"
] |
|
14334_NT
|
A Meeting in the Royal Danish Academy of Sciences and Letters
|
Focus on this artwork and explain the abstract.
|
A Meeting in the Royal Danish Academy of Sciences and Letters is a monumental 1897 oil-on-canvas group portrait painting by Peder Severin Krøyer, depicting the membership of Royal Danish Academy of Sciences and Letters during one of its meetings in the Prince's Mansion in Copenhagen. The painting was commissioned by the Carlsberg Foundation in conjunction with the construction of its new building on H. C. Andersens Boulevard. Measuring 519.4 cm (204.5 in) wide and 266.7 cm (105.0 in) tall, it is Krøyer's largest painting.
|
[
"Copenhagen",
"Peder Severin Krøyer",
"Prince's Mansion",
"H. C. Andersens Boulevard",
"Carlsberg Foundation",
"Royal Danish Academy of Sciences and Letters"
] |
|
14335_T
|
A Meeting in the Royal Danish Academy of Sciences and Letters
|
Explore the History of this artwork, A Meeting in the Royal Danish Academy of Sciences and Letters.
|
The idea for the painting was first presented by civil servant Andreas Peter Weis (1851–1935) to director of the Carlsberg Foundation Edvard Holm dated 3 August 1895. The idea was later presented to Krøyer in a letter from the Carlsberg Foundation dated 20 October 1895. Krøyer accepted the offer and the price was set at DKK 25,000–30,000.The painting was handed over to the Carlsberg Foundation in December 1897. It was accessible for the members of the Royal Academy of Science and Letters from 2 to 6 March 1898 and was subsequently on public display as part of the traditional Charlottenborg Spring Exhibition. In January 1900, it was installed in the academy's new premises in the Carlsberg Foundation Building.In 1900, the painting was temporarily sent to Paris as part of Denmark's contribution to the Exposition Universelle. In 1929, it was on display at the Danish Art Fair in Forum. In 1944, during the Occupation of Denmark in World War II, it was taken down and stored in another location to protect it from possible Schalburgtage. It returned to the building immediately after the war. In 1948, it was moved to the Danish National Gallery to be photographed for the Royal Danish Academy of Sciences and Letters' anniversary publication. In connection with the 100-year anniversary of Krøyer's birth in 1951, it was moved to a new permanent location in the academy's meeting room. Two marble pilasters were removed to make room for the painting. From 18 November to 4 December, in association with a memorial exhibition in the Charlottenborg Exhibition Building, it was possible for the public to see the painting in its new location. From May to September 2019, it was loaned out to Skagens Museum for the exhibition Mesterværker – Krøyer på bestilling.
|
[
"Danish National Gallery",
"Edvard Holm",
"Schalburgtage",
"DKK",
"Forum",
"World War II",
"Skagens Museum",
"Carlsberg Foundation",
"Paris",
"Exposition Universelle",
"Royal Danish Academy of Sciences and Letters",
"Occupation of Denmark",
"Denmark in World War II"
] |
|
14335_NT
|
A Meeting in the Royal Danish Academy of Sciences and Letters
|
Explore the History of this artwork.
|
The idea for the painting was first presented by civil servant Andreas Peter Weis (1851–1935) to director of the Carlsberg Foundation Edvard Holm dated 3 August 1895. The idea was later presented to Krøyer in a letter from the Carlsberg Foundation dated 20 October 1895. Krøyer accepted the offer and the price was set at DKK 25,000–30,000.The painting was handed over to the Carlsberg Foundation in December 1897. It was accessible for the members of the Royal Academy of Science and Letters from 2 to 6 March 1898 and was subsequently on public display as part of the traditional Charlottenborg Spring Exhibition. In January 1900, it was installed in the academy's new premises in the Carlsberg Foundation Building.In 1900, the painting was temporarily sent to Paris as part of Denmark's contribution to the Exposition Universelle. In 1929, it was on display at the Danish Art Fair in Forum. In 1944, during the Occupation of Denmark in World War II, it was taken down and stored in another location to protect it from possible Schalburgtage. It returned to the building immediately after the war. In 1948, it was moved to the Danish National Gallery to be photographed for the Royal Danish Academy of Sciences and Letters' anniversary publication. In connection with the 100-year anniversary of Krøyer's birth in 1951, it was moved to a new permanent location in the academy's meeting room. Two marble pilasters were removed to make room for the painting. From 18 November to 4 December, in association with a memorial exhibition in the Charlottenborg Exhibition Building, it was possible for the public to see the painting in its new location. From May to September 2019, it was loaned out to Skagens Museum for the exhibition Mesterværker – Krøyer på bestilling.
|
[
"Danish National Gallery",
"Edvard Holm",
"Schalburgtage",
"DKK",
"Forum",
"World War II",
"Skagens Museum",
"Carlsberg Foundation",
"Paris",
"Exposition Universelle",
"Royal Danish Academy of Sciences and Letters",
"Occupation of Denmark",
"Denmark in World War II"
] |
|
14336_T
|
Marian column (Prague)
|
How does Marian column (Prague) elucidate its abstract?
|
The Marian column (Czech: Mariánský sloup) of Prague is a religious monument consisting of a column topped with a statue of the Virgin Mary, located in the city's Old Town Square. The original column was erected in 1650, shortly after the conclusion of the Thirty Years' War. It was demolished in November 1918, coinciding with the fall of Austria-Hungary. In 2020, the column was reconstructed, being completed on 15 August 2020.
|
[
"Thirty Years' War",
"Old Town Square",
"Old Town",
"Marian column",
"Austria-Hungary",
"Virgin Mary",
"Prague",
"religious monument"
] |
|
14336_NT
|
Marian column (Prague)
|
How does this artwork elucidate its abstract?
|
The Marian column (Czech: Mariánský sloup) of Prague is a religious monument consisting of a column topped with a statue of the Virgin Mary, located in the city's Old Town Square. The original column was erected in 1650, shortly after the conclusion of the Thirty Years' War. It was demolished in November 1918, coinciding with the fall of Austria-Hungary. In 2020, the column was reconstructed, being completed on 15 August 2020.
|
[
"Thirty Years' War",
"Old Town Square",
"Old Town",
"Marian column",
"Austria-Hungary",
"Virgin Mary",
"Prague",
"religious monument"
] |
|
14337_T
|
Marian column (Prague)
|
Focus on Marian column (Prague) and analyze the History.
|
Prague's Marian column was built in the Old Town Square in 1650 as a thanks for the city's role in the Battle of Prague in 1648, which resulted in a Bohemian victory over the Swedish Empire. The column was sculpted by Johann Georg Bendl. It was the fourth oldest Marian column in Europe, following Rome (1614), Munich (1638) and Vienna (1647).The column was almost 16 meters high and bore a two-meter gilded statue of Virgin Mary. At the base of the column was a hollow space that served as a chapel. Inside there was a Gothic panel with the image of the "Virgin Mary of the Square" (Panna Marie Rynecká), dating from the beginning of the 15th century. In the corners of the column stood four statues of angels symbolizing the four cardinal virtues fighting the forces of evil. The first angel struck down the devil with a spear and represented wisdom, the second defeated a lion with a two-handed sword and represented righteousness, the third fought a dragon and represented bravery, and the fourth angel defeated the devil with the cross and expressed gentleness.During the Prussian siege in 1757, the southwest corner sculpture was damaged by a cannonball during the shelling of Prague. It was not until 1858 that it was replaced by a copy from the Prague sculptor Josef Böhm.
|
[
"Battle of Prague",
"Bohemian",
"Prussian siege",
"Old Town Square",
"Rome",
"Johann Georg Bendl",
"Old Town",
"Marian column",
"Munich",
"Vienna",
"Swedish Empire",
"Virgin Mary",
"Prague"
] |
|
14337_NT
|
Marian column (Prague)
|
Focus on this artwork and analyze the History.
|
Prague's Marian column was built in the Old Town Square in 1650 as a thanks for the city's role in the Battle of Prague in 1648, which resulted in a Bohemian victory over the Swedish Empire. The column was sculpted by Johann Georg Bendl. It was the fourth oldest Marian column in Europe, following Rome (1614), Munich (1638) and Vienna (1647).The column was almost 16 meters high and bore a two-meter gilded statue of Virgin Mary. At the base of the column was a hollow space that served as a chapel. Inside there was a Gothic panel with the image of the "Virgin Mary of the Square" (Panna Marie Rynecká), dating from the beginning of the 15th century. In the corners of the column stood four statues of angels symbolizing the four cardinal virtues fighting the forces of evil. The first angel struck down the devil with a spear and represented wisdom, the second defeated a lion with a two-handed sword and represented righteousness, the third fought a dragon and represented bravery, and the fourth angel defeated the devil with the cross and expressed gentleness.During the Prussian siege in 1757, the southwest corner sculpture was damaged by a cannonball during the shelling of Prague. It was not until 1858 that it was replaced by a copy from the Prague sculptor Josef Böhm.
|
[
"Battle of Prague",
"Bohemian",
"Prussian siege",
"Old Town Square",
"Rome",
"Johann Georg Bendl",
"Old Town",
"Marian column",
"Munich",
"Vienna",
"Swedish Empire",
"Virgin Mary",
"Prague"
] |
|
14338_T
|
Marian column (Prague)
|
In Marian column (Prague), how is the Destruction discussed?
|
In 1915, the Jan Hus Memorial, sculpted by Ladislav Šaloun, was erected in the square. Hus was the founder of the Hussites, a pre-Protestant religious reform movement, who was executed by the Catholic Church for heresy. The construction of this memorial was considered to show the shifting attitudes of Prague, which increasing shifted away from the Catholic Church.
In autumn of 1918, the Austro-Hungarian Empire was close to defeat and about to be dismantled and Czechoslovakia declared independent. In this context, on 3 November 1918, the column, considered a symbol of the monarchy and Catholicism, was torn down.The Czechoslovak official press accepted the demolition of the column with understanding, but most of the important political figures of the First Republic did not publicly support its destruction, though they expressed understanding in private. Tomáš Garrigue Masaryk, who learned about the demolition of the column in England, stated that "when the people of Prague removed the statue, I was glad because the statue was a political disgrace for us".The remaining parts of the column were removed on the night of 18–19 December 1918 and taken to the courtyard of the Church of St. Anna in the Old Town. Fragments of the statue of the Virgin Mary, the four sculptures with angels, and the stone railings were stored in the Prague Lapidarium at Výstaviště Praha. The broken head of the Virgin Mary was found in 1957 in an antique shop on Národní třída. It was bought by the National Museum and also placed in the lapidarium. An almost identical statue of the Virgin Mary by Bendel, created in 1673, is located on the Marian Column in Louny.
|
[
"Tomáš Garrigue Masaryk",
"Národní třída",
"Marian Column",
"Czechoslovakia",
"Prague Lapidarium",
"Výstaviště Praha",
"Catholic Church",
"Hussites",
"Old Town",
"Ladislav Šaloun",
"Louny",
"Virgin Mary",
"Prague",
"Jan Hus Memorial"
] |
|
14338_NT
|
Marian column (Prague)
|
In this artwork, how is the Destruction discussed?
|
In 1915, the Jan Hus Memorial, sculpted by Ladislav Šaloun, was erected in the square. Hus was the founder of the Hussites, a pre-Protestant religious reform movement, who was executed by the Catholic Church for heresy. The construction of this memorial was considered to show the shifting attitudes of Prague, which increasing shifted away from the Catholic Church.
In autumn of 1918, the Austro-Hungarian Empire was close to defeat and about to be dismantled and Czechoslovakia declared independent. In this context, on 3 November 1918, the column, considered a symbol of the monarchy and Catholicism, was torn down.The Czechoslovak official press accepted the demolition of the column with understanding, but most of the important political figures of the First Republic did not publicly support its destruction, though they expressed understanding in private. Tomáš Garrigue Masaryk, who learned about the demolition of the column in England, stated that "when the people of Prague removed the statue, I was glad because the statue was a political disgrace for us".The remaining parts of the column were removed on the night of 18–19 December 1918 and taken to the courtyard of the Church of St. Anna in the Old Town. Fragments of the statue of the Virgin Mary, the four sculptures with angels, and the stone railings were stored in the Prague Lapidarium at Výstaviště Praha. The broken head of the Virgin Mary was found in 1957 in an antique shop on Národní třída. It was bought by the National Museum and also placed in the lapidarium. An almost identical statue of the Virgin Mary by Bendel, created in 1673, is located on the Marian Column in Louny.
|
[
"Tomáš Garrigue Masaryk",
"Národní třída",
"Marian Column",
"Czechoslovakia",
"Prague Lapidarium",
"Výstaviště Praha",
"Catholic Church",
"Hussites",
"Old Town",
"Ladislav Šaloun",
"Louny",
"Virgin Mary",
"Prague",
"Jan Hus Memorial"
] |
|
14339_T
|
Marian column (Prague)
|
Focus on Marian column (Prague) and explore the Disputes and preparation.
|
In 1990, a private association for restoring of Marian column was founded in Prague. Beginning in 1995, a group of Czech artists, started work on restoring the Marian column. In 2000, Petr Váňa was asked to sculpt a replica of the head of statue of the Virgin Mary. This part of the work was completed in 2002 and installed in the southern yard of the Church of Our Lady before Týn (Chrám Matky Boží před Týnem) in Prague. Petr Vána, with his brother and an assistant, continued the work. They brought a sandstone column from India and cut other parts of group.
The reconstruction of the column was rejected several times, most recently in September 2017, when city councillors suggested that it divided the people of Prague, rather than reconciling them. Opponents see the column as a symbol of post-White Mountain oppression by the Catholic Habsburg rulers. According to Prague's Mayor, Zdeněk Hřib, it represents "the promotion of one idea at the expense of another. Consequently, in principle [the column] cannot be taken in this context as a symbol of reconciliation within the framework of ecumenical harmony". According to the mayor, the column symbolizes the defeat of the idea of tolerance, which is still relevant today.Before the expiry of the building permit on 29 May 2019, the contractor tried to start the construction by uncovering the foundations of the original column. However, he did not have permission to occupy the space needed for the arrival of construction equipment. The area was then barred by a city police van and the contractor had to restore the site to its previous state. A few days later, 26 Czech art historians published a call not to allow the city authorities to renew the column.In January 2020, however, the reconstruction of the column was approved by the Prague City Council.
|
[
"White Mountain",
"Marian column",
"Virgin Mary",
"Prague",
"Zdeněk Hřib"
] |
|
14339_NT
|
Marian column (Prague)
|
Focus on this artwork and explore the Disputes and preparation.
|
In 1990, a private association for restoring of Marian column was founded in Prague. Beginning in 1995, a group of Czech artists, started work on restoring the Marian column. In 2000, Petr Váňa was asked to sculpt a replica of the head of statue of the Virgin Mary. This part of the work was completed in 2002 and installed in the southern yard of the Church of Our Lady before Týn (Chrám Matky Boží před Týnem) in Prague. Petr Vána, with his brother and an assistant, continued the work. They brought a sandstone column from India and cut other parts of group.
The reconstruction of the column was rejected several times, most recently in September 2017, when city councillors suggested that it divided the people of Prague, rather than reconciling them. Opponents see the column as a symbol of post-White Mountain oppression by the Catholic Habsburg rulers. According to Prague's Mayor, Zdeněk Hřib, it represents "the promotion of one idea at the expense of another. Consequently, in principle [the column] cannot be taken in this context as a symbol of reconciliation within the framework of ecumenical harmony". According to the mayor, the column symbolizes the defeat of the idea of tolerance, which is still relevant today.Before the expiry of the building permit on 29 May 2019, the contractor tried to start the construction by uncovering the foundations of the original column. However, he did not have permission to occupy the space needed for the arrival of construction equipment. The area was then barred by a city police van and the contractor had to restore the site to its previous state. A few days later, 26 Czech art historians published a call not to allow the city authorities to renew the column.In January 2020, however, the reconstruction of the column was approved by the Prague City Council.
|
[
"White Mountain",
"Marian column",
"Virgin Mary",
"Prague",
"Zdeněk Hřib"
] |
|
14340_T
|
Marian column (Prague)
|
Focus on Marian column (Prague) and explain the Reconstruction.
|
Work on re-erecting the column started on 15 February 2020. Major work was completed on 4 June 2020, with final completion of the column celebrated on 15 August 2020. On that date, the column became city property.
The purpose of the reconstruction was to make a most faithful reproduction of the original statue of the Virgin Mary. A copy was created from the preserved torso of the original. The missing left part of the statue with folded hands was reconstructed according to a similar statue on the main square of Louny and relevant photographs. So-called Božanovský sandstone from Teplice nad Metují was chosen for the copy of the statue, while the column with the Corinthian head was made of sandstone originating in India. The pedestal is made of Pietra Dorata sandstone from Siena and was dedicated by the Italian town of Vitorchiano. The sanctuary is made of Mrákotín Granite. The four pedestals for the statues of angels were dedicated by the four orders: the Knights of Malta, the Teutonic Order, the Knights of the Cross with the Red Star and the Order of Saint Lazarus. However, it is not yet clear whether the statues of angels will be installed. It was reported in 2017 that the creators will complete them later. The remaining architecture was reconstructed according to the preserved parts.
|
[
"Knights of Malta",
"Order of Saint Lazarus",
"Teplice nad Metují",
"Siena",
"left",
"Vitorchiano",
"Knights of the Cross with the Red Star",
"Louny",
"Teutonic Order",
"Virgin Mary"
] |
|
14340_NT
|
Marian column (Prague)
|
Focus on this artwork and explain the Reconstruction.
|
Work on re-erecting the column started on 15 February 2020. Major work was completed on 4 June 2020, with final completion of the column celebrated on 15 August 2020. On that date, the column became city property.
The purpose of the reconstruction was to make a most faithful reproduction of the original statue of the Virgin Mary. A copy was created from the preserved torso of the original. The missing left part of the statue with folded hands was reconstructed according to a similar statue on the main square of Louny and relevant photographs. So-called Božanovský sandstone from Teplice nad Metují was chosen for the copy of the statue, while the column with the Corinthian head was made of sandstone originating in India. The pedestal is made of Pietra Dorata sandstone from Siena and was dedicated by the Italian town of Vitorchiano. The sanctuary is made of Mrákotín Granite. The four pedestals for the statues of angels were dedicated by the four orders: the Knights of Malta, the Teutonic Order, the Knights of the Cross with the Red Star and the Order of Saint Lazarus. However, it is not yet clear whether the statues of angels will be installed. It was reported in 2017 that the creators will complete them later. The remaining architecture was reconstructed according to the preserved parts.
|
[
"Knights of Malta",
"Order of Saint Lazarus",
"Teplice nad Metují",
"Siena",
"left",
"Vitorchiano",
"Knights of the Cross with the Red Star",
"Louny",
"Teutonic Order",
"Virgin Mary"
] |
|
14341_T
|
Edge Elements
|
Explore the abstract of this artwork, Edge Elements.
|
Edge Elements is a public sculpture by Richard Hansen located at South Shore Park on the south side of Milwaukee, Wisconsin. Edge Elements is a series of five sculptures. The group of sculptures was commissioned by the Milwaukee County Percent for Art Program.
|
[
"Milwaukee County Percent for Art Program",
"Richard Hansen",
"South Shore Park",
"Wisconsin",
"Milwaukee",
"public sculpture"
] |
|
14341_NT
|
Edge Elements
|
Explore the abstract of this artwork.
|
Edge Elements is a public sculpture by Richard Hansen located at South Shore Park on the south side of Milwaukee, Wisconsin. Edge Elements is a series of five sculptures. The group of sculptures was commissioned by the Milwaukee County Percent for Art Program.
|
[
"Milwaukee County Percent for Art Program",
"Richard Hansen",
"South Shore Park",
"Wisconsin",
"Milwaukee",
"public sculpture"
] |
|
14342_T
|
Edge Elements
|
Focus on Edge Elements and discuss the Description.
|
Each sculpture is made of several large pieces of Wisconsin red granite arranged in a different formation. Several sculptures also incorporate carved elements made of white granite. The forms of the individual sculpture all offer seating and views of Lake Michigan. Each sculpture is set on a square bed of crushed stone.
|
[
"Lake Michigan",
"Wisconsin"
] |
|
14342_NT
|
Edge Elements
|
Focus on this artwork and discuss the Description.
|
Each sculpture is made of several large pieces of Wisconsin red granite arranged in a different formation. Several sculptures also incorporate carved elements made of white granite. The forms of the individual sculpture all offer seating and views of Lake Michigan. Each sculpture is set on a square bed of crushed stone.
|
[
"Lake Michigan",
"Wisconsin"
] |
|
14343_T
|
Edge Elements
|
How does Edge Elements elucidate its Historical information?
|
Funds for Edge Elements were made available during the five-year redevelopment of South Shore Park, which included improvements to its bike path, breakwater, and shoreline. The budget for the artwork was $110,000.In June 2007, the South Shore Park Watch offered a tour of the artworks as part of an area-wide celebration of the 100th anniversary of the Milwaukee County Parks System. In 2008, Edge Elements was selected by Jodi Pinto and Ted Landsmark for recognition by the Americans for the Arts Public Art Network as an outstanding project in its "Year in Review."
|
[
"Public Art Network",
"Jodi Pinto",
"Ted Landsmark",
"Milwaukee County Parks System",
"South Shore Park",
"Milwaukee",
"Americans for the Arts"
] |
|
14343_NT
|
Edge Elements
|
How does this artwork elucidate its Historical information?
|
Funds for Edge Elements were made available during the five-year redevelopment of South Shore Park, which included improvements to its bike path, breakwater, and shoreline. The budget for the artwork was $110,000.In June 2007, the South Shore Park Watch offered a tour of the artworks as part of an area-wide celebration of the 100th anniversary of the Milwaukee County Parks System. In 2008, Edge Elements was selected by Jodi Pinto and Ted Landsmark for recognition by the Americans for the Arts Public Art Network as an outstanding project in its "Year in Review."
|
[
"Public Art Network",
"Jodi Pinto",
"Ted Landsmark",
"Milwaukee County Parks System",
"South Shore Park",
"Milwaukee",
"Americans for the Arts"
] |
|
14344_T
|
Family Group (Moore)
|
Focus on Family Group (Moore) and analyze the abstract.
|
Family Group (LH 269) is a sculpture by Henry Moore. It was his first large-scale bronze sculpture, and his first large bronze with multiple castings. Made for Barclay School in Stevenage, it evolved from drawings in the 1930s, through a series of models to bronze castings in 1950–51. It also one of the last important sculptures that Moore developed from preliminary drawings: in future, he worked mainly from found objects, maquettes and models.
The sculpture depicts a group of three human figures, a stereotypical nuclear family comprising a man, a woman and a small child. The two adults are sitting on a bench, holding the child between them. The figures are slightly smaller than life size. Three of the five castings from the 1950s are still owned by the original owners, Barclay School, the Tate Gallery, and the Museum of Modern Art in New York. The others are held by the Hakone Open-Air Museum in Japan, and the Norton Simon Museum in Pasadena, with a later cast at the Henry Moore Foundation in Perry Green, Hertfordshire.
|
[
"Barclay School",
"Hakone Open-Air Museum",
"Henry Moore Foundation",
"Henry Moore",
"Tate",
"Tate Gallery",
"Perry Green, Hertfordshire",
"Stevenage",
"Museum of Modern Art",
"nuclear family",
"maquette",
"Norton Simon Museum",
"found object"
] |
|
14344_NT
|
Family Group (Moore)
|
Focus on this artwork and analyze the abstract.
|
Family Group (LH 269) is a sculpture by Henry Moore. It was his first large-scale bronze sculpture, and his first large bronze with multiple castings. Made for Barclay School in Stevenage, it evolved from drawings in the 1930s, through a series of models to bronze castings in 1950–51. It also one of the last important sculptures that Moore developed from preliminary drawings: in future, he worked mainly from found objects, maquettes and models.
The sculpture depicts a group of three human figures, a stereotypical nuclear family comprising a man, a woman and a small child. The two adults are sitting on a bench, holding the child between them. The figures are slightly smaller than life size. Three of the five castings from the 1950s are still owned by the original owners, Barclay School, the Tate Gallery, and the Museum of Modern Art in New York. The others are held by the Hakone Open-Air Museum in Japan, and the Norton Simon Museum in Pasadena, with a later cast at the Henry Moore Foundation in Perry Green, Hertfordshire.
|
[
"Barclay School",
"Hakone Open-Air Museum",
"Henry Moore Foundation",
"Henry Moore",
"Tate",
"Tate Gallery",
"Perry Green, Hertfordshire",
"Stevenage",
"Museum of Modern Art",
"nuclear family",
"maquette",
"Norton Simon Museum",
"found object"
] |
|
14345_T
|
Family Group (Moore)
|
In Family Group (Moore), how is the Background discussed?
|
The work began with drawings and maquettes made by Moore in the mid-1930s after Walter Gropius suggested a Moore sculpture for Impington Village College. The college opened in 1939, but the war stopped Cambridgeshire County Council giving a commission to Moore. The council's education officer Henry Morris approached Moore again in 1944, and Moore made a small clay model in 1945, now held by the Henry Moore Foundation in Perry Green, Hertfordshire. In this model, the father's head had a distinctive notch, also seen in other early works such as Four-Piece Composition: Reclining Figure of 1934, and Reclining Figure 1938. Moore also made several other clay models, some cast in bronze, with three held by the Tate. Eventually, his ideas were rejected because funding was not available, and the project in Cambridgeshire went unrealised. An example of a cast from this early work, LH 239, is held by the Tate.
Moore returned to the design in 1947, when he was asked to create a sculpture for a new school in Stevenage, at a time when Hertfordshire County Council was involved in an ambitious building programme of new schools and devoted part of the budget to sourcing artworks from leading British artists. Barclay School was designed by Yorke Rosenberg Mardall, and was the first purpose-built secondary school constructed in the UK after the Second World War. Despite some reluctance from the council members, Moore was formally commissioned in 1949. He accepted a small fee, just £750, sufficient to cover the cost of materials, casting and transport, on condition that he could make further copies for commercial sale.
He reworked a selected small clay maquette as a small plaster model, removing the notch from the male's head, so the three figures became more similar to each other (see LH 259), and then enlarged this model to a full-size plaster model, over an armature, working with his assistant Bernard Meadows. This was the first time Moore made a near-life-size plaster model. The large plaster model was completed in 1949, and they then made a plaster second model, before casting the sculpture in bronze.
|
[
"Barclay School",
"Bernard Meadows",
"Henry Moore Foundation",
"Four-Piece Composition: Reclining Figure",
"Henry Moore",
"Impington Village College",
"Tate",
"secondary school",
"Yorke Rosenberg Mardall",
"Walter Gropius",
"Cambridgeshire County Council",
"Perry Green, Hertfordshire",
"Stevenage",
"Reclining Figure 1938",
"maquette",
"Hertfordshire County Council",
"Henry Morris"
] |
|
14345_NT
|
Family Group (Moore)
|
In this artwork, how is the Background discussed?
|
The work began with drawings and maquettes made by Moore in the mid-1930s after Walter Gropius suggested a Moore sculpture for Impington Village College. The college opened in 1939, but the war stopped Cambridgeshire County Council giving a commission to Moore. The council's education officer Henry Morris approached Moore again in 1944, and Moore made a small clay model in 1945, now held by the Henry Moore Foundation in Perry Green, Hertfordshire. In this model, the father's head had a distinctive notch, also seen in other early works such as Four-Piece Composition: Reclining Figure of 1934, and Reclining Figure 1938. Moore also made several other clay models, some cast in bronze, with three held by the Tate. Eventually, his ideas were rejected because funding was not available, and the project in Cambridgeshire went unrealised. An example of a cast from this early work, LH 239, is held by the Tate.
Moore returned to the design in 1947, when he was asked to create a sculpture for a new school in Stevenage, at a time when Hertfordshire County Council was involved in an ambitious building programme of new schools and devoted part of the budget to sourcing artworks from leading British artists. Barclay School was designed by Yorke Rosenberg Mardall, and was the first purpose-built secondary school constructed in the UK after the Second World War. Despite some reluctance from the council members, Moore was formally commissioned in 1949. He accepted a small fee, just £750, sufficient to cover the cost of materials, casting and transport, on condition that he could make further copies for commercial sale.
He reworked a selected small clay maquette as a small plaster model, removing the notch from the male's head, so the three figures became more similar to each other (see LH 259), and then enlarged this model to a full-size plaster model, over an armature, working with his assistant Bernard Meadows. This was the first time Moore made a near-life-size plaster model. The large plaster model was completed in 1949, and they then made a plaster second model, before casting the sculpture in bronze.
|
[
"Barclay School",
"Bernard Meadows",
"Henry Moore Foundation",
"Four-Piece Composition: Reclining Figure",
"Henry Moore",
"Impington Village College",
"Tate",
"secondary school",
"Yorke Rosenberg Mardall",
"Walter Gropius",
"Cambridgeshire County Council",
"Perry Green, Hertfordshire",
"Stevenage",
"Reclining Figure 1938",
"maquette",
"Hertfordshire County Council",
"Henry Morris"
] |
|
14346_T
|
Family Group (Moore)
|
Focus on Family Group (Moore) and explore the Description.
|
The sculpture group comprises three human figures, on a low bench: woman, man, and child. It measures 154 by 118 by 70 centimetres (61 in × 46 in × 28 in) and weighs 475 kilograms (1,047 lb).
The woman sits to the right, with hair gathered in a bun, small breasts, and a skirt draped round her body and legs. She is holding the child in the air above her lap with both hands. The man sits to the left, supporting the child with his left hand, and resting his right hand on the woman's left shoulder. The two adults mirror each other, turning slightly towards each other and leaning slightly back, with their outside arms curving towards the centre of the composition. Moore said: "the arms of the mother and the father [intertwine] with the child forming a knot between them, tying the three into a family unity".
|
[
"sculpture group"
] |
|
14346_NT
|
Family Group (Moore)
|
Focus on this artwork and explore the Description.
|
The sculpture group comprises three human figures, on a low bench: woman, man, and child. It measures 154 by 118 by 70 centimetres (61 in × 46 in × 28 in) and weighs 475 kilograms (1,047 lb).
The woman sits to the right, with hair gathered in a bun, small breasts, and a skirt draped round her body and legs. She is holding the child in the air above her lap with both hands. The man sits to the left, supporting the child with his left hand, and resting his right hand on the woman's left shoulder. The two adults mirror each other, turning slightly towards each other and leaning slightly back, with their outside arms curving towards the centre of the composition. Moore said: "the arms of the mother and the father [intertwine] with the child forming a knot between them, tying the three into a family unity".
|
[
"sculpture group"
] |
|
14347_T
|
Family Group (Moore)
|
Focus on Family Group (Moore) and explain the Reception.
|
The first bronze, for Barclay School, was cast at the Fiorini Art Bronze Foundry in London, using a lost wax process to cast sections of the work which were then assembled. The large sculpture tested their facilities, and took nearly a year to complete. It was installed in Stevenage in 1949. Local opinion was not uniformly positive: a local postman was quoted as saying it resembled something from Belsen. (A similarly unflattering comparison was made to his Reclining Figure: Festival, exhibited at the Festival of Britain in 1951.)
Meanwhile, two bronze copies were cast by Fonderie Rudier, in Paris, using a sand casting method. Both were bought by Moore's preferred art dealer in New York, Curt Valentin, and one was quickly sold to the Museum of Modern Art in New York. MOMA had housed Moore's Recumbent Figure 1938 during the Second World War, where it had been for an exhibition, before it returned to the UK. Family Group went on display at MOMA in February 1951. After discussions with John Rothenstein at the Tate Gallery, and an approach from Nelson Rockefeller who also wanted a copy, Moore sold one copy to Rockefeller, and asked Fonderie Rudier to make a third bronze in 1951; the third Rudier bronze was acquired by the Tate, and included in a solo exhibition there in May 1951. The foundry also made a fourth bronze, as an artist's copy.
Moore made several similar works, including a stone sculpture for Harlow in 1954, his Harlow Family Group (LH 364).A second artist’s copy was cast by the Morris Singer Foundry in 1992, which is held by the Henry Moore Foundation, bringing Family Group up to an edition of 4 + 2 (four casts plus two artist's copies). Three of the five (4 + 1) original 1950s castings remain with their original owners: Barclay School, the Tate, and MOMA. Rockefeller's copy is now at the Hakone Open-Air Museum in Japan, and Moore's original artist's copy is now owned by the Norton Simon Museum in Pasadena.
The model in Stevenage was originally displayed outdoors, and remained beside a curved curtain wall outside the school's entrance for 60 years. It became a Grade II listed building in 1993. After an unsuccessful attempt to steal the sculpture in May 2010, it was moved to a more secure place inside to the school's reception area.
|
[
"Fiorini Art Bronze Foundry",
"Nelson Rockefeller",
"John Rothenstein",
"Barclay School",
"Hakone Open-Air Museum",
"Henry Moore Foundation",
"listed building",
"Henry Moore",
"Tate",
"curtain wall",
"Festival of Britain",
"Reclining Figure: Festival",
"Tate Gallery",
"Curt Valentin",
"Morris Singer",
"Belsen",
"Recumbent Figure 1938",
"Stevenage",
"lost wax",
"sand casting",
"Museum of Modern Art",
"Norton Simon Museum"
] |
|
14347_NT
|
Family Group (Moore)
|
Focus on this artwork and explain the Reception.
|
The first bronze, for Barclay School, was cast at the Fiorini Art Bronze Foundry in London, using a lost wax process to cast sections of the work which were then assembled. The large sculpture tested their facilities, and took nearly a year to complete. It was installed in Stevenage in 1949. Local opinion was not uniformly positive: a local postman was quoted as saying it resembled something from Belsen. (A similarly unflattering comparison was made to his Reclining Figure: Festival, exhibited at the Festival of Britain in 1951.)
Meanwhile, two bronze copies were cast by Fonderie Rudier, in Paris, using a sand casting method. Both were bought by Moore's preferred art dealer in New York, Curt Valentin, and one was quickly sold to the Museum of Modern Art in New York. MOMA had housed Moore's Recumbent Figure 1938 during the Second World War, where it had been for an exhibition, before it returned to the UK. Family Group went on display at MOMA in February 1951. After discussions with John Rothenstein at the Tate Gallery, and an approach from Nelson Rockefeller who also wanted a copy, Moore sold one copy to Rockefeller, and asked Fonderie Rudier to make a third bronze in 1951; the third Rudier bronze was acquired by the Tate, and included in a solo exhibition there in May 1951. The foundry also made a fourth bronze, as an artist's copy.
Moore made several similar works, including a stone sculpture for Harlow in 1954, his Harlow Family Group (LH 364).A second artist’s copy was cast by the Morris Singer Foundry in 1992, which is held by the Henry Moore Foundation, bringing Family Group up to an edition of 4 + 2 (four casts plus two artist's copies). Three of the five (4 + 1) original 1950s castings remain with their original owners: Barclay School, the Tate, and MOMA. Rockefeller's copy is now at the Hakone Open-Air Museum in Japan, and Moore's original artist's copy is now owned by the Norton Simon Museum in Pasadena.
The model in Stevenage was originally displayed outdoors, and remained beside a curved curtain wall outside the school's entrance for 60 years. It became a Grade II listed building in 1993. After an unsuccessful attempt to steal the sculpture in May 2010, it was moved to a more secure place inside to the school's reception area.
|
[
"Fiorini Art Bronze Foundry",
"Nelson Rockefeller",
"John Rothenstein",
"Barclay School",
"Hakone Open-Air Museum",
"Henry Moore Foundation",
"listed building",
"Henry Moore",
"Tate",
"curtain wall",
"Festival of Britain",
"Reclining Figure: Festival",
"Tate Gallery",
"Curt Valentin",
"Morris Singer",
"Belsen",
"Recumbent Figure 1938",
"Stevenage",
"lost wax",
"sand casting",
"Museum of Modern Art",
"Norton Simon Museum"
] |
|
14348_T
|
Reclining Nayar lady
|
Explore the abstract of this artwork, Reclining Nayar lady.
|
A Reclining Nair lady is a 1902 painting by the Indian artist Raja Ravi Varma. The painting features a recumbent Nair woman, believed to be the character Indulekha from a Malayalam novel, with a book open in front of her while attended by a maid. Varma draw this painting inspired from Edward Manet's 1863 painting Olympia.
|
[
"Olympia",
"Raja Ravi Varma"
] |
|
14348_NT
|
Reclining Nayar lady
|
Explore the abstract of this artwork.
|
A Reclining Nair lady is a 1902 painting by the Indian artist Raja Ravi Varma. The painting features a recumbent Nair woman, believed to be the character Indulekha from a Malayalam novel, with a book open in front of her while attended by a maid. Varma draw this painting inspired from Edward Manet's 1863 painting Olympia.
|
[
"Olympia",
"Raja Ravi Varma"
] |
|
14349_T
|
Annunciation Triptych (Rogier van der Weyden)
|
Focus on Annunciation Triptych (Rogier van der Weyden) and discuss the abstract.
|
The Annunciation Triptych is an oil-on-panel triptych by the Netherlandish artist Rogier van der Weyden, dating from around 1434. It was originally formed by three panels, the central one being now at The Louvre museum in Paris, France; the side panels are at the Galleria Sabauda of Turin, Italy.
|
[
"oil-on-panel",
"Netherlandish artist",
"Turin",
"The Louvre",
"Triptych",
"Rogier van der Weyden",
"Louvre",
"Paris",
"Galleria Sabauda",
"triptych"
] |
|
14349_NT
|
Annunciation Triptych (Rogier van der Weyden)
|
Focus on this artwork and discuss the abstract.
|
The Annunciation Triptych is an oil-on-panel triptych by the Netherlandish artist Rogier van der Weyden, dating from around 1434. It was originally formed by three panels, the central one being now at The Louvre museum in Paris, France; the side panels are at the Galleria Sabauda of Turin, Italy.
|
[
"oil-on-panel",
"Netherlandish artist",
"Turin",
"The Louvre",
"Triptych",
"Rogier van der Weyden",
"Louvre",
"Paris",
"Galleria Sabauda",
"triptych"
] |
|
14350_T
|
Annunciation Triptych (Rogier van der Weyden)
|
How does Annunciation Triptych (Rogier van der Weyden) elucidate its Description?
|
It is an early work by the Netherlandish artist, with a visible re-elaborations of elements from Robert Campin and Jan van Eyck. The central panel depicts a composition within a domestic interior, with a richly dressed Angel surprising the Virgin who reads a book (a symbol of the Holy Books).
Van der Weyden paid attentions to technical details, such as the shining metallic objects, like the lamp, the jar, the medallion hanging over the bed. The horizon line is elevated like in other contemporary Netherlandish paintings.
The side panels have similar characteristics, but are set in more luminous landscapes, with the elements in the background becoming increasingly invisible in the haze, according to aerial perspective.
|
[
"Netherlandish artist",
"Jan van Eyck",
"aerial perspective",
"Robert Campin"
] |
|
14350_NT
|
Annunciation Triptych (Rogier van der Weyden)
|
How does this artwork elucidate its Description?
|
It is an early work by the Netherlandish artist, with a visible re-elaborations of elements from Robert Campin and Jan van Eyck. The central panel depicts a composition within a domestic interior, with a richly dressed Angel surprising the Virgin who reads a book (a symbol of the Holy Books).
Van der Weyden paid attentions to technical details, such as the shining metallic objects, like the lamp, the jar, the medallion hanging over the bed. The horizon line is elevated like in other contemporary Netherlandish paintings.
The side panels have similar characteristics, but are set in more luminous landscapes, with the elements in the background becoming increasingly invisible in the haze, according to aerial perspective.
|
[
"Netherlandish artist",
"Jan van Eyck",
"aerial perspective",
"Robert Campin"
] |
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