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|---|---|---|---|---|---|
14351_T
|
Statue of John Burke
|
Focus on Statue of John Burke and analyze the abstract.
|
John Burke is a bronze sculpture depicting the American politician of the same name by Avard Fairbanks, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of North Dakota in 1963.
|
[
"National Statuary Hall Collection",
"North Dakota",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"John Burke",
"American politician of the same name",
"United States Capitol",
"Avard Fairbanks"
] |
|
14351_NT
|
Statue of John Burke
|
Focus on this artwork and analyze the abstract.
|
John Burke is a bronze sculpture depicting the American politician of the same name by Avard Fairbanks, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of North Dakota in 1963.
|
[
"National Statuary Hall Collection",
"North Dakota",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"John Burke",
"American politician of the same name",
"United States Capitol",
"Avard Fairbanks"
] |
|
14352_T
|
Drosophila Fly Head
|
In Drosophila Fly Head, how is the abstract discussed?
|
Drosophila Fly Head is an outdoor 1988 sculpture by Wayne Chabre, installed on the University of Oregon campus in Eugene, Oregon, in the United States. The hammered copper sheet high-relief of a fly head measures approximately 3.5 feet (1.1 m) x 3 feet (0.91 m) x 2.5 feet (0.76 m). It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993, though its condition was undetermined. The sculpture is administered by the University of Oregon.
|
[
"Smithsonian Institution",
"Save Outdoor Sculpture!",
" F",
"Wayne Chabre",
"Eugene, Oregon",
"University of Oregon"
] |
|
14352_NT
|
Drosophila Fly Head
|
In this artwork, how is the abstract discussed?
|
Drosophila Fly Head is an outdoor 1988 sculpture by Wayne Chabre, installed on the University of Oregon campus in Eugene, Oregon, in the United States. The hammered copper sheet high-relief of a fly head measures approximately 3.5 feet (1.1 m) x 3 feet (0.91 m) x 2.5 feet (0.76 m). It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993, though its condition was undetermined. The sculpture is administered by the University of Oregon.
|
[
"Smithsonian Institution",
"Save Outdoor Sculpture!",
" F",
"Wayne Chabre",
"Eugene, Oregon",
"University of Oregon"
] |
|
14353_T
|
Jupiter and Semele
|
Focus on Jupiter and Semele and explore the abstract.
|
Jupiter et Sémélé (1894–95; English, Jupiter and Semele) is a painting by the French Symbolist artist Gustave Moreau (1826–1898). It depicts a moment from the classical myth of the mortal woman Semele, mother of the god Dionysus, and her lover, Jupiter, the king of the gods. She was treacherously advised by the goddess Juno, Jupiter's wife, to ask him to appear to her in all his divine splendor. He obliged, but, in so doing, brought about her violent death by his divine thunder and lightning. The painting is a representation of "divinized physical love" and the overpowering experience that consumes Semele as the god appears in his supreme beauty which has been called "quite simply the most sumptuous expression imaginable of an orgasm".Of this work, Moreau himself wrote, "Semele, penetrated by the divine effluence, regenerated and purified by this consecration, dies struck by lightning and with her dies the genius of terrestrial love, the genius with the goat hooves".
|
[
"Jupiter",
"French",
"Symbolist",
"English",
"Semele",
"Juno",
"classical myth",
"Dionysus",
"Gustave Moreau"
] |
|
14353_NT
|
Jupiter and Semele
|
Focus on this artwork and explore the abstract.
|
Jupiter et Sémélé (1894–95; English, Jupiter and Semele) is a painting by the French Symbolist artist Gustave Moreau (1826–1898). It depicts a moment from the classical myth of the mortal woman Semele, mother of the god Dionysus, and her lover, Jupiter, the king of the gods. She was treacherously advised by the goddess Juno, Jupiter's wife, to ask him to appear to her in all his divine splendor. He obliged, but, in so doing, brought about her violent death by his divine thunder and lightning. The painting is a representation of "divinized physical love" and the overpowering experience that consumes Semele as the god appears in his supreme beauty which has been called "quite simply the most sumptuous expression imaginable of an orgasm".Of this work, Moreau himself wrote, "Semele, penetrated by the divine effluence, regenerated and purified by this consecration, dies struck by lightning and with her dies the genius of terrestrial love, the genius with the goat hooves".
|
[
"Jupiter",
"French",
"Symbolist",
"English",
"Semele",
"Juno",
"classical myth",
"Dionysus",
"Gustave Moreau"
] |
|
14354_T
|
Jupiter and Semele
|
Focus on Jupiter and Semele and explain the Reception and interpretation.
|
The French writer and painter Malcolm de Chazal (1902–1981) called the central image of Jupiter and Semele “this birth-death in one”. The Swedish surrealist Ragnar von Holten (1934–2009) described the work as “an allegory of regeneration by death”.The theme of Jupiter and Semele has also been interpreted by the painters Jacopo Tintoretto (ca. 1545) and Jean-Baptiste Deshays de Colleville (ca. 1760).
|
[
"Jupiter",
"French",
"Jacopo Tintoretto",
"Semele",
"Tintoretto",
"Malcolm de Chazal",
"Jean-Baptiste Deshays de Colleville",
"Ragnar von Holten"
] |
|
14354_NT
|
Jupiter and Semele
|
Focus on this artwork and explain the Reception and interpretation.
|
The French writer and painter Malcolm de Chazal (1902–1981) called the central image of Jupiter and Semele “this birth-death in one”. The Swedish surrealist Ragnar von Holten (1934–2009) described the work as “an allegory of regeneration by death”.The theme of Jupiter and Semele has also been interpreted by the painters Jacopo Tintoretto (ca. 1545) and Jean-Baptiste Deshays de Colleville (ca. 1760).
|
[
"Jupiter",
"French",
"Jacopo Tintoretto",
"Semele",
"Tintoretto",
"Malcolm de Chazal",
"Jean-Baptiste Deshays de Colleville",
"Ragnar von Holten"
] |
|
14355_T
|
Sunset (Delacroix)
|
Explore the Description of this artwork, Sunset (Delacroix).
|
While Delacroix was widely noted for his figure-centric romanticist paintings, the French artist produced a number of expressive works during his later years. Among these works is Sunset, done by Delacroix circa 1850. The drawing depicts a sunset, set behind and above a gently sloping landscape. The sunset is partially blocked by two cloud formations, one directly above the Earth and a second, thicker band along the top of the painting. Despite these obstructions, the rays of sunlight are visibly breaking through, leading some to compare the painting to Delcroix's earlier work on the Galerie d'Apollon.
|
[
"romanticist",
"Galerie d'Apollon"
] |
|
14355_NT
|
Sunset (Delacroix)
|
Explore the Description of this artwork.
|
While Delacroix was widely noted for his figure-centric romanticist paintings, the French artist produced a number of expressive works during his later years. Among these works is Sunset, done by Delacroix circa 1850. The drawing depicts a sunset, set behind and above a gently sloping landscape. The sunset is partially blocked by two cloud formations, one directly above the Earth and a second, thicker band along the top of the painting. Despite these obstructions, the rays of sunlight are visibly breaking through, leading some to compare the painting to Delcroix's earlier work on the Galerie d'Apollon.
|
[
"romanticist",
"Galerie d'Apollon"
] |
|
14356_T
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on Divine Love Conquering Earthly Love (Baglione) and discuss the abstract.
|
Divine Love Conquering Earthly Love is an oil on canvas painting dating to 1602–1603, that is now held in the collection of the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome. It was painted by Italian painter Giovanni Baglione. It is the second version that Baglione painted of this subject; the first version is now in the Gemäldegalerie, Staatliche Museen in Berlin. Both of these versions were painted for Cardinal Benedetto Giustiniani, an Italian clergyman.The painting was done as a reference and competitive response to Caravaggio’s piece Love Victorious, with its debated symbolism of the figures and imagery. This resulted in a rivalry between Baglione and his contemporary, Caravaggio; Baglione accused Caravaggio of circulating poems that were disparaging the painting, which in 1603, resulted into a libel lawsuit.
|
[
"Berlin",
"Rome",
"Caravaggio",
"Benedetto Giustiniani",
"Love Victorious",
"Gemäldegalerie",
"Giovanni Baglione",
"Galleria Nazionale d'Arte Antica",
"Palazzo Barberini"
] |
|
14356_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on this artwork and discuss the abstract.
|
Divine Love Conquering Earthly Love is an oil on canvas painting dating to 1602–1603, that is now held in the collection of the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome. It was painted by Italian painter Giovanni Baglione. It is the second version that Baglione painted of this subject; the first version is now in the Gemäldegalerie, Staatliche Museen in Berlin. Both of these versions were painted for Cardinal Benedetto Giustiniani, an Italian clergyman.The painting was done as a reference and competitive response to Caravaggio’s piece Love Victorious, with its debated symbolism of the figures and imagery. This resulted in a rivalry between Baglione and his contemporary, Caravaggio; Baglione accused Caravaggio of circulating poems that were disparaging the painting, which in 1603, resulted into a libel lawsuit.
|
[
"Berlin",
"Rome",
"Caravaggio",
"Benedetto Giustiniani",
"Love Victorious",
"Gemäldegalerie",
"Giovanni Baglione",
"Galleria Nazionale d'Arte Antica",
"Palazzo Barberini"
] |
|
14357_T
|
Divine Love Conquering Earthly Love (Baglione)
|
How does Divine Love Conquering Earthly Love (Baglione) elucidate its Description?
|
Scholar Beverly Louise Brown states that the painting depicts Eros, the god of love and desire, as an armor-clad angel, as he draws back with his arms, aiming for a final thrust to kill the figure in the bottom right whom Brown also stated to be Cupid. The figure underneath Eros, is a religious figure described as a provocatively naked beautiful young boy, with humanly features, as he lays defenseless on the ground. This depiction of the young boy was a challenge to his contemporaries' moral values.In the background at the bottom left, there is a devil with faun ears, holding a trident as he crouches down with an anguished and surprise look facing the viewer.This piece is a depiction of a battle between Eros and Anteros, the god of requited love, trying to win over the soul of a man. However, if the two individuals resolved their complication, then they would be achieving the perfect love.Baglione used elements of Caravaggio’s style, by making the hue dark using an intense and direct spotlight to create a strong tenebrism contrast between the background and the foreground. Similarly, to Caravaggio’s, Love Victorious, the figures are close together in the plane, with the raking light covering only Eros and Cupid as the foreground. Along with this, Baglione was also able to demonstrate naturalism, or the new vision of Caravaggio.
However, Baglione does not fully adopt Caravaggio’s technique, and still maintains his traditional approach, Mannerism. Baglione applies his traditional techniques on the figures incorporating attenuated proportions, strained poses, and complex attire.
|
[
"Eros",
"Anteros",
"tenebrism",
"Caravaggio",
"Love Victorious",
"Cupid",
"left",
"Mannerism"
] |
|
14357_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
How does this artwork elucidate its Description?
|
Scholar Beverly Louise Brown states that the painting depicts Eros, the god of love and desire, as an armor-clad angel, as he draws back with his arms, aiming for a final thrust to kill the figure in the bottom right whom Brown also stated to be Cupid. The figure underneath Eros, is a religious figure described as a provocatively naked beautiful young boy, with humanly features, as he lays defenseless on the ground. This depiction of the young boy was a challenge to his contemporaries' moral values.In the background at the bottom left, there is a devil with faun ears, holding a trident as he crouches down with an anguished and surprise look facing the viewer.This piece is a depiction of a battle between Eros and Anteros, the god of requited love, trying to win over the soul of a man. However, if the two individuals resolved their complication, then they would be achieving the perfect love.Baglione used elements of Caravaggio’s style, by making the hue dark using an intense and direct spotlight to create a strong tenebrism contrast between the background and the foreground. Similarly, to Caravaggio’s, Love Victorious, the figures are close together in the plane, with the raking light covering only Eros and Cupid as the foreground. Along with this, Baglione was also able to demonstrate naturalism, or the new vision of Caravaggio.
However, Baglione does not fully adopt Caravaggio’s technique, and still maintains his traditional approach, Mannerism. Baglione applies his traditional techniques on the figures incorporating attenuated proportions, strained poses, and complex attire.
|
[
"Eros",
"Anteros",
"tenebrism",
"Caravaggio",
"Love Victorious",
"Cupid",
"left",
"Mannerism"
] |
|
14358_T
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on Divine Love Conquering Earthly Love (Baglione) and analyze the First Version.
|
The first version of the painting is called Divine Love Overcoming Profane Love and was painted in the year 1602. The painting is held in the German art museum, Gemäldegalerie, in Berlin. It is unknown why Baglione painted two versions of this painting; the first version was painted for Cardinal Benedetto Giustiniani. There are slight alterations that can be seen when compared to the second version.
In the first version, Eros is wearing a completely different and less decorated armor. The devil in the bottom left corner is not facing forward; instead the creature is hidden behind Eros. A last feature that can be seen is in the hand positions of both Eros and the human figure of the bottom right corner. Eros's raised right arm is facing outward in its attacking position, while the human figure in the bottom has a slight shift in his right raised hand as well.
|
[
"Eros",
"Berlin",
"Benedetto Giustiniani",
"left",
"Gemäldegalerie"
] |
|
14358_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on this artwork and analyze the First Version.
|
The first version of the painting is called Divine Love Overcoming Profane Love and was painted in the year 1602. The painting is held in the German art museum, Gemäldegalerie, in Berlin. It is unknown why Baglione painted two versions of this painting; the first version was painted for Cardinal Benedetto Giustiniani. There are slight alterations that can be seen when compared to the second version.
In the first version, Eros is wearing a completely different and less decorated armor. The devil in the bottom left corner is not facing forward; instead the creature is hidden behind Eros. A last feature that can be seen is in the hand positions of both Eros and the human figure of the bottom right corner. Eros's raised right arm is facing outward in its attacking position, while the human figure in the bottom has a slight shift in his right raised hand as well.
|
[
"Eros",
"Berlin",
"Benedetto Giustiniani",
"left",
"Gemäldegalerie"
] |
|
14359_T
|
Divine Love Conquering Earthly Love (Baglione)
|
In Divine Love Conquering Earthly Love (Baglione), how is the Second Version discussed?
|
It is believed that Baglione painted the second version after taking into account the criticism he received prior to the first version. Orazio Gentileschi originally had recommended to rework the figure Divine Love, or Eros, to be entirely nude or to be depicted as a child.
|
[
"Eros"
] |
|
14359_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
In this artwork, how is the Second Version discussed?
|
It is believed that Baglione painted the second version after taking into account the criticism he received prior to the first version. Orazio Gentileschi originally had recommended to rework the figure Divine Love, or Eros, to be entirely nude or to be depicted as a child.
|
[
"Eros"
] |
|
14360_T
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on Divine Love Conquering Earthly Love (Baglione) and explore the History.
|
Since Baglione had been trained by Francesco Morelli, a Tuscan artist, most of artwork was a resemblance to Morelli’s style. However, in approximately the beginning of 1600, Baglione was introduced to Caravaggio’s style, and like many other artists at the time, he admired the artist’s work. Thus leading Baglione into participating in the Caravaggesque era, where many artists derived elements of Caravaggio’s work into their own. This includes Divine Love Conquering Earthly Love, which Baglione had created at the time as competition against Caravaggio’s work Love Victorious and Orazio Gentileschi's, St. Michael Archangel. Baglione incorporated some elements of Caravaggio’s into his work in order to surpass him. However, this displeased Caravaggio and resulted in Caravaggio slandering Baglione’s work.Caravaggio made this statement against Baglione’s work including Divine Love:
“Or wipe your arse with themOr stuff them up the cunt of Mao's wife
Because he isn't fucking her anymore with his donkey cock
Pray pardon me, painter, if I do not worship you
Because you don't merit that chain you wear round your neck
And your painting deserves only vituperation.”
Baglione unveiled his Resurrection altarpiece for the Church of the Gesù on East Sunday of 1603. Shortly after, word started circulating in Rome that Caravaggio and his cronies, Orazio Longhi, Filippo Trisegni, and Orazio Gentileschi, who were disparaging Baglione’s artistic abilities.
These insults lead into a libel lawsuit in the same year, 1603. During the trial, Caravaggio claimed, "I don't know any painter who thinks Giovanni Baglione is a good painter." For centuries, this exact claim tainted Baglione’s reputation and the way his artwork was judged.Baglione stated that the attackers were only insulting him because they were jealous that he had been the one to receive the commission. More generally because his works were much better than Caravaggio’s by stating that the works were, "held in higher esteem than theirs.” During the trial, when Caravaggio was being interrogated, scholars claim that he still proceeded to add to the insults. Smith O’Neil claims that that with this trial, what Baglione was demonstrating is a vendetta towards Caravaggio and to also prove his virtù.Towards the end of 1604, the trial had already ended and Baglione’s Caravaggesque era as well.
|
[
"St. Michael Archangel",
"Tuscan",
"Rome",
"Caravaggio",
"Caravaggesque",
"Love Victorious",
"Church of the Gesù",
"Giovanni Baglione",
"virtù"
] |
|
14360_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on this artwork and explore the History.
|
Since Baglione had been trained by Francesco Morelli, a Tuscan artist, most of artwork was a resemblance to Morelli’s style. However, in approximately the beginning of 1600, Baglione was introduced to Caravaggio’s style, and like many other artists at the time, he admired the artist’s work. Thus leading Baglione into participating in the Caravaggesque era, where many artists derived elements of Caravaggio’s work into their own. This includes Divine Love Conquering Earthly Love, which Baglione had created at the time as competition against Caravaggio’s work Love Victorious and Orazio Gentileschi's, St. Michael Archangel. Baglione incorporated some elements of Caravaggio’s into his work in order to surpass him. However, this displeased Caravaggio and resulted in Caravaggio slandering Baglione’s work.Caravaggio made this statement against Baglione’s work including Divine Love:
“Or wipe your arse with themOr stuff them up the cunt of Mao's wife
Because he isn't fucking her anymore with his donkey cock
Pray pardon me, painter, if I do not worship you
Because you don't merit that chain you wear round your neck
And your painting deserves only vituperation.”
Baglione unveiled his Resurrection altarpiece for the Church of the Gesù on East Sunday of 1603. Shortly after, word started circulating in Rome that Caravaggio and his cronies, Orazio Longhi, Filippo Trisegni, and Orazio Gentileschi, who were disparaging Baglione’s artistic abilities.
These insults lead into a libel lawsuit in the same year, 1603. During the trial, Caravaggio claimed, "I don't know any painter who thinks Giovanni Baglione is a good painter." For centuries, this exact claim tainted Baglione’s reputation and the way his artwork was judged.Baglione stated that the attackers were only insulting him because they were jealous that he had been the one to receive the commission. More generally because his works were much better than Caravaggio’s by stating that the works were, "held in higher esteem than theirs.” During the trial, when Caravaggio was being interrogated, scholars claim that he still proceeded to add to the insults. Smith O’Neil claims that that with this trial, what Baglione was demonstrating is a vendetta towards Caravaggio and to also prove his virtù.Towards the end of 1604, the trial had already ended and Baglione’s Caravaggesque era as well.
|
[
"St. Michael Archangel",
"Tuscan",
"Rome",
"Caravaggio",
"Caravaggesque",
"Love Victorious",
"Church of the Gesù",
"Giovanni Baglione",
"virtù"
] |
|
14361_T
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on Divine Love Conquering Earthly Love (Baglione) and explain the Symbolism.
|
The figure in the armor is a depiction of Eros, who is suspected to be representing Divine Love. In the scene, he is interrupting a tryst between the naked boy which is a representation of Cupid, in the bottom right corner, and the Devil, in the bottom left. Cupid is also said to be a symbolism of the victory of power and fame.It is believed that the devil is a portrait of Caravaggio. It also includes satirical criticism to both Caravaggio’s art and his moral scruples; it is also a visual representation of sodomy.
|
[
"Eros",
"sodomy",
"Caravaggio",
"Cupid",
"left"
] |
|
14361_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on this artwork and explain the Symbolism.
|
The figure in the armor is a depiction of Eros, who is suspected to be representing Divine Love. In the scene, he is interrupting a tryst between the naked boy which is a representation of Cupid, in the bottom right corner, and the Devil, in the bottom left. Cupid is also said to be a symbolism of the victory of power and fame.It is believed that the devil is a portrait of Caravaggio. It also includes satirical criticism to both Caravaggio’s art and his moral scruples; it is also a visual representation of sodomy.
|
[
"Eros",
"sodomy",
"Caravaggio",
"Cupid",
"left"
] |
|
14362_T
|
Divine Love Conquering Earthly Love (Baglione)
|
Explore the Provenance of this artwork, Divine Love Conquering Earthly Love (Baglione).
|
The painting was done for Vincenzo Giustiniani’s brother, the Cardinal Benedetto Giustiniani, however, the reason as to why, is unknown. In return, Baglione received a gold chain from Giustiniani.
|
[
"Benedetto Giustiniani",
"Vincenzo Giustiniani"
] |
|
14362_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
Explore the Provenance of this artwork.
|
The painting was done for Vincenzo Giustiniani’s brother, the Cardinal Benedetto Giustiniani, however, the reason as to why, is unknown. In return, Baglione received a gold chain from Giustiniani.
|
[
"Benedetto Giustiniani",
"Vincenzo Giustiniani"
] |
|
14363_T
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on Divine Love Conquering Earthly Love (Baglione) and discuss the Other names.
|
Divine Love Overcoming Earthly Love
Sacred and Profane Love
Divine Love Overcoming the World, the Flesh and the Devil
Divine Love Overcoming the World
|
[] |
|
14363_NT
|
Divine Love Conquering Earthly Love (Baglione)
|
Focus on this artwork and discuss the Other names.
|
Divine Love Overcoming Earthly Love
Sacred and Profane Love
Divine Love Overcoming the World, the Flesh and the Devil
Divine Love Overcoming the World
|
[] |
|
14364_T
|
Autumn Ivy
|
Focus on Autumn Ivy and analyze the abstract.
|
Autumn Ivy (jp: 蔦紅葉図) is an Edo period painting by Japanese artist Ogata Kenzan. Done in an assortment of ink, colors, and gold on paper, the work depicts ivy in Autumn. The painting recalls an episode from The Tales of Ise in which the tale's protagonist encounters a transient monk on the path to Mount Utsu.
|
[
"jp",
"Autumn",
"The Tales of Ise",
"ivy",
"Edo period",
"monk",
"Ogata Kenzan"
] |
|
14364_NT
|
Autumn Ivy
|
Focus on this artwork and analyze the abstract.
|
Autumn Ivy (jp: 蔦紅葉図) is an Edo period painting by Japanese artist Ogata Kenzan. Done in an assortment of ink, colors, and gold on paper, the work depicts ivy in Autumn. The painting recalls an episode from The Tales of Ise in which the tale's protagonist encounters a transient monk on the path to Mount Utsu.
|
[
"jp",
"Autumn",
"The Tales of Ise",
"ivy",
"Edo period",
"monk",
"Ogata Kenzan"
] |
|
14365_T
|
The Tribuna of the Uffizi (Zoffany)
|
In The Tribuna of the Uffizi (Zoffany), how is the abstract discussed?
|
The Tribuna of the Uffizi (1772–1778) by Johan Zoffany is a painting of the north-east section of the Tribuna room in the Uffizi in Florence, Italy. The painting is part of the United Kingdom's Royal Collection.
|
[
"Italy",
"Tribuna of the Uffizi",
"Tribuna",
"Florence",
"Johan Zoffany",
"Royal Collection",
"Uffizi"
] |
|
14365_NT
|
The Tribuna of the Uffizi (Zoffany)
|
In this artwork, how is the abstract discussed?
|
The Tribuna of the Uffizi (1772–1778) by Johan Zoffany is a painting of the north-east section of the Tribuna room in the Uffizi in Florence, Italy. The painting is part of the United Kingdom's Royal Collection.
|
[
"Italy",
"Tribuna of the Uffizi",
"Tribuna",
"Florence",
"Johan Zoffany",
"Royal Collection",
"Uffizi"
] |
|
14366_T
|
The Tribuna of the Uffizi (Zoffany)
|
Focus on The Tribuna of the Uffizi (Zoffany) and explore the Production.
|
Beginning in 1764, the German-born painter Johan Zoffany received numerous commissions from the Hanoverian King George III and his consort, Queen Charlotte. The queen ordered Zoffany to paint "the Florence Gallery" (the Galleria degli Uffizi), for which the artist would be paid £300. In the summer of 1772, Zoffany left London for Florence, where he met Felton Hervey, an art collector and friend of the king and queen, who figures prominently in the painting. Zoffany worked on the painting through late 1777 and returned to England in 1779. By this time Hervey had died.The painting depicts the Tribuna of the Uffizi, an octagonal gallery designed by Bernardo Buontalenti in 1584. The most important ancient and Renaissance works were displayed in this gallery in the 18th century, making it an essential highlight of the Grand Tour.
|
[
"Queen Charlotte",
"George III",
"Tribuna of the Uffizi",
"King George III",
"Tribuna",
"Bernardo Buontalenti",
"Florence",
"Johan Zoffany",
"Felton Hervey",
"Uffizi"
] |
|
14366_NT
|
The Tribuna of the Uffizi (Zoffany)
|
Focus on this artwork and explore the Production.
|
Beginning in 1764, the German-born painter Johan Zoffany received numerous commissions from the Hanoverian King George III and his consort, Queen Charlotte. The queen ordered Zoffany to paint "the Florence Gallery" (the Galleria degli Uffizi), for which the artist would be paid £300. In the summer of 1772, Zoffany left London for Florence, where he met Felton Hervey, an art collector and friend of the king and queen, who figures prominently in the painting. Zoffany worked on the painting through late 1777 and returned to England in 1779. By this time Hervey had died.The painting depicts the Tribuna of the Uffizi, an octagonal gallery designed by Bernardo Buontalenti in 1584. The most important ancient and Renaissance works were displayed in this gallery in the 18th century, making it an essential highlight of the Grand Tour.
|
[
"Queen Charlotte",
"George III",
"Tribuna of the Uffizi",
"King George III",
"Tribuna",
"Bernardo Buontalenti",
"Florence",
"Johan Zoffany",
"Felton Hervey",
"Uffizi"
] |
|
14367_T
|
The Tribuna of the Uffizi (Zoffany)
|
Focus on The Tribuna of the Uffizi (Zoffany) and explain the Artworks shown.
|
Zoffany's picture is not a historical record of the works displayed in the tribuna in the 1770s. Rather, it is an epitome of the works in the Medici collections he felt to be most important. To accomplish that goal, several works from other rooms in the Uffizi and seven paintings from the Galleria Palatina in the Palazzo Pitti were transferred to the Tribuna. To accomplish this, Zoffany requested the assistance of George, 3rd Earl Cowper, who had emigrated to Florence and Sir Horace Mann, who served as British diplomatic representative in Florence to the Grand Dukes of Tuscany. Two pictures by Raphael which Earl Cowper owned and hoped to sell to George III, and the Earl are depicted in Zoffany's painting. The unframed Samian Sibyl on the floor, acquired for the Medici collection in 1777, was a pendant to Guercino's Libyan Sibyl, recently bought by George III, and its inclusion may have been intended as a compliment to him.
|
[
"George, 3rd Earl Cowper",
"George III",
"Raphael",
"Guercino",
"Tribuna",
"Florence",
"Sir Horace Mann",
"Grand Dukes of Tuscany",
"Uffizi",
"British",
"Libyan Sibyl"
] |
|
14367_NT
|
The Tribuna of the Uffizi (Zoffany)
|
Focus on this artwork and explain the Artworks shown.
|
Zoffany's picture is not a historical record of the works displayed in the tribuna in the 1770s. Rather, it is an epitome of the works in the Medici collections he felt to be most important. To accomplish that goal, several works from other rooms in the Uffizi and seven paintings from the Galleria Palatina in the Palazzo Pitti were transferred to the Tribuna. To accomplish this, Zoffany requested the assistance of George, 3rd Earl Cowper, who had emigrated to Florence and Sir Horace Mann, who served as British diplomatic representative in Florence to the Grand Dukes of Tuscany. Two pictures by Raphael which Earl Cowper owned and hoped to sell to George III, and the Earl are depicted in Zoffany's painting. The unframed Samian Sibyl on the floor, acquired for the Medici collection in 1777, was a pendant to Guercino's Libyan Sibyl, recently bought by George III, and its inclusion may have been intended as a compliment to him.
|
[
"George, 3rd Earl Cowper",
"George III",
"Raphael",
"Guercino",
"Tribuna",
"Florence",
"Sir Horace Mann",
"Grand Dukes of Tuscany",
"Uffizi",
"British",
"Libyan Sibyl"
] |
|
14368_T
|
The Tribuna of the Uffizi (Zoffany)
|
In the context of The Tribuna of the Uffizi (Zoffany), discuss the Sculptures and other of the Artworks shown.
|
Many of the ancient sculptures painted by Zoffany can be identified, although few remain on their 18th century locations today. (The Medici's Roman statues stand in the main corridors of the Uffizi Gallery, except those which are still in the Tribuna. The smaller works are now in the collections of the Museo Archeologico Nazionale and the Museo Bargello in Florence).
|
[
"Tribuna",
"Bargello",
"Florence",
"Uffizi"
] |
|
14368_NT
|
The Tribuna of the Uffizi (Zoffany)
|
In the context of this artwork, discuss the Sculptures and other of the Artworks shown.
|
Many of the ancient sculptures painted by Zoffany can be identified, although few remain on their 18th century locations today. (The Medici's Roman statues stand in the main corridors of the Uffizi Gallery, except those which are still in the Tribuna. The smaller works are now in the collections of the Museo Archeologico Nazionale and the Museo Bargello in Florence).
|
[
"Tribuna",
"Bargello",
"Florence",
"Uffizi"
] |
|
14369_T
|
The Tribuna of the Uffizi (Zoffany)
|
How does The Tribuna of the Uffizi (Zoffany) elucidate its Persons shown?
|
The Tribuna of the Uffizi combines aspects of the British 18th-century conversation piece, or informal group portrait, with that of the predominantly Flemish 17th-century tradition of Wunderkammer and gallery views. Thus, the figures populating Zoffany's painting are all identifiable as connoisseurs, diplomats and visitors to Florence. The inclusion of so many recognisable portraits was criticized by Zoffany's royal patrons, and by Horace Walpole, who called it "a flock of travelling boys, and one does not know nor care whom."
The first group of people is centered around the Niccolini Madonna by Raphael. From left, standing up, there are the picture's owner George, 3rd earl of Cowper, Sir John Dick, baronet of Braid, Other Windsor, 5th Earl of Plymouth, and Johan Zoffany, the painter himself, followed on the other side of the painting by Mr. Stevenson and his companion George Legge, 3rd Earl of Dartmouth, while is sitting on a chair Charles Loraine Smith and behind him, bended, Richard Edgcumbe, later 2nd Earl of Mount Edgcumbe.
Two more connoisseurs are near the Satiro. The first is reported to be Joseph Leeson, 2nd Earl of Milltown, even if his portrait does not match in age and resemblance those in the National Gallery of Ireland by Pompeo Batoni, and Valentine Knightley of Fawsley.
Further to the center of the painting Pietro Bastianelli, curator of the Uffizi Gallery, shows the Venus of Urbino by Titian to John Gordon, Thomas Patch who is apparently the man touching the Venus, but pointing to the figure of a male nude (believed to be a reference to Patch's homosexuality), Sir John Taylor and Sir Horace Mann. The sitting man, looking back towards, is the Hon. Felton Hervey.
The group around the Medici Venus include John Finch, Mr. Wilbraham (one of the sons of Roger Wilbraham of Nantwich), Mr. Watts, Mr. Doughty and, on the other side, Thomas Wilbraham (the second son) and James Bruce.
|
[
"Wunderkammer",
"Venus of Urbino",
"Roger Wilbraham",
"conversation piece",
"George, 3rd earl of Cowper",
"Richard Edgcumbe",
"Tribuna of the Uffizi",
"Raphael",
"National Gallery of Ireland",
"Sir John Taylor",
"John Dick",
"Tribuna",
"Thomas Patch",
"James Bruce",
"Florence",
"Joseph Leeson, 2nd Earl of Milltown",
"Johan Zoffany",
"Sir Horace Mann",
"Pompeo Batoni",
"Valentine Knightley",
"Pietro Bastianelli",
"Felton Hervey",
"Horace Walpole",
"Uffizi",
"Titian",
"British",
"baronet of Braid",
"George Legge, 3rd Earl of Dartmouth",
"Medici Venus",
"Other Windsor, 5th Earl of Plymouth",
"Wilbraham",
"Charles Loraine Smith"
] |
|
14369_NT
|
The Tribuna of the Uffizi (Zoffany)
|
How does this artwork elucidate its Persons shown?
|
The Tribuna of the Uffizi combines aspects of the British 18th-century conversation piece, or informal group portrait, with that of the predominantly Flemish 17th-century tradition of Wunderkammer and gallery views. Thus, the figures populating Zoffany's painting are all identifiable as connoisseurs, diplomats and visitors to Florence. The inclusion of so many recognisable portraits was criticized by Zoffany's royal patrons, and by Horace Walpole, who called it "a flock of travelling boys, and one does not know nor care whom."
The first group of people is centered around the Niccolini Madonna by Raphael. From left, standing up, there are the picture's owner George, 3rd earl of Cowper, Sir John Dick, baronet of Braid, Other Windsor, 5th Earl of Plymouth, and Johan Zoffany, the painter himself, followed on the other side of the painting by Mr. Stevenson and his companion George Legge, 3rd Earl of Dartmouth, while is sitting on a chair Charles Loraine Smith and behind him, bended, Richard Edgcumbe, later 2nd Earl of Mount Edgcumbe.
Two more connoisseurs are near the Satiro. The first is reported to be Joseph Leeson, 2nd Earl of Milltown, even if his portrait does not match in age and resemblance those in the National Gallery of Ireland by Pompeo Batoni, and Valentine Knightley of Fawsley.
Further to the center of the painting Pietro Bastianelli, curator of the Uffizi Gallery, shows the Venus of Urbino by Titian to John Gordon, Thomas Patch who is apparently the man touching the Venus, but pointing to the figure of a male nude (believed to be a reference to Patch's homosexuality), Sir John Taylor and Sir Horace Mann. The sitting man, looking back towards, is the Hon. Felton Hervey.
The group around the Medici Venus include John Finch, Mr. Wilbraham (one of the sons of Roger Wilbraham of Nantwich), Mr. Watts, Mr. Doughty and, on the other side, Thomas Wilbraham (the second son) and James Bruce.
|
[
"Wunderkammer",
"Venus of Urbino",
"Roger Wilbraham",
"conversation piece",
"George, 3rd earl of Cowper",
"Richard Edgcumbe",
"Tribuna of the Uffizi",
"Raphael",
"National Gallery of Ireland",
"Sir John Taylor",
"John Dick",
"Tribuna",
"Thomas Patch",
"James Bruce",
"Florence",
"Joseph Leeson, 2nd Earl of Milltown",
"Johan Zoffany",
"Sir Horace Mann",
"Pompeo Batoni",
"Valentine Knightley",
"Pietro Bastianelli",
"Felton Hervey",
"Horace Walpole",
"Uffizi",
"Titian",
"British",
"baronet of Braid",
"George Legge, 3rd Earl of Dartmouth",
"Medici Venus",
"Other Windsor, 5th Earl of Plymouth",
"Wilbraham",
"Charles Loraine Smith"
] |
|
14370_T
|
Statue of William Jennings Bryan
|
Focus on Statue of William Jennings Bryan and analyze the abstract.
|
William Jennings Bryan is a bronze sculpture depicting the American politician of the same name by Rudulph Evans, which was installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Nebraska in 1937.In 2019, a statue of Standing Bear replaced the statue of Bryan in the Statuary Hall. The Bryan statue was relocated to the Nebraska National Guard Museum in Seward, Nebraska.
|
[
"statue",
"Rudulph Evans",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"Nebraska",
"National Statuary Hall",
"Seward, Nebraska",
"U.S. state",
"American politician of the same name",
"United States Capitol",
"Standing Bear",
"William Jennings Bryan",
"Nebraska National Guard"
] |
|
14370_NT
|
Statue of William Jennings Bryan
|
Focus on this artwork and analyze the abstract.
|
William Jennings Bryan is a bronze sculpture depicting the American politician of the same name by Rudulph Evans, which was installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Nebraska in 1937.In 2019, a statue of Standing Bear replaced the statue of Bryan in the Statuary Hall. The Bryan statue was relocated to the Nebraska National Guard Museum in Seward, Nebraska.
|
[
"statue",
"Rudulph Evans",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"Nebraska",
"National Statuary Hall",
"Seward, Nebraska",
"U.S. state",
"American politician of the same name",
"United States Capitol",
"Standing Bear",
"William Jennings Bryan",
"Nebraska National Guard"
] |
|
14371_T
|
The Brunette Odalisque
|
In The Brunette Odalisque, how is the abstract discussed?
|
The Brunette Odalisque (French: L'Odalisque or l'Odalisque brune) is a 1745 oil-on-canvas painting by French artist François Boucher, now in the Louvre in Paris. The painter's signature is engraved on the low table. He later produced two other works in the odalisque genre, both known as The Blonde Odalisque.
|
[
"Louvre",
"Odalisque",
"François Boucher",
"Paris",
"The Blonde Odalisque",
"odalisque"
] |
|
14371_NT
|
The Brunette Odalisque
|
In this artwork, how is the abstract discussed?
|
The Brunette Odalisque (French: L'Odalisque or l'Odalisque brune) is a 1745 oil-on-canvas painting by French artist François Boucher, now in the Louvre in Paris. The painter's signature is engraved on the low table. He later produced two other works in the odalisque genre, both known as The Blonde Odalisque.
|
[
"Louvre",
"Odalisque",
"François Boucher",
"Paris",
"The Blonde Odalisque",
"odalisque"
] |
|
14372_T
|
Frieda and Diego Rivera
|
Focus on Frieda and Diego Rivera and explore the abstract.
|
Frieda and Diego Rivera (Frieda y Diego Rivera in Spanish) is a 1931 oil painting by Mexican artist Frida Kahlo. This portrait was created two years after Frida Kahlo and Diego Rivera married, and is widely considered a wedding portrait.The painting shows Kahlo standing next to her husband and fellow artist, Rivera. Rivera, portrayed as a painter, holds a palette and four brushes in his right hand while Kahlo tilts her head towards him. Both are looking out toward the viewer, unsmiling. Kahlo holds her bright red shawl with her left hand. Rivera and Kahlo hold hands in the center of the portrait. Rivera is physically much larger than Kahlo. The pigeon or dove at the upper right carries a banner that reads: "Aquí nos veis, a mí, Frida Kahlo, junto con mi amado esposo Diego Rivera. Pinté estos retratos en la bella ciudad de San Francisco, California, para nuestro amigo Mr. Albert Bender y fue en el mes de abril del año 1931" ("Here you see us, me Frieda Kahlo, with my dearest husband Diego Rivera. I painted these pictures in the delightful city of San Francisco California for our companion Mr. Albert Bender, and it was in the month of April of the year 1931.”) The work had been commissioned by Albert M. Bender, an art collector and supporter of Rivera.
There are many interpretations of the work. Hayden Herrera, author of Frida: A Biography of Frida Kahlo (1983), interprets the work simply as Kahlo depicting herself as the wife of the great artist, Rivera. Other authors, such as Margaret Lindauer, investigate the larger context in which the work was created. The banner is supportive of Lindauer's interpretation because it places Kahlo in the producer/professional artist role.In 1936 Bender gave the painting to the San Francisco Museum of Modern Art (SFMOMA) in San Francisco, California, where it forms part of the permanent collection and is generally on public display.
|
[
"Mexican",
"Diego Rivera",
"San Francisco Museum of Modern Art",
"Mexican art",
"San Francisco",
"Frida Kahlo",
"Spanish",
"San Francisco, California",
"Frida: A Biography of Frida Kahlo",
"Albert M. Bender"
] |
|
14372_NT
|
Frieda and Diego Rivera
|
Focus on this artwork and explore the abstract.
|
Frieda and Diego Rivera (Frieda y Diego Rivera in Spanish) is a 1931 oil painting by Mexican artist Frida Kahlo. This portrait was created two years after Frida Kahlo and Diego Rivera married, and is widely considered a wedding portrait.The painting shows Kahlo standing next to her husband and fellow artist, Rivera. Rivera, portrayed as a painter, holds a palette and four brushes in his right hand while Kahlo tilts her head towards him. Both are looking out toward the viewer, unsmiling. Kahlo holds her bright red shawl with her left hand. Rivera and Kahlo hold hands in the center of the portrait. Rivera is physically much larger than Kahlo. The pigeon or dove at the upper right carries a banner that reads: "Aquí nos veis, a mí, Frida Kahlo, junto con mi amado esposo Diego Rivera. Pinté estos retratos en la bella ciudad de San Francisco, California, para nuestro amigo Mr. Albert Bender y fue en el mes de abril del año 1931" ("Here you see us, me Frieda Kahlo, with my dearest husband Diego Rivera. I painted these pictures in the delightful city of San Francisco California for our companion Mr. Albert Bender, and it was in the month of April of the year 1931.”) The work had been commissioned by Albert M. Bender, an art collector and supporter of Rivera.
There are many interpretations of the work. Hayden Herrera, author of Frida: A Biography of Frida Kahlo (1983), interprets the work simply as Kahlo depicting herself as the wife of the great artist, Rivera. Other authors, such as Margaret Lindauer, investigate the larger context in which the work was created. The banner is supportive of Lindauer's interpretation because it places Kahlo in the producer/professional artist role.In 1936 Bender gave the painting to the San Francisco Museum of Modern Art (SFMOMA) in San Francisco, California, where it forms part of the permanent collection and is generally on public display.
|
[
"Mexican",
"Diego Rivera",
"San Francisco Museum of Modern Art",
"Mexican art",
"San Francisco",
"Frida Kahlo",
"Spanish",
"San Francisco, California",
"Frida: A Biography of Frida Kahlo",
"Albert M. Bender"
] |
|
14373_T
|
Dauntless Guardian
|
Focus on Dauntless Guardian and explain the Description.
|
The firefighter is depicted wearing a uniform and helmet. He reaches up with both arms to lift a small child from a windowsill. The child grasps the windowsill with one hand and reaches toward the fireman with the other.
|
[] |
|
14373_NT
|
Dauntless Guardian
|
Focus on this artwork and explain the Description.
|
The firefighter is depicted wearing a uniform and helmet. He reaches up with both arms to lift a small child from a windowsill. The child grasps the windowsill with one hand and reaches toward the fireman with the other.
|
[] |
|
14374_T
|
Dauntless Guardian
|
Explore the Historical information of this artwork, Dauntless Guardian.
|
Wussow was awarded the commission for Dauntless Guardian after competing unsuccessfully for a previous City of Milwaukee Percent for Art commission opportunity. According to the Milwaukee Journal, Alderman James Kondziella kept Wussow's maquette on his desk at City Hall following the first competition and recommended her when his district was building a new fire station.Wussow was inspired to create Dauntless Guardian after talking with firefighters about their jobs as she "went from one station house to another."The sculpture was dedicated on October 8, 1984.
|
[
"Milwaukee",
"Milwaukee Journal",
"maquette"
] |
|
14374_NT
|
Dauntless Guardian
|
Explore the Historical information of this artwork.
|
Wussow was awarded the commission for Dauntless Guardian after competing unsuccessfully for a previous City of Milwaukee Percent for Art commission opportunity. According to the Milwaukee Journal, Alderman James Kondziella kept Wussow's maquette on his desk at City Hall following the first competition and recommended her when his district was building a new fire station.Wussow was inspired to create Dauntless Guardian after talking with firefighters about their jobs as she "went from one station house to another."The sculpture was dedicated on October 8, 1984.
|
[
"Milwaukee",
"Milwaukee Journal",
"maquette"
] |
|
14375_T
|
The Painter on the Road to Tarascon
|
Focus on The Painter on the Road to Tarascon and discuss the abstract.
|
The Painter on the Road to Tarascon, also known as Painter on His Way to Work, is a 1888 painting by Vincent van Gogh that is believed to have been destroyed during the Second World War during an air raid on Germany.
|
[
"Second World War",
"Tarascon",
"Vincent van Gogh"
] |
|
14375_NT
|
The Painter on the Road to Tarascon
|
Focus on this artwork and discuss the abstract.
|
The Painter on the Road to Tarascon, also known as Painter on His Way to Work, is a 1888 painting by Vincent van Gogh that is believed to have been destroyed during the Second World War during an air raid on Germany.
|
[
"Second World War",
"Tarascon",
"Vincent van Gogh"
] |
|
14376_T
|
The Painter on the Road to Tarascon
|
How does The Painter on the Road to Tarascon elucidate its Description?
|
The painting depicts the artist on his way to work, and it is thought to be the first self-portrait that van Gogh painted during his time in Arles. On August 13, 1888, Vincent van Gogh wrote to his brother Theo, telling him about a series of recent studies. He mentioned: “For example, there's a quick sketch I made of myself laden with boxes, sticks, a canvas, on the sunny Tarascon road."
|
[
"Theo",
"Arles",
"Tarascon",
"Vincent van Gogh"
] |
|
14376_NT
|
The Painter on the Road to Tarascon
|
How does this artwork elucidate its Description?
|
The painting depicts the artist on his way to work, and it is thought to be the first self-portrait that van Gogh painted during his time in Arles. On August 13, 1888, Vincent van Gogh wrote to his brother Theo, telling him about a series of recent studies. He mentioned: “For example, there's a quick sketch I made of myself laden with boxes, sticks, a canvas, on the sunny Tarascon road."
|
[
"Theo",
"Arles",
"Tarascon",
"Vincent van Gogh"
] |
|
14377_T
|
The Painter on the Road to Tarascon
|
Focus on The Painter on the Road to Tarascon and analyze the History.
|
The painting was purchased by the Kaiser-Friedrich Museum, Germany (now the Kulturhistorisches Museum Magdeburg) in 1912. It was one of the first paintings by van Gogh to enter a public collection. It was photographed in color in the 1930s, an uncommon and costly practice at the time.During World War II, the collection of the Kaiser-Friedrich Museum was transported to a salt mine in the nearby town of Stassfurt, in order to protect it from Allied bombing. Later, in April 1945, fires broke out at the mine after American forces reached the site. While reports by Monuments Men noted that the contents of the mine had been "entirely reduced to ashes", part of the collection was recovered after the war. Some believe that the fires may have been arson, in order to disguise the looting of the artworks.The painting is listed as "missing" on the Monuments Men Foundation for the Preservation of Art's website.
|
[
"Monuments Men",
"Allied",
"Stassfurt",
"Kulturhistorisches Museum Magdeburg",
"Monuments Men Foundation for the Preservation of Art",
"World War II"
] |
|
14377_NT
|
The Painter on the Road to Tarascon
|
Focus on this artwork and analyze the History.
|
The painting was purchased by the Kaiser-Friedrich Museum, Germany (now the Kulturhistorisches Museum Magdeburg) in 1912. It was one of the first paintings by van Gogh to enter a public collection. It was photographed in color in the 1930s, an uncommon and costly practice at the time.During World War II, the collection of the Kaiser-Friedrich Museum was transported to a salt mine in the nearby town of Stassfurt, in order to protect it from Allied bombing. Later, in April 1945, fires broke out at the mine after American forces reached the site. While reports by Monuments Men noted that the contents of the mine had been "entirely reduced to ashes", part of the collection was recovered after the war. Some believe that the fires may have been arson, in order to disguise the looting of the artworks.The painting is listed as "missing" on the Monuments Men Foundation for the Preservation of Art's website.
|
[
"Monuments Men",
"Allied",
"Stassfurt",
"Kulturhistorisches Museum Magdeburg",
"Monuments Men Foundation for the Preservation of Art",
"World War II"
] |
|
14378_T
|
Armour (Keyser)
|
In Armour (Keyser), how is the abstract discussed?
|
Armour is an oil painting by Norwegian painter Ragnhild Keyser (1889-1943), probably from 1926.
|
[
"Ragnhild Keyser"
] |
|
14378_NT
|
Armour (Keyser)
|
In this artwork, how is the abstract discussed?
|
Armour is an oil painting by Norwegian painter Ragnhild Keyser (1889-1943), probably from 1926.
|
[
"Ragnhild Keyser"
] |
|
14379_T
|
Armour (Keyser)
|
Focus on Armour (Keyser) and explore the Description.
|
The painting's dimensions are 109.5 x 50 centimeters.
The painting has been in the collection of the National Museum of Art, Architecture and Design in Oslo, since 1977. It represents a man carrying a white shield with a red dot on it, reminiscent of a target.
Ragnhild Keyser was one of Nordic painting's foremost abstract painters in the 1920s. She was inspired in Paris, by André Lhote and Fernand Léger, where she stayed from 1920 to 1935. She performed her most important works in the style since referred to as Scandinavian Cubism during the years 1925–1927.
|
[
"National Museum of Art, Architecture and Design",
"André Lhote",
"Fernand Léger",
"Scandinavian Cubism",
"Cubism",
"Oslo",
"Ragnhild Keyser"
] |
|
14379_NT
|
Armour (Keyser)
|
Focus on this artwork and explore the Description.
|
The painting's dimensions are 109.5 x 50 centimeters.
The painting has been in the collection of the National Museum of Art, Architecture and Design in Oslo, since 1977. It represents a man carrying a white shield with a red dot on it, reminiscent of a target.
Ragnhild Keyser was one of Nordic painting's foremost abstract painters in the 1920s. She was inspired in Paris, by André Lhote and Fernand Léger, where she stayed from 1920 to 1935. She performed her most important works in the style since referred to as Scandinavian Cubism during the years 1925–1927.
|
[
"National Museum of Art, Architecture and Design",
"André Lhote",
"Fernand Léger",
"Scandinavian Cubism",
"Cubism",
"Oslo",
"Ragnhild Keyser"
] |
|
14380_T
|
The Rape of Proserpina
|
Focus on The Rape of Proserpina and explain the abstract.
|
The Rape of Proserpina (Italian: Ratto di Proserpina), more accurately translated as the Abduction of Proserpina, is a large Baroque marble group sculpture by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622, when Bernini's career was in its early stage. The group, finished when Bernini was just 23 years old, depicts the abduction of Proserpina, who is seized and taken to the underworld by the god Pluto. It features Pluto holding Proserpina aloft, and a Cerberus to symbolize the border into the underworld that Pluto carries Proserpina into.Cardinal Scipione Borghese commissioned the sculpture and gave it to the newly appointed Cardinal-nephew, Ludovico Ludovisi, possibly as a means of gaining favour. The choice to depict the myth of Proserpina may relate to the recent death of Pope Paul V, or to the recent empowerment of Ludovico. Bernini drew heavy inspiration from Giambologna and Annibale Carracci for the sculpture, which is also the only work for which preparatory material survives. The Rape of Proserpina is made of rare Carrara marble, and was originally placed on a since-destroyed pedestal with a poem by Maffeo Barberini. It has been praised for its realism, as the marble mimics other materials like flesh. The detail is notable; for instance, a trickle of tears contributes expressiveness of Proserpina's face.
|
[
"Ludovico Ludovisi",
"Maffeo Barberini",
"Cerberus",
"Scipione Borghese",
" Rape",
"marble",
"Pluto",
"Proserpina",
"Annibale Carracci",
"Baroque",
"abduction of Proserpina",
"Gian Lorenzo Bernini",
"Carrara marble",
"Pope Paul V",
"Cardinal-nephew",
"Giambologna"
] |
|
14380_NT
|
The Rape of Proserpina
|
Focus on this artwork and explain the abstract.
|
The Rape of Proserpina (Italian: Ratto di Proserpina), more accurately translated as the Abduction of Proserpina, is a large Baroque marble group sculpture by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622, when Bernini's career was in its early stage. The group, finished when Bernini was just 23 years old, depicts the abduction of Proserpina, who is seized and taken to the underworld by the god Pluto. It features Pluto holding Proserpina aloft, and a Cerberus to symbolize the border into the underworld that Pluto carries Proserpina into.Cardinal Scipione Borghese commissioned the sculpture and gave it to the newly appointed Cardinal-nephew, Ludovico Ludovisi, possibly as a means of gaining favour. The choice to depict the myth of Proserpina may relate to the recent death of Pope Paul V, or to the recent empowerment of Ludovico. Bernini drew heavy inspiration from Giambologna and Annibale Carracci for the sculpture, which is also the only work for which preparatory material survives. The Rape of Proserpina is made of rare Carrara marble, and was originally placed on a since-destroyed pedestal with a poem by Maffeo Barberini. It has been praised for its realism, as the marble mimics other materials like flesh. The detail is notable; for instance, a trickle of tears contributes expressiveness of Proserpina's face.
|
[
"Ludovico Ludovisi",
"Maffeo Barberini",
"Cerberus",
"Scipione Borghese",
" Rape",
"marble",
"Pluto",
"Proserpina",
"Annibale Carracci",
"Baroque",
"abduction of Proserpina",
"Gian Lorenzo Bernini",
"Carrara marble",
"Pope Paul V",
"Cardinal-nephew",
"Giambologna"
] |
|
14381_T
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The Rape of Proserpina
|
Explore the Background of this artwork, The Rape of Proserpina.
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The Rape of Proserpina is based on the Latin myth of Proserpina, which is found in both Ovid's Metamorphoses and Claudian's De Raptu Proserpinae. Proserpina, the daughter of Jupiter and Ceres, the Roman goddess of agriculture, is gathering flowers when she is seized by the god of the underworld, Pluto. Pluto erupts from the ground in a chariot pulled by four black horses, and forces Proserpina down into the underworld with him, but not before Ceres could hear her daughter scream. Ceres dried the earth and caused harvests to fail, prompting Jupiter to negotiate a deal: Pluto and Ceres would each have Proserpina for half the year. The myth symbolizes the changing of the seasons: when Proserpina is with Pluto, nature dies and winter begins; when she resides with Ceres, the earth is spring.Bernini's statue depicts the climactic moment of the story, when Pluto grabs Proserpina, who struggles against him as he carries her over the border of the underworld, symbolized by a marble Cerberus. The combatants are almost fully nude, though cloth still covers Pluto's thigh and Proserpina's shoulder. The marble Cerberus is joined to Pluto through this cloth.Many sculptures of the time did not have one central perspective from which to view them, instead forcing the observer to see them from many angles before they could understand it in its entirety. The Rape of Proserpina, however, can be seen in full from one angle, directly in front of the base. All other viewpoints are subordinate.
|
[
"Cerberus",
" Rape",
"Ceres",
"Claudian",
"Metamorphoses",
"marble",
"Pluto",
"Proserpina",
"Jupiter",
"Ovid"
] |
|
14381_NT
|
The Rape of Proserpina
|
Explore the Background of this artwork.
|
The Rape of Proserpina is based on the Latin myth of Proserpina, which is found in both Ovid's Metamorphoses and Claudian's De Raptu Proserpinae. Proserpina, the daughter of Jupiter and Ceres, the Roman goddess of agriculture, is gathering flowers when she is seized by the god of the underworld, Pluto. Pluto erupts from the ground in a chariot pulled by four black horses, and forces Proserpina down into the underworld with him, but not before Ceres could hear her daughter scream. Ceres dried the earth and caused harvests to fail, prompting Jupiter to negotiate a deal: Pluto and Ceres would each have Proserpina for half the year. The myth symbolizes the changing of the seasons: when Proserpina is with Pluto, nature dies and winter begins; when she resides with Ceres, the earth is spring.Bernini's statue depicts the climactic moment of the story, when Pluto grabs Proserpina, who struggles against him as he carries her over the border of the underworld, symbolized by a marble Cerberus. The combatants are almost fully nude, though cloth still covers Pluto's thigh and Proserpina's shoulder. The marble Cerberus is joined to Pluto through this cloth.Many sculptures of the time did not have one central perspective from which to view them, instead forcing the observer to see them from many angles before they could understand it in its entirety. The Rape of Proserpina, however, can be seen in full from one angle, directly in front of the base. All other viewpoints are subordinate.
|
[
"Cerberus",
" Rape",
"Ceres",
"Claudian",
"Metamorphoses",
"marble",
"Pluto",
"Proserpina",
"Jupiter",
"Ovid"
] |
|
14382_T
|
The Rape of Proserpina
|
Focus on The Rape of Proserpina and discuss the Critical reaction.
|
Most critics have been quick to praise the work. Rudolf Wittkower noted: "representations of such rape scenes depended on Bernini's new, dynamic conception for the next hundred and fifty years". Howard Hibbard makes similar comments noting the realistic effects that Bernini had achieved via carving hard marble, such as the "texture of the skin, the flying ropes of hair, the tears of Persephone and above all the yielding flesh of the girl". The choice of incident to depict the story is commonly cited as well: Pluto's hands encircle the waist of Proserpina just as she throws her arms out in an attempt to escape. Bernini's own son and biographer, Domenico, called it "an amazing contrast of tenderness and cruelty".However, in the eighteenth and nineteenth centuries, when Bernini's reputation was at a low ebb, critics found fault with the statue. The eighteenth-century French visitor Jerome de la Lande allegedly wrote: "Pluto's back is broken; his figure extravagant, without character, nobleness of expression, and its outline bad; the female one no better". Another French visitor to the Villa Ludovisi was equally critical, stating: "The head of Pluto is vulgarly gay; his crown and beard give him a ridiculous air, while the muscles are strongly marked and the figure poses. It is not a true divinity, but a decorative god..."Others have remarked on the twisted contrapposto or figura serpentinata pose of the group. While reminiscent of Mannerism, particularly Giambologna's The Rape of the Sabine Women, Bernini permits the viewer to absorb the scene from one single viewpoint. While other views provide further details, a spectator can see the desperation of Proserpina and the lumbering attempts of Pluto to grab her. This was in contrast to the Mannerist sculpture of Giambologna, which required the spectator to walk around the sculpture to gain a view of each of character's expression.
|
[
"Villa Ludovisi",
"Persephone",
" Rape",
"The Rape of the Sabine Women",
"contrapposto",
"marble",
"Pluto",
"figura serpentinata",
"Proserpina",
"Mannerism",
"Giambologna"
] |
|
14382_NT
|
The Rape of Proserpina
|
Focus on this artwork and discuss the Critical reaction.
|
Most critics have been quick to praise the work. Rudolf Wittkower noted: "representations of such rape scenes depended on Bernini's new, dynamic conception for the next hundred and fifty years". Howard Hibbard makes similar comments noting the realistic effects that Bernini had achieved via carving hard marble, such as the "texture of the skin, the flying ropes of hair, the tears of Persephone and above all the yielding flesh of the girl". The choice of incident to depict the story is commonly cited as well: Pluto's hands encircle the waist of Proserpina just as she throws her arms out in an attempt to escape. Bernini's own son and biographer, Domenico, called it "an amazing contrast of tenderness and cruelty".However, in the eighteenth and nineteenth centuries, when Bernini's reputation was at a low ebb, critics found fault with the statue. The eighteenth-century French visitor Jerome de la Lande allegedly wrote: "Pluto's back is broken; his figure extravagant, without character, nobleness of expression, and its outline bad; the female one no better". Another French visitor to the Villa Ludovisi was equally critical, stating: "The head of Pluto is vulgarly gay; his crown and beard give him a ridiculous air, while the muscles are strongly marked and the figure poses. It is not a true divinity, but a decorative god..."Others have remarked on the twisted contrapposto or figura serpentinata pose of the group. While reminiscent of Mannerism, particularly Giambologna's The Rape of the Sabine Women, Bernini permits the viewer to absorb the scene from one single viewpoint. While other views provide further details, a spectator can see the desperation of Proserpina and the lumbering attempts of Pluto to grab her. This was in contrast to the Mannerist sculpture of Giambologna, which required the spectator to walk around the sculpture to gain a view of each of character's expression.
|
[
"Villa Ludovisi",
"Persephone",
" Rape",
"The Rape of the Sabine Women",
"contrapposto",
"marble",
"Pluto",
"figura serpentinata",
"Proserpina",
"Mannerism",
"Giambologna"
] |
|
14383_T
|
The Rape of Proserpina
|
How does The Rape of Proserpina elucidate its Related works?
|
A fragment study of Proserpina's head, long thought to be by Bernini but probably created by a related artist, is in the Cleveland Museum of Art.
In 1811, the Russian sculptor Vasily Demut-Malinovsky created a sculpture also titled The Abduction of Proserpina. The statue currently resides in Saint-Petersburg.
Jeff Koons's Pluto and Proserpina is an 11-foot-tall stainless steel sculpture with transparent colour coating and live flowering plants. Argentine developer and art collector Eduardo Costantini purchased it to place in the breezeway at his luxury oceanfront condo in Bal Harbour, Florida, which was slated for completion in 2016.
|
[
"Vasily Demut-Malinovsky",
"Cleveland Museum of Art",
"Eduardo Costantini",
"Pluto",
"Jeff Koons",
"Proserpina",
"Bal Harbour, Florida",
"Argentine",
"condo",
"stainless steel",
"Saint-Petersburg",
"breezeway"
] |
|
14383_NT
|
The Rape of Proserpina
|
How does this artwork elucidate its Related works?
|
A fragment study of Proserpina's head, long thought to be by Bernini but probably created by a related artist, is in the Cleveland Museum of Art.
In 1811, the Russian sculptor Vasily Demut-Malinovsky created a sculpture also titled The Abduction of Proserpina. The statue currently resides in Saint-Petersburg.
Jeff Koons's Pluto and Proserpina is an 11-foot-tall stainless steel sculpture with transparent colour coating and live flowering plants. Argentine developer and art collector Eduardo Costantini purchased it to place in the breezeway at his luxury oceanfront condo in Bal Harbour, Florida, which was slated for completion in 2016.
|
[
"Vasily Demut-Malinovsky",
"Cleveland Museum of Art",
"Eduardo Costantini",
"Pluto",
"Jeff Koons",
"Proserpina",
"Bal Harbour, Florida",
"Argentine",
"condo",
"stainless steel",
"Saint-Petersburg",
"breezeway"
] |
|
14384_T
|
Modesty (Corradini sculpture)
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Focus on Modesty (Corradini sculpture) and analyze the abstract.
|
Modesty or Chastity (Italian: La Pudicizia) or Veiled Truth by Antonio Corradini is a sculpture completed in 1752 during the Rococo period. Corradini was commissioned by Raimondo di Sangro to sculpt a memorial for his mother in the Cappella Sansevero in Naples, where the marble sculpture still remains.
|
[
"Raimondo di Sangro",
"Rococo",
"Naples",
"Cappella Sansevero",
"Antonio Corradini",
"La Pudicizia"
] |
|
14384_NT
|
Modesty (Corradini sculpture)
|
Focus on this artwork and analyze the abstract.
|
Modesty or Chastity (Italian: La Pudicizia) or Veiled Truth by Antonio Corradini is a sculpture completed in 1752 during the Rococo period. Corradini was commissioned by Raimondo di Sangro to sculpt a memorial for his mother in the Cappella Sansevero in Naples, where the marble sculpture still remains.
|
[
"Raimondo di Sangro",
"Rococo",
"Naples",
"Cappella Sansevero",
"Antonio Corradini",
"La Pudicizia"
] |
|
14385_T
|
Modesty (Corradini sculpture)
|
In Modesty (Corradini sculpture), how is the About the work discussed?
|
Corradini worked mostly in Venice but also spent some time in Vienna and Naples before his death in 1752. Modesty was the last in Corradini's series of veiled female nudes, a subject he developed and refined throughout his career. His mastery of the medium of marble is seen in the increasingly skilled representation of seemingly weightless cloth over human flesh in his commissioned pieces. Modesty is positioned on a pedestal in the chapel and can sometimes be lost in the beauty of the space and its surrounding statues created by other various artists. Raimondo wanted this commemoration to depict his mother's untimely death when he was not even a year old.An image of this statue is painted on the wall of a high building in Naples.
|
[
"Naples",
"Venice",
"Vienna"
] |
|
14385_NT
|
Modesty (Corradini sculpture)
|
In this artwork, how is the About the work discussed?
|
Corradini worked mostly in Venice but also spent some time in Vienna and Naples before his death in 1752. Modesty was the last in Corradini's series of veiled female nudes, a subject he developed and refined throughout his career. His mastery of the medium of marble is seen in the increasingly skilled representation of seemingly weightless cloth over human flesh in his commissioned pieces. Modesty is positioned on a pedestal in the chapel and can sometimes be lost in the beauty of the space and its surrounding statues created by other various artists. Raimondo wanted this commemoration to depict his mother's untimely death when he was not even a year old.An image of this statue is painted on the wall of a high building in Naples.
|
[
"Naples",
"Venice",
"Vienna"
] |
|
14386_T
|
Modesty (Corradini sculpture)
|
Focus on Modesty (Corradini sculpture) and explore the Visual features.
|
The figure is in a contrapposto stance, having her weight on one foot more than the other. This pose gives her human-like qualities and a motion as if she is in the middle of an action. The way her classical drapery falls on her body also shows this movement. The artists of eighteenth-century Italy were especially interested in the depiction of movement as Corradini was. Her face is turned away from the viewer, shielding her eyes with the transparent veil. Her stance is inviting; however, her face is telling a different story. The veil seems heavy but also see-through. It falls just so over her chest to accentuate her breasts, but also covers her pubic area so that it is not overtly sexual. She is exposed yet metaphorically shielded by the drapery. Her supple body is fluid, a smooth and perfect human. These idealized qualities lead to a feeling that she is a divine woman and not of this world.
|
[
"contrapposto"
] |
|
14386_NT
|
Modesty (Corradini sculpture)
|
Focus on this artwork and explore the Visual features.
|
The figure is in a contrapposto stance, having her weight on one foot more than the other. This pose gives her human-like qualities and a motion as if she is in the middle of an action. The way her classical drapery falls on her body also shows this movement. The artists of eighteenth-century Italy were especially interested in the depiction of movement as Corradini was. Her face is turned away from the viewer, shielding her eyes with the transparent veil. Her stance is inviting; however, her face is telling a different story. The veil seems heavy but also see-through. It falls just so over her chest to accentuate her breasts, but also covers her pubic area so that it is not overtly sexual. She is exposed yet metaphorically shielded by the drapery. Her supple body is fluid, a smooth and perfect human. These idealized qualities lead to a feeling that she is a divine woman and not of this world.
|
[
"contrapposto"
] |
|
14387_T
|
Modesty (Corradini sculpture)
|
Focus on Modesty (Corradini sculpture) and explain the Sansevero Chapel.
|
Modesty is one of two sculptures Corradini completed for the Sansevero Chapel, both a part of a ten-statue series of the Virtues. The veiled female figure embodies modesty but can also be considered a representation of wisdom. There is a clear reference to the veiled statue of Isis at Sais in Egypt. It is said that there is a quote on the ancient statue that reads "I am past, present, and future…". This allegory furthers Modesty's aspect of wisdom and the statue is often referred to as Veiled Truth. The symbols such as the cracked plaque illustrate her life being cut too short. On the pedestal that the statue stands there is a relief of a biblical scene of Christ appearing to Mary Magdalene as a gardener portraying the importance of the Christian faith to the family. Corradini's other work is Decorum, which is also in the series of virtues. Decorum is a depiction of a youthful male nude scantily clothed in lion skin. He was also commissioned to make the piece Veiled Christ for the chapel but it was completed by Giuseppe Sanmartino instead when Corradini died suddenly. His two statues line the wall of Sansevero along with eight others. Modesty is positioned in its original location giving viewers the ability to see the statue in its intended arrangement.
|
[
"Mary Magdalene",
"Veiled Christ",
"allegory",
"Giuseppe Sanmartino"
] |
|
14387_NT
|
Modesty (Corradini sculpture)
|
Focus on this artwork and explain the Sansevero Chapel.
|
Modesty is one of two sculptures Corradini completed for the Sansevero Chapel, both a part of a ten-statue series of the Virtues. The veiled female figure embodies modesty but can also be considered a representation of wisdom. There is a clear reference to the veiled statue of Isis at Sais in Egypt. It is said that there is a quote on the ancient statue that reads "I am past, present, and future…". This allegory furthers Modesty's aspect of wisdom and the statue is often referred to as Veiled Truth. The symbols such as the cracked plaque illustrate her life being cut too short. On the pedestal that the statue stands there is a relief of a biblical scene of Christ appearing to Mary Magdalene as a gardener portraying the importance of the Christian faith to the family. Corradini's other work is Decorum, which is also in the series of virtues. Decorum is a depiction of a youthful male nude scantily clothed in lion skin. He was also commissioned to make the piece Veiled Christ for the chapel but it was completed by Giuseppe Sanmartino instead when Corradini died suddenly. His two statues line the wall of Sansevero along with eight others. Modesty is positioned in its original location giving viewers the ability to see the statue in its intended arrangement.
|
[
"Mary Magdalene",
"Veiled Christ",
"allegory",
"Giuseppe Sanmartino"
] |
|
14388_T
|
Modesty (Corradini sculpture)
|
Explore the Patronage of this artwork, Modesty (Corradini sculpture).
|
This series of virtues was commissioned by Raimondo di Sangro who was the seventh Prince of Sansevero. Patronage is imperative in the art world and is meant to convey the visions of the person paying for the artwork. Raimondo was known for his interest in science and the arts. Raimondo acquired the church in the mid eighteenth century and transformed it into what is seen today. He was very particular about his ideas for the mausoleum and hired what he thought were the best artists to work on it. The visual theme of the Rococo movement is seen in the adorned building with a painted ceiling, marble tombs and relief sculptures.
|
[
"Raimondo di Sangro",
"Rococo",
"Patronage"
] |
|
14388_NT
|
Modesty (Corradini sculpture)
|
Explore the Patronage of this artwork.
|
This series of virtues was commissioned by Raimondo di Sangro who was the seventh Prince of Sansevero. Patronage is imperative in the art world and is meant to convey the visions of the person paying for the artwork. Raimondo was known for his interest in science and the arts. Raimondo acquired the church in the mid eighteenth century and transformed it into what is seen today. He was very particular about his ideas for the mausoleum and hired what he thought were the best artists to work on it. The visual theme of the Rococo movement is seen in the adorned building with a painted ceiling, marble tombs and relief sculptures.
|
[
"Raimondo di Sangro",
"Rococo",
"Patronage"
] |
|
14389_T
|
Modesty (Corradini sculpture)
|
Focus on Modesty (Corradini sculpture) and discuss the Veiled figures.
|
Corradini's interest in the veiled human form spanned his long career. His subjects were usually woman and often allegorical. Early in his career, his works depicted heavily draped figures in a classical manner and then progressed to a thin, translucent layer of marble acting as a veil as he perfected his craft. An example of the latter and the work on which Corradini based Modesty is his Vestal Virgin Tuccia, sculpted in Rome in 1743.
|
[
"Vestal Virgin Tuccia",
"allegorical"
] |
|
14389_NT
|
Modesty (Corradini sculpture)
|
Focus on this artwork and discuss the Veiled figures.
|
Corradini's interest in the veiled human form spanned his long career. His subjects were usually woman and often allegorical. Early in his career, his works depicted heavily draped figures in a classical manner and then progressed to a thin, translucent layer of marble acting as a veil as he perfected his craft. An example of the latter and the work on which Corradini based Modesty is his Vestal Virgin Tuccia, sculpted in Rome in 1743.
|
[
"Vestal Virgin Tuccia",
"allegorical"
] |
|
14390_T
|
Low Marks Again
|
How does Low Marks Again elucidate its abstract?
|
Low Marks Again (Russian: Опять двойка, translated as Grade D, Again) is a painting by Fyodor Pavlovich Reshetnikov, produced in 1952.
Due to the work's realistic scenario, the Soviet school curriculum used the painting as a topic for essay-writing. The painting was well known to the Soviet public.
"Low Marks Again" contains a reproduction of Reshetnikov's painting "Arrived on vacation" (1948) on one of the walls. The artist also used a reproduction of "Low marks again" in his later painting "Reexamination".
|
[
"Fyodor Pavlovich Reshetnikov",
"Arrived on vacation"
] |
|
14390_NT
|
Low Marks Again
|
How does this artwork elucidate its abstract?
|
Low Marks Again (Russian: Опять двойка, translated as Grade D, Again) is a painting by Fyodor Pavlovich Reshetnikov, produced in 1952.
Due to the work's realistic scenario, the Soviet school curriculum used the painting as a topic for essay-writing. The painting was well known to the Soviet public.
"Low Marks Again" contains a reproduction of Reshetnikov's painting "Arrived on vacation" (1948) on one of the walls. The artist also used a reproduction of "Low marks again" in his later painting "Reexamination".
|
[
"Fyodor Pavlovich Reshetnikov",
"Arrived on vacation"
] |
|
14391_T
|
Continuing the Conversation
|
Focus on Continuing the Conversation and analyze the abstract.
|
Continuing the Conversation is a public sculpture honoring Rosa Parks in Atlanta, Georgia, United States. Located on the main campus of the Georgia Institute of Technology (Georgia Tech), the artwork was created by Martin Dawe and unveiled in 2018.
|
[
"sculpture",
"main campus of the Georgia Institute of Technology",
"Martin Dawe",
"Atlanta",
"United States",
"Rosa Parks",
"Georgia",
"Georgia Tech"
] |
|
14391_NT
|
Continuing the Conversation
|
Focus on this artwork and analyze the abstract.
|
Continuing the Conversation is a public sculpture honoring Rosa Parks in Atlanta, Georgia, United States. Located on the main campus of the Georgia Institute of Technology (Georgia Tech), the artwork was created by Martin Dawe and unveiled in 2018.
|
[
"sculpture",
"main campus of the Georgia Institute of Technology",
"Martin Dawe",
"Atlanta",
"United States",
"Rosa Parks",
"Georgia",
"Georgia Tech"
] |
|
14392_T
|
Continuing the Conversation
|
In Continuing the Conversation, how is the History discussed?
|
The idea for a monument honoring Rosa Parks at Georgia Tech was first put forward by Atlanta sculptor Martin Dawe. Dawe proposed the idea after noting that Parks died 50 years after her actions sparked the Montgomery bus boycott, with the artwork to be unveiled the day after the 50th anniversary of the assassination of Martin Luther King Jr. Coincidentally, Dawe had recently completed a public art piece of King, a statue of him at the Georgia State Capitol. Dawe proposed an artwork featuring two sculptures of Parks, with one of her at age 42 (when her actions started the boycott) and the other of her at age 92 (the age at which she died), with an empty seat between the two. The cost of the project was $300,000 and was covered by donations from two Georgia Tech alumni. The sculptures of Parks were bronzed in Utah, and the granite used the artwork came from Elberton, Georgia. The statue was unveiled on April 5, 2018, in a small area of the campus known as Harrison Square, named after former Tech President Edwin Harrison, who had desegregated Tech during his tenure. Attendees at the unveiling included relatives of Harrison, King, and Parks.
|
[
"Montgomery bus boycott",
"desegregated",
"granite",
"sculpture",
"Martin Dawe",
"Atlanta",
"Rosa Parks",
"Georgia",
"bronzed",
"Georgia State Capitol",
"assassination of Martin Luther King Jr.",
"statue of him",
"Elberton, Georgia",
"Martin Luther King Jr.",
"alumni",
"monument",
"Utah",
"Georgia Tech"
] |
|
14392_NT
|
Continuing the Conversation
|
In this artwork, how is the History discussed?
|
The idea for a monument honoring Rosa Parks at Georgia Tech was first put forward by Atlanta sculptor Martin Dawe. Dawe proposed the idea after noting that Parks died 50 years after her actions sparked the Montgomery bus boycott, with the artwork to be unveiled the day after the 50th anniversary of the assassination of Martin Luther King Jr. Coincidentally, Dawe had recently completed a public art piece of King, a statue of him at the Georgia State Capitol. Dawe proposed an artwork featuring two sculptures of Parks, with one of her at age 42 (when her actions started the boycott) and the other of her at age 92 (the age at which she died), with an empty seat between the two. The cost of the project was $300,000 and was covered by donations from two Georgia Tech alumni. The sculptures of Parks were bronzed in Utah, and the granite used the artwork came from Elberton, Georgia. The statue was unveiled on April 5, 2018, in a small area of the campus known as Harrison Square, named after former Tech President Edwin Harrison, who had desegregated Tech during his tenure. Attendees at the unveiling included relatives of Harrison, King, and Parks.
|
[
"Montgomery bus boycott",
"desegregated",
"granite",
"sculpture",
"Martin Dawe",
"Atlanta",
"Rosa Parks",
"Georgia",
"bronzed",
"Georgia State Capitol",
"assassination of Martin Luther King Jr.",
"statue of him",
"Elberton, Georgia",
"Martin Luther King Jr.",
"alumni",
"monument",
"Utah",
"Georgia Tech"
] |
|
14393_T
|
The Ypres Salient at Night
|
Focus on The Ypres Salient at Night and explore the Artist.
|
Born in Kensington, London, England, in 1889, Paul Nash served in the Artists Rifles following the outbreak of World War I. He was subsequently commissioned as an officer in the Royal Hampshire Regiment. He was sent to Flanders in February 1917, but was invalided back to London in May 1917, a few days before his unit was nearly obliterated at the Battle of Messines. Nash became an official war artist and returned to the Ypres Salient, where he was shocked by the devastation caused by war. In six weeks on the Western Front, he completed what he called "fifty drawings of muddy places on the Front", one of which was The Ypres Salient at Night.
|
[
"World War I",
"Ypres Salient",
"Kensington",
"Battle of Messines",
"war artist",
"Artists Rifles",
"Royal Hampshire Regiment",
"Ypres",
"Paul Nash",
"Western Front",
"London"
] |
|
14393_NT
|
The Ypres Salient at Night
|
Focus on this artwork and explore the Artist.
|
Born in Kensington, London, England, in 1889, Paul Nash served in the Artists Rifles following the outbreak of World War I. He was subsequently commissioned as an officer in the Royal Hampshire Regiment. He was sent to Flanders in February 1917, but was invalided back to London in May 1917, a few days before his unit was nearly obliterated at the Battle of Messines. Nash became an official war artist and returned to the Ypres Salient, where he was shocked by the devastation caused by war. In six weeks on the Western Front, he completed what he called "fifty drawings of muddy places on the Front", one of which was The Ypres Salient at Night.
|
[
"World War I",
"Ypres Salient",
"Kensington",
"Battle of Messines",
"war artist",
"Artists Rifles",
"Royal Hampshire Regiment",
"Ypres",
"Paul Nash",
"Western Front",
"London"
] |
|
14394_T
|
The Ypres Salient at Night
|
Focus on The Ypres Salient at Night and explain the Painting.
|
It was painted in Nash's capacity as an officially commissioned war officer. The salient vexed the British military, as they were averse to losing any ground in the area; Nash viewed the landscape as a "a monument to doggedness." The illumination depicted comes from exploding star shells. The painting was acquired by the Ministry of Information.
|
[
"Ministry of Information",
"star shells"
] |
|
14394_NT
|
The Ypres Salient at Night
|
Focus on this artwork and explain the Painting.
|
It was painted in Nash's capacity as an officially commissioned war officer. The salient vexed the British military, as they were averse to losing any ground in the area; Nash viewed the landscape as a "a monument to doggedness." The illumination depicted comes from exploding star shells. The painting was acquired by the Ministry of Information.
|
[
"Ministry of Information",
"star shells"
] |
|
14395_T
|
Mt. Angel maypole
|
Explore the abstract of this artwork, Mt. Angel maypole.
|
The maypole in Mt. Angel, Oregon, also known as der maibaum ("the maypole" in German), is a landmark depicting local services and skills.
|
[
"Oregon",
"maypole",
"Mt. Angel, Oregon"
] |
|
14395_NT
|
Mt. Angel maypole
|
Explore the abstract of this artwork.
|
The maypole in Mt. Angel, Oregon, also known as der maibaum ("the maypole" in German), is a landmark depicting local services and skills.
|
[
"Oregon",
"maypole",
"Mt. Angel, Oregon"
] |
|
14396_T
|
Mt. Angel maypole
|
Focus on Mt. Angel maypole and discuss the Description.
|
The "tree of trades" depicts the "businesses, services and skills" of locals. The lowest two branches show a church and school, the "spiritual and intellectual foundations". One of the top branches depicts a golfer. The pole has a spiral painted in blue and white, the "colors of Bavaria". The top of the pole has an "Engelberg" Angel weather vane (Mount Angel Abbey was founded by monks from Engelberg, Switzerland).A planning and design document for the proposed Mt. Angel Bavarian District suggested the maypole could be "designed so that the business figures rotate in the wind generating power and adding to the visual interest of the pole".
|
[
"Engelberg",
"Switzerland",
"Mount Angel Abbey",
"maypole"
] |
|
14396_NT
|
Mt. Angel maypole
|
Focus on this artwork and discuss the Description.
|
The "tree of trades" depicts the "businesses, services and skills" of locals. The lowest two branches show a church and school, the "spiritual and intellectual foundations". One of the top branches depicts a golfer. The pole has a spiral painted in blue and white, the "colors of Bavaria". The top of the pole has an "Engelberg" Angel weather vane (Mount Angel Abbey was founded by monks from Engelberg, Switzerland).A planning and design document for the proposed Mt. Angel Bavarian District suggested the maypole could be "designed so that the business figures rotate in the wind generating power and adding to the visual interest of the pole".
|
[
"Engelberg",
"Switzerland",
"Mount Angel Abbey",
"maypole"
] |
|
14397_T
|
St. Michael (Raphael)
|
How does St. Michael (Raphael) elucidate its abstract?
|
St. Michael is an oil painting by Italian artist Raphael. Also called the Little St. Michael to distinguish it from a larger, later treatment of the same theme, St. Michael Vanquishing Satan, it is now in the Louvre in Paris. The work depicts the Archangel Michael in combat with the demons of Hell, while the damned suffer behind him. Along with St. George, it represents the first of Raphael's works on martial subjects.
|
[
"Michael",
"St. George",
"Raphael",
"Archangel",
"St. Michael Vanquishing Satan",
"oil painting",
"Louvre",
"Paris"
] |
|
14397_NT
|
St. Michael (Raphael)
|
How does this artwork elucidate its abstract?
|
St. Michael is an oil painting by Italian artist Raphael. Also called the Little St. Michael to distinguish it from a larger, later treatment of the same theme, St. Michael Vanquishing Satan, it is now in the Louvre in Paris. The work depicts the Archangel Michael in combat with the demons of Hell, while the damned suffer behind him. Along with St. George, it represents the first of Raphael's works on martial subjects.
|
[
"Michael",
"St. George",
"Raphael",
"Archangel",
"St. Michael Vanquishing Satan",
"oil painting",
"Louvre",
"Paris"
] |
|
14398_T
|
St. Michael (Raphael)
|
Focus on St. Michael (Raphael) and analyze the History.
|
An early work of the artist, the painting was executed for Guidobaldo da Montefeltro, Duke of Urbino, in 1504 or 1505 on the back of a draughtboard, possibly commissioned to express appreciation to Louis XII of France for conferring the Order of Saint Michael on Francesco Maria I della Rovere, Guidobaldo's nephew and heir. Whatever the impetus for its creation, by 1548 it hung in the collection at the Palace of Fontainebleau.
In 2006's Early Work of Raphael, Julia Cartwright suggests it may betray the influence of Timoteo Viti in the gold tinting to the green wings of Michael, while the sinners in the background suggest that Raphael may have consulted an illustrated volume of Dante's Inferno. The punishments depicted reflect Dante's treatment of hypocrites and thieves.A little more than a decade after completing the little St. Michael, Raphael was commissioned to revisit the theme, producing St. Michael Vanquishing Satan for Pope Leo X in 1518.
|
[
"Louis XII of France",
"Michael",
"Order of Saint Michael",
"Raphael",
"Francesco Maria I della Rovere",
"St. Michael Vanquishing Satan",
"Pope Leo X",
"Timoteo Viti",
"Dante's",
"Louis XII",
"Duke of Urbino",
"draughtboard",
"Guidobaldo da Montefeltro",
"Palace of Fontainebleau",
"Inferno"
] |
|
14398_NT
|
St. Michael (Raphael)
|
Focus on this artwork and analyze the History.
|
An early work of the artist, the painting was executed for Guidobaldo da Montefeltro, Duke of Urbino, in 1504 or 1505 on the back of a draughtboard, possibly commissioned to express appreciation to Louis XII of France for conferring the Order of Saint Michael on Francesco Maria I della Rovere, Guidobaldo's nephew and heir. Whatever the impetus for its creation, by 1548 it hung in the collection at the Palace of Fontainebleau.
In 2006's Early Work of Raphael, Julia Cartwright suggests it may betray the influence of Timoteo Viti in the gold tinting to the green wings of Michael, while the sinners in the background suggest that Raphael may have consulted an illustrated volume of Dante's Inferno. The punishments depicted reflect Dante's treatment of hypocrites and thieves.A little more than a decade after completing the little St. Michael, Raphael was commissioned to revisit the theme, producing St. Michael Vanquishing Satan for Pope Leo X in 1518.
|
[
"Louis XII of France",
"Michael",
"Order of Saint Michael",
"Raphael",
"Francesco Maria I della Rovere",
"St. Michael Vanquishing Satan",
"Pope Leo X",
"Timoteo Viti",
"Dante's",
"Louis XII",
"Duke of Urbino",
"draughtboard",
"Guidobaldo da Montefeltro",
"Palace of Fontainebleau",
"Inferno"
] |
|
14399_T
|
Identidad
|
In Identidad, how is the abstract discussed?
|
Identidad is a sculpture by Marta Gilbert, installed in Zona Romántica, Puerto Vallarta, in the Mexican state of Jalisco. Gilbert donated the bust to the city, which was unveiled in 2019.
|
[
"Zona Romántica",
"Marta Gilbert",
"Puerto Vallarta",
"Jalisco"
] |
|
14399_NT
|
Identidad
|
In this artwork, how is the abstract discussed?
|
Identidad is a sculpture by Marta Gilbert, installed in Zona Romántica, Puerto Vallarta, in the Mexican state of Jalisco. Gilbert donated the bust to the city, which was unveiled in 2019.
|
[
"Zona Romántica",
"Marta Gilbert",
"Puerto Vallarta",
"Jalisco"
] |
|
14400_T
|
Statue of Marcelino García Barragán
|
Focus on Statue of Marcelino García Barragán and explore the abstract.
|
A statue of Marcelino García Barragán is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Marcelino García Barragán",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
|
14400_NT
|
Statue of Marcelino García Barragán
|
Focus on this artwork and explore the abstract.
|
A statue of Marcelino García Barragán is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Marcelino García Barragán",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
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