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14401_T
|
Niagara (Frederic Edwin Church)
|
Focus on Niagara (Frederic Edwin Church) and explain the abstract.
|
Niagara is an oil painting produced in 1857 by the American artist Frederic Edwin Church. Niagara was his most important work to date, and confirmed his reputation as the premier American landscape painter of the time. In his history of Niagara Falls, Pierre Berton writes, "Of the hundreds of paintings made of Niagara, before Church and after him, this is by common consent the greatest."
|
[
"Frederic Edwin Church",
"Pierre Berton",
"Niagara Falls"
] |
|
14401_NT
|
Niagara (Frederic Edwin Church)
|
Focus on this artwork and explain the abstract.
|
Niagara is an oil painting produced in 1857 by the American artist Frederic Edwin Church. Niagara was his most important work to date, and confirmed his reputation as the premier American landscape painter of the time. In his history of Niagara Falls, Pierre Berton writes, "Of the hundreds of paintings made of Niagara, before Church and after him, this is by common consent the greatest."
|
[
"Frederic Edwin Church",
"Pierre Berton",
"Niagara Falls"
] |
|
14402_T
|
Niagara (Frederic Edwin Church)
|
Explore the Exhibition and legacy of this artwork, Niagara (Frederic Edwin Church).
|
Church developed Niagara with public exhibitions in mind. Between May 1 and 29, 1857, tens of thousands paid 25 cents to view the painting—which was greatly praised by local critics—in a darkened Manhattan gallery in which only the painting was illuminated. Some would spend an hour in front of the painting: "Spectators forgot that they were looking simply at pigment ... The painting became the surrogate of a visit in person to the site." Many artists, writers, and politicians reportedly visited the painting's exhibition, including Horace Greeley, Henry Ward Beecher, George Bancroft, George Ripley, Charles Anderson Dana, and Fitz James O'Brien. Over a thousand subscriptions to a planned chromolithograph were sold; $30 for an artist's proof and $15 for a print, both in color. Harper's magazine called Niagara "more widely known and admired in this country than any other picture ever painted in America".The painting was shown in England and Scotland in the summer of 1857. After a showing in London, a chromolithograph was made by Day & Son in June, followed by more exhibitions in Glasgow, Manchester, and Liverpool. London's Art-Journal wrote, "No work of its class has ever been more successful: it is truth, obviously and certainly. Considered as a painting, it is a production of rare merit: while admirable as a whole, its parts have been carefully considered and studied; broadly and effectively wrought, yet elaborately finished." Famed art critic John Ruskin was impressed, as reported by Church's friend Bayard Taylor: "The exhibitor told me that Ruskin had just been to see it, and that he had found effects in it which he had been waiting for years to find." Ruskin was said to have marvelled at the rainbow, believing at first that the play of light through a window was projected onto the canvas. In September 1858 Niagara returned to the United States, where, after another New York showing, it travelled to Washington, D.C., Baltimore, Richmond, and New Orleans. Cosmopolitan Art Journal wrote, "The reputation of this work has greatly increased by its English tour. It is now regarded as the finest painting ever executed by any American artist." Another exhibition in New York followed. Niagara was exhibited at the 1867 Exposition Universelle in Paris, where it won a silver medal and improved the European view of American art. Harper's Weekly wrote, "The European critics declared that the 'Niagara' gave them an entirely new and higher view both of American nature and art.
Church's composition was the first painting from the Hudson River School to be an "instant success". It was uniquely realistic and "without 'manner'", marking the beginning of a new era for Hudson River artists, such as Jasper Francis Cropsey, Martin Johnson Heade, John Frederick Kensett, Albert Bierstadt, and Régis François Gignoux. Heade especially took to Niagara, which may have influenced some of his choices in canvas size. He wrote, "Church's picture ... far exceeds my expectations; & I don't wonder that Ruskin, after looking at it for half an hour, could only utter 'marvelous'. I look upon it as the most wonderful picture I ever saw."Niagara was sold to the New York art dealers and print sellers Williams, Stevens & Williams—where it was first exhibited—for US$4,500 in 1857, including $2,000 for reproduction rights. It was acquired at auction in 1861 by the businessman John Taylor Johnston for US$5,000, and then bought at auction in 1876 by William Wilson Corcoran for his Gallery for $12,500, then a record for a painting by an American artist. When the Corcoran closed in 2014, its collection was transferred to the National Gallery of Art, also in Washington, D.C.
Church made two more finished paintings of the Falls. Under Niagara (1862) is now lost, but survives in lithographs, including an overpainted lithograph at Olana. It was a 4-by-6 foot painting said to be completed in a day. The third painting, Niagara Falls, from the American Side, was made in 1867 and is the largest of Church's paintings by surface area.
|
[
"Fitz James O'Brien",
"Bayard Taylor",
"National Gallery of Art",
"John Taylor Johnston",
"Washington, D.C.",
"George Ripley",
"John Ruskin",
"John Frederick Kensett",
"William Wilson Corcoran",
"Henry Ward Beecher",
"Manhattan",
"Olana",
"Gallery",
"George Bancroft",
"Niagara Falls",
"Martin Johnson Heade",
"Régis François Gignoux",
"Art-Journal",
"Hudson River School",
"Horace Greeley",
"Charles Anderson Dana",
"Jasper Francis Cropsey",
"Albert Bierstadt",
"Niagara Falls, from the American Side",
"Exposition Universelle",
"chromolithograph",
"artist's proof"
] |
|
14402_NT
|
Niagara (Frederic Edwin Church)
|
Explore the Exhibition and legacy of this artwork.
|
Church developed Niagara with public exhibitions in mind. Between May 1 and 29, 1857, tens of thousands paid 25 cents to view the painting—which was greatly praised by local critics—in a darkened Manhattan gallery in which only the painting was illuminated. Some would spend an hour in front of the painting: "Spectators forgot that they were looking simply at pigment ... The painting became the surrogate of a visit in person to the site." Many artists, writers, and politicians reportedly visited the painting's exhibition, including Horace Greeley, Henry Ward Beecher, George Bancroft, George Ripley, Charles Anderson Dana, and Fitz James O'Brien. Over a thousand subscriptions to a planned chromolithograph were sold; $30 for an artist's proof and $15 for a print, both in color. Harper's magazine called Niagara "more widely known and admired in this country than any other picture ever painted in America".The painting was shown in England and Scotland in the summer of 1857. After a showing in London, a chromolithograph was made by Day & Son in June, followed by more exhibitions in Glasgow, Manchester, and Liverpool. London's Art-Journal wrote, "No work of its class has ever been more successful: it is truth, obviously and certainly. Considered as a painting, it is a production of rare merit: while admirable as a whole, its parts have been carefully considered and studied; broadly and effectively wrought, yet elaborately finished." Famed art critic John Ruskin was impressed, as reported by Church's friend Bayard Taylor: "The exhibitor told me that Ruskin had just been to see it, and that he had found effects in it which he had been waiting for years to find." Ruskin was said to have marvelled at the rainbow, believing at first that the play of light through a window was projected onto the canvas. In September 1858 Niagara returned to the United States, where, after another New York showing, it travelled to Washington, D.C., Baltimore, Richmond, and New Orleans. Cosmopolitan Art Journal wrote, "The reputation of this work has greatly increased by its English tour. It is now regarded as the finest painting ever executed by any American artist." Another exhibition in New York followed. Niagara was exhibited at the 1867 Exposition Universelle in Paris, where it won a silver medal and improved the European view of American art. Harper's Weekly wrote, "The European critics declared that the 'Niagara' gave them an entirely new and higher view both of American nature and art.
Church's composition was the first painting from the Hudson River School to be an "instant success". It was uniquely realistic and "without 'manner'", marking the beginning of a new era for Hudson River artists, such as Jasper Francis Cropsey, Martin Johnson Heade, John Frederick Kensett, Albert Bierstadt, and Régis François Gignoux. Heade especially took to Niagara, which may have influenced some of his choices in canvas size. He wrote, "Church's picture ... far exceeds my expectations; & I don't wonder that Ruskin, after looking at it for half an hour, could only utter 'marvelous'. I look upon it as the most wonderful picture I ever saw."Niagara was sold to the New York art dealers and print sellers Williams, Stevens & Williams—where it was first exhibited—for US$4,500 in 1857, including $2,000 for reproduction rights. It was acquired at auction in 1861 by the businessman John Taylor Johnston for US$5,000, and then bought at auction in 1876 by William Wilson Corcoran for his Gallery for $12,500, then a record for a painting by an American artist. When the Corcoran closed in 2014, its collection was transferred to the National Gallery of Art, also in Washington, D.C.
Church made two more finished paintings of the Falls. Under Niagara (1862) is now lost, but survives in lithographs, including an overpainted lithograph at Olana. It was a 4-by-6 foot painting said to be completed in a day. The third painting, Niagara Falls, from the American Side, was made in 1867 and is the largest of Church's paintings by surface area.
|
[
"Fitz James O'Brien",
"Bayard Taylor",
"National Gallery of Art",
"John Taylor Johnston",
"Washington, D.C.",
"George Ripley",
"John Ruskin",
"John Frederick Kensett",
"William Wilson Corcoran",
"Henry Ward Beecher",
"Manhattan",
"Olana",
"Gallery",
"George Bancroft",
"Niagara Falls",
"Martin Johnson Heade",
"Régis François Gignoux",
"Art-Journal",
"Hudson River School",
"Horace Greeley",
"Charles Anderson Dana",
"Jasper Francis Cropsey",
"Albert Bierstadt",
"Niagara Falls, from the American Side",
"Exposition Universelle",
"chromolithograph",
"artist's proof"
] |
|
14403_T
|
Entry of Christ into Jerusalem (van Dyck)
|
Focus on Entry of Christ into Jerusalem (van Dyck) and discuss the abstract.
|
Entry of Christ into Jerusalem is a 1617 oil painting by Flemish artist Anthony van Dyck, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts Jesus entering Jerusalem as described in the Gospels, the event celebrated on Palm Sunday.
|
[
"Palm Sunday",
"Jesus",
"Indianapolis",
"Gospels",
"Anthony van Dyck",
"Jerusalem",
"Indianapolis Museum of Art",
"Indiana",
"Gospel",
"Flemish",
"oil painting"
] |
|
14403_NT
|
Entry of Christ into Jerusalem (van Dyck)
|
Focus on this artwork and discuss the abstract.
|
Entry of Christ into Jerusalem is a 1617 oil painting by Flemish artist Anthony van Dyck, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts Jesus entering Jerusalem as described in the Gospels, the event celebrated on Palm Sunday.
|
[
"Palm Sunday",
"Jesus",
"Indianapolis",
"Gospels",
"Anthony van Dyck",
"Jerusalem",
"Indianapolis Museum of Art",
"Indiana",
"Gospel",
"Flemish",
"oil painting"
] |
|
14404_T
|
Entry of Christ into Jerusalem (van Dyck)
|
How does Entry of Christ into Jerusalem (van Dyck) elucidate its Description?
|
Van Dyck's presentation of Jesus' entry into Jerusalem is quite consistent with the biblical accounts. The ass foal he rides is almost entirely enveloped by his robes of rich blue and crimson. He is surrounded by his disciples on foot, and jubilantly welcomed by a crowd of locals who lay branches in his path. It is a very youthful, vigorous work, full of bright colors and slashing brushstrokes. The restlessness and muscularity of the figures are very Baroque. The naturalism and large size of figures gives them tremendous immediacy, lending drama to the narrative.
|
[
"Jesus",
"naturalism",
"Baroque",
"ass",
"Jerusalem"
] |
|
14404_NT
|
Entry of Christ into Jerusalem (van Dyck)
|
How does this artwork elucidate its Description?
|
Van Dyck's presentation of Jesus' entry into Jerusalem is quite consistent with the biblical accounts. The ass foal he rides is almost entirely enveloped by his robes of rich blue and crimson. He is surrounded by his disciples on foot, and jubilantly welcomed by a crowd of locals who lay branches in his path. It is a very youthful, vigorous work, full of bright colors and slashing brushstrokes. The restlessness and muscularity of the figures are very Baroque. The naturalism and large size of figures gives them tremendous immediacy, lending drama to the narrative.
|
[
"Jesus",
"naturalism",
"Baroque",
"ass",
"Jerusalem"
] |
|
14405_T
|
Joseph the Carpenter
|
Focus on Joseph the Carpenter and analyze the abstract.
|
Joseph the Carpenter is an oil painting by Georges de La Tour created circa 1642. The painting depicts a young Jesus with Saint Joseph, his earthly father.Joseph drills a piece of wood with an auger. The shape of the auger reflects the shape of the Cross and the geometry of the wood arrayed on the floor, set cross-wise to the seated child Christ, is a foreshadowing of the crucifixion. John Rupert Martin writes that Jesus' patience represents "filial obedience and the acceptance of his destiny as martyr".This painting, created ca. 1642, is one of several tenebrist paintings by La Tour. Others include The Education of the Virgin, the Penitent Magdalene, and The Dream of Saint Joseph. In all these works, a single, strong light source is a central element, surrounded by cast shadows. In both Joseph the Carpenter and The Education of the Virgin, the young Christ is represented, hand raised, as if in benediction, with the candlelight shining through the flesh as an allegorical reference to Christ as the "Light of the World."
|
[
"John Rupert Martin",
"benediction",
"Cross",
"Light of the World",
"Jesus",
"Penitent Magdalene",
"auger",
"The Dream of Saint Joseph",
"crucifixion",
"The Education of the Virgin",
"circa",
"allegorical",
"oil painting",
"Saint Joseph",
"tenebrist",
"Georges de La Tour"
] |
|
14405_NT
|
Joseph the Carpenter
|
Focus on this artwork and analyze the abstract.
|
Joseph the Carpenter is an oil painting by Georges de La Tour created circa 1642. The painting depicts a young Jesus with Saint Joseph, his earthly father.Joseph drills a piece of wood with an auger. The shape of the auger reflects the shape of the Cross and the geometry of the wood arrayed on the floor, set cross-wise to the seated child Christ, is a foreshadowing of the crucifixion. John Rupert Martin writes that Jesus' patience represents "filial obedience and the acceptance of his destiny as martyr".This painting, created ca. 1642, is one of several tenebrist paintings by La Tour. Others include The Education of the Virgin, the Penitent Magdalene, and The Dream of Saint Joseph. In all these works, a single, strong light source is a central element, surrounded by cast shadows. In both Joseph the Carpenter and The Education of the Virgin, the young Christ is represented, hand raised, as if in benediction, with the candlelight shining through the flesh as an allegorical reference to Christ as the "Light of the World."
|
[
"John Rupert Martin",
"benediction",
"Cross",
"Light of the World",
"Jesus",
"Penitent Magdalene",
"auger",
"The Dream of Saint Joseph",
"crucifixion",
"The Education of the Virgin",
"circa",
"allegorical",
"oil painting",
"Saint Joseph",
"tenebrist",
"Georges de La Tour"
] |
|
14406_T
|
The Headless Horseman Pursuing Ichabod Crane
|
In The Headless Horseman Pursuing Ichabod Crane, how is the abstract discussed?
|
The Headless Horseman Pursuing Ichabod Crane (1858) is a painting by American artist John Quidor, depicting a scene from Washington Irving's 1820 short story "The Legend of Sleepy Hollow".
The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse. In one hand, the Headless Horseman is holding a pumpkin, which he is preparing to throw at Crane. Visible in the background is the Old Dutch Church of Sleepy Hollow and the adjacent Sleepy Hollow Cemetery, and the full moon.
The painting is one of several by the artist based on scenes from Irving's written works about Dutch New York, including such paintings as Ichabod Crane Flying from the Headless Horseman (1828, Yale University Art Gallery) and The Return of Rip Van Winkle (1849, National Gallery of Art).Quidor first exhibited the picture at the National Academy of Design in New York City. The Smithsonian American Art Museum in Washington, D.C. bought the painting in 1994, but it was removed from display in 2021.
|
[
"New York City",
"Sleepy Hollow Cemetery",
"Washington, D.C.",
"Smithsonian American Art Museum",
"Headless Horseman",
"Dutch New York",
"John Quidor",
"The Legend of Sleepy Hollow",
"National Academy of Design",
"Ichabod Crane",
"Washington Irving",
"Old Dutch Church of Sleepy Hollow",
"Rip Van Winkle"
] |
|
14406_NT
|
The Headless Horseman Pursuing Ichabod Crane
|
In this artwork, how is the abstract discussed?
|
The Headless Horseman Pursuing Ichabod Crane (1858) is a painting by American artist John Quidor, depicting a scene from Washington Irving's 1820 short story "The Legend of Sleepy Hollow".
The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse. In one hand, the Headless Horseman is holding a pumpkin, which he is preparing to throw at Crane. Visible in the background is the Old Dutch Church of Sleepy Hollow and the adjacent Sleepy Hollow Cemetery, and the full moon.
The painting is one of several by the artist based on scenes from Irving's written works about Dutch New York, including such paintings as Ichabod Crane Flying from the Headless Horseman (1828, Yale University Art Gallery) and The Return of Rip Van Winkle (1849, National Gallery of Art).Quidor first exhibited the picture at the National Academy of Design in New York City. The Smithsonian American Art Museum in Washington, D.C. bought the painting in 1994, but it was removed from display in 2021.
|
[
"New York City",
"Sleepy Hollow Cemetery",
"Washington, D.C.",
"Smithsonian American Art Museum",
"Headless Horseman",
"Dutch New York",
"John Quidor",
"The Legend of Sleepy Hollow",
"National Academy of Design",
"Ichabod Crane",
"Washington Irving",
"Old Dutch Church of Sleepy Hollow",
"Rip Van Winkle"
] |
|
14407_T
|
Men's Wear
|
Focus on Men's Wear and explore the abstract.
|
Men's Wear is a 1953 painting by Australian artist John Brack. The painting depicts the interior of a menswear store, including the proprietor and some mannequins, standing in front of displays of ties and trousers. A mirror in the background reflects a silhouette of the artist.
It seems to be a simple image of an ordinary shop, but its simplicity is deceptive. There’s a complex interaction of lines of sight, for a start; and the jokey inclusion of the silhouetted figure opens up the interior space to the space outside the shop, outside the pictorial space even. And there’s a play - inspired, perhaps, by Magritte - between man, mannequin and silhouette that creates ambiguity. It’s a sort of surrealism of the high street.
Brack painted the work while he was Art Master at Melbourne Grammar School. It is one of a series of paintings, including The Barber's Shop (1952) and The Fish Shop (1955) of small high street businesses.The painting was acquired by the National Gallery of Australia in 1982 and is now part of its Australian Art collection.
|
[
"John Brack",
"Magritte",
"National Gallery of Australia",
"1953",
"Melbourne Grammar School",
"mannequin",
"high street"
] |
|
14407_NT
|
Men's Wear
|
Focus on this artwork and explore the abstract.
|
Men's Wear is a 1953 painting by Australian artist John Brack. The painting depicts the interior of a menswear store, including the proprietor and some mannequins, standing in front of displays of ties and trousers. A mirror in the background reflects a silhouette of the artist.
It seems to be a simple image of an ordinary shop, but its simplicity is deceptive. There’s a complex interaction of lines of sight, for a start; and the jokey inclusion of the silhouetted figure opens up the interior space to the space outside the shop, outside the pictorial space even. And there’s a play - inspired, perhaps, by Magritte - between man, mannequin and silhouette that creates ambiguity. It’s a sort of surrealism of the high street.
Brack painted the work while he was Art Master at Melbourne Grammar School. It is one of a series of paintings, including The Barber's Shop (1952) and The Fish Shop (1955) of small high street businesses.The painting was acquired by the National Gallery of Australia in 1982 and is now part of its Australian Art collection.
|
[
"John Brack",
"Magritte",
"National Gallery of Australia",
"1953",
"Melbourne Grammar School",
"mannequin",
"high street"
] |
|
14408_T
|
Fuente de los Niños Miones
|
Focus on Fuente de los Niños Miones and explain the abstract.
|
The Fuente de los Niños Traviesos (lit. transl. Fountain of the Playful Children), colloquially known as the Fuente de los Niños Miones (lit. transl. Fountain of the Pissing Children), is a fountain with sculptures of boys in Guadalajara, in the Mexican state of Jalisco.
|
[
"Jalisco",
"Guadalajara"
] |
|
14408_NT
|
Fuente de los Niños Miones
|
Focus on this artwork and explain the abstract.
|
The Fuente de los Niños Traviesos (lit. transl. Fountain of the Playful Children), colloquially known as the Fuente de los Niños Miones (lit. transl. Fountain of the Pissing Children), is a fountain with sculptures of boys in Guadalajara, in the Mexican state of Jalisco.
|
[
"Jalisco",
"Guadalajara"
] |
|
14409_T
|
Fuente de los Niños Miones
|
Explore the History of this artwork, Fuente de los Niños Miones.
|
In 2012, one of the children was stolen, but it was recovered promptly. On 15 May 2020, the fountain was vandalized again after a person stole one of the sculptures. The responsible was arrested days later and said he attempted to sell it as scrap.
|
[] |
|
14409_NT
|
Fuente de los Niños Miones
|
Explore the History of this artwork.
|
In 2012, one of the children was stolen, but it was recovered promptly. On 15 May 2020, the fountain was vandalized again after a person stole one of the sculptures. The responsible was arrested days later and said he attempted to sell it as scrap.
|
[] |
|
14410_T
|
Fraubillen cross
|
Focus on Fraubillen cross and discuss the abstract.
|
The Fraubillen cross (German: Fraubillenkreuz) is a menhir, which has been resculpted into a cross. It stands by a wayside on the Ferschweiler Plateau in the Eifel mountains in Germany, between Ferschweiler, Schankweiler, Nusbaum-Rohrbach and Bollendorf.
According to tradition, the celebrated missionary in the Eifel region, Willibrord refashioned the roughly 5,000-year-old menhir by hand into the shape of a cross as a Christian monument. Two niches for figures have been chiselled into the rock, each surrounded by holes. Today, the cross is about 3.5 metres high.
The origin of its name is unclear. It could be derived from Unserer lieben Frau Bild-Kreuz, "Sculpted Cross of Our Dear Lady". Another possibility is that the name is derived from Sibyl, which was given to prophetic women. Evidence of the latter is that the menhir was mentioned in 1617 as the Sybillen Creutz ("Sybil Cross").
|
[
"menhir",
"Ferschweiler",
"Ferschweiler Plateau",
"Cross",
"Bollendorf",
"Schankweiler",
"missionary",
"Nusbaum",
"Willibrord",
"Sibyl",
"Eifel",
"Germany"
] |
|
14410_NT
|
Fraubillen cross
|
Focus on this artwork and discuss the abstract.
|
The Fraubillen cross (German: Fraubillenkreuz) is a menhir, which has been resculpted into a cross. It stands by a wayside on the Ferschweiler Plateau in the Eifel mountains in Germany, between Ferschweiler, Schankweiler, Nusbaum-Rohrbach and Bollendorf.
According to tradition, the celebrated missionary in the Eifel region, Willibrord refashioned the roughly 5,000-year-old menhir by hand into the shape of a cross as a Christian monument. Two niches for figures have been chiselled into the rock, each surrounded by holes. Today, the cross is about 3.5 metres high.
The origin of its name is unclear. It could be derived from Unserer lieben Frau Bild-Kreuz, "Sculpted Cross of Our Dear Lady". Another possibility is that the name is derived from Sibyl, which was given to prophetic women. Evidence of the latter is that the menhir was mentioned in 1617 as the Sybillen Creutz ("Sybil Cross").
|
[
"menhir",
"Ferschweiler",
"Ferschweiler Plateau",
"Cross",
"Bollendorf",
"Schankweiler",
"missionary",
"Nusbaum",
"Willibrord",
"Sibyl",
"Eifel",
"Germany"
] |
|
14411_T
|
Der Rufer
|
How does Der Rufer elucidate its abstract?
|
Der Rufer (lit. 'The Caller') is a bronze sculpture by Gerhard Marcks created in 1967. Casts of the original sculpture are located in Bremen, Berlin and Perth. The statue is of a barefooted man in a robe, cupping his hands to his mouth as if shouting.
The original commission in 1967 was for a statue outside a telecommunications building in Bremen.In 1982, a version of the statue was presented to the Art Gallery of Western Australia in Perth by CSR Limited. The Perth statue was dedicated to victims and survivors of torture in 1998.Shortly before the fall of the Berlin Wall, a cast of the statue was installed near the Brandenburg Gate in Tiergarten in Berlin. The inscription contains a message of peace.
|
[
"Tiergarten",
"Berlin Wall",
"CSR Limited",
"Art Gallery of Western Australia",
"torture",
"Berlin",
"Gerhard Marcks",
"Perth",
"Brandenburg Gate",
"Bremen"
] |
|
14411_NT
|
Der Rufer
|
How does this artwork elucidate its abstract?
|
Der Rufer (lit. 'The Caller') is a bronze sculpture by Gerhard Marcks created in 1967. Casts of the original sculpture are located in Bremen, Berlin and Perth. The statue is of a barefooted man in a robe, cupping his hands to his mouth as if shouting.
The original commission in 1967 was for a statue outside a telecommunications building in Bremen.In 1982, a version of the statue was presented to the Art Gallery of Western Australia in Perth by CSR Limited. The Perth statue was dedicated to victims and survivors of torture in 1998.Shortly before the fall of the Berlin Wall, a cast of the statue was installed near the Brandenburg Gate in Tiergarten in Berlin. The inscription contains a message of peace.
|
[
"Tiergarten",
"Berlin Wall",
"CSR Limited",
"Art Gallery of Western Australia",
"torture",
"Berlin",
"Gerhard Marcks",
"Perth",
"Brandenburg Gate",
"Bremen"
] |
|
14412_T
|
Two Actors in Samurai Roles (Gosotei Hirosada)
|
Focus on Two Actors in Samurai Roles (Gosotei Hirosada) and analyze the abstract.
|
Two Actors in Samurai Roles from the series "Tales of Brave Warriors of Renown" is an ukiyo-e woodblock print diptych by Osaka-based late Edo period print designer Gosōtei Hirosada (五粽亭廣貞) (fl. c. 1819-1863). Each sheet depicts a kabuki actor as a samurai, and belongs to a series of prints celebrating illustrious figures in Japan's martial tradition. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.
|
[
"Royal Ontario Museum",
"Edo",
"samurai",
"ukiyo-e",
"kabuki",
"Edo period",
"Gosōtei Hirosada",
"fl.",
"woodblock print",
"Samurai",
"Prince Takamado"
] |
|
14412_NT
|
Two Actors in Samurai Roles (Gosotei Hirosada)
|
Focus on this artwork and analyze the abstract.
|
Two Actors in Samurai Roles from the series "Tales of Brave Warriors of Renown" is an ukiyo-e woodblock print diptych by Osaka-based late Edo period print designer Gosōtei Hirosada (五粽亭廣貞) (fl. c. 1819-1863). Each sheet depicts a kabuki actor as a samurai, and belongs to a series of prints celebrating illustrious figures in Japan's martial tradition. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.
|
[
"Royal Ontario Museum",
"Edo",
"samurai",
"ukiyo-e",
"kabuki",
"Edo period",
"Gosōtei Hirosada",
"fl.",
"woodblock print",
"Samurai",
"Prince Takamado"
] |
|
14413_T
|
Two Actors in Samurai Roles (Gosotei Hirosada)
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In Two Actors in Samurai Roles (Gosotei Hirosada), how is the Print details discussed?
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Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paper
Size: chūban tate-e (中判竪絵)
Format: 2 ichimai-e (一枚絵) single sheet prints creating a diptych
Genre: kabuki-e (歌舞伎絵), yakusha-e (役者絵) actor print
Japanese title: 「高名武勇伝」「宇治兵部の介」 & 「高名武勇伝」「金井たに五郎」
Exhibit title: Two Actors in Samurai Roles from the series "Tales of Brave Warriors of Renown"
Date: 1847–1850
Inscription: none
Signature: 廣貞 [Hirosada] in white spaces among foliage on outside edge of either print
Publisher's mark: none visible
Censor seal: none
Date seal: none
Credit line: none
|
[
"kabuki",
"nishiki-e",
"woodblock print",
"Samurai"
] |
|
14413_NT
|
Two Actors in Samurai Roles (Gosotei Hirosada)
|
In this artwork, how is the Print details discussed?
|
Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paper
Size: chūban tate-e (中判竪絵)
Format: 2 ichimai-e (一枚絵) single sheet prints creating a diptych
Genre: kabuki-e (歌舞伎絵), yakusha-e (役者絵) actor print
Japanese title: 「高名武勇伝」「宇治兵部の介」 & 「高名武勇伝」「金井たに五郎」
Exhibit title: Two Actors in Samurai Roles from the series "Tales of Brave Warriors of Renown"
Date: 1847–1850
Inscription: none
Signature: 廣貞 [Hirosada] in white spaces among foliage on outside edge of either print
Publisher's mark: none visible
Censor seal: none
Date seal: none
Credit line: none
|
[
"kabuki",
"nishiki-e",
"woodblock print",
"Samurai"
] |
|
14414_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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In the context of Two Actors in Samurai Roles (Gosotei Hirosada), explain the Series of the Image.
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The prints are taken from the print series 高名武勇伝 (Kōmei buyūden), which is translated as "Tales of Brave Warriors of Renown" or "Tales of Renowned Heroes." Hirosada produced multiple albums of this type including over one hundred heroic warrior images as single sheets and polytychs, including 忠孝武勇伝 (Chūka buyūden) ("Tales of Loyalty and Filial Devotion") also issued in 1848. Doesburg has argued that such print collections reflect an attempt to circumvent censorship of kabuki-themed ukiyo-e under the Tenpō Reforms by cloaking the dramatic content in titles that imply the promotion of moral values and "suggesting that the portraits were actually representations of famous men and women from history and legend." Although these images date from the period immediately after the easing of the Tenpō restrictions, they appear to be riding this trend.
|
[
"ukiyo-e",
"kabuki"
] |
|
14414_NT
|
Two Actors in Samurai Roles (Gosotei Hirosada)
|
In the context of this artwork, explain the Series of the Image.
|
The prints are taken from the print series 高名武勇伝 (Kōmei buyūden), which is translated as "Tales of Brave Warriors of Renown" or "Tales of Renowned Heroes." Hirosada produced multiple albums of this type including over one hundred heroic warrior images as single sheets and polytychs, including 忠孝武勇伝 (Chūka buyūden) ("Tales of Loyalty and Filial Devotion") also issued in 1848. Doesburg has argued that such print collections reflect an attempt to circumvent censorship of kabuki-themed ukiyo-e under the Tenpō Reforms by cloaking the dramatic content in titles that imply the promotion of moral values and "suggesting that the portraits were actually representations of famous men and women from history and legend." Although these images date from the period immediately after the easing of the Tenpō restrictions, they appear to be riding this trend.
|
[
"ukiyo-e",
"kabuki"
] |
|
14415_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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Explore the Play about the Image of this artwork, Two Actors in Samurai Roles (Gosotei Hirosada).
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The scene in this diptych is taken from the play Go Taiheiki Shiroishi Banashi (碁太平記白石噺). Originally written in 1780 for the ningyō jōruri puppet theatre by Kijō Tarō (紀上太郎),Utei Enba (烏亭焉馬) and Yō Yōtai (容楊黛), the play was soon adapted for the kabuki stage. The seventh act, commonly referred to as "Ageya", is still performed on a regular basis.Made up of eleven acts, the play is part jidaimono historical drama and part sewamono contemporary drama. It recounts the story of the Keian Uprising of 1651 led by Yui Shōsetsu (由井正雪) (d. 1651), a commoner who rose to prominence as an expert swordsman and martial artist. Frustrated by the increasingly strict regulations placed on the samurai, Yui and a small band of rōnin attempted to stage a coup against the ruling Tokugawa shogunate. The plot was discovered, Yui arrested and ultimately allowed to commit seppuku ritual suicide. The other section of the play tells the story of a revenge plot hatched by two long-lost sisters. Reunited in an Edo brothel, the two women plan to exact vengeance on the evil samurai who killed their farmer father.The diptych is taken from a performance of the play which was staged in the eighth month of 1848 at Osaka's Kado Theatre.
The print on the right is of the actor Ichikawa Ebizō as Uji Hyōbu-no-suke (宇治兵部助)(also Uji Jōetsu (宇治常悦)), a fictionalized version of rebel leader Yui Shōsetsu. The left print shows Arashi Rikan as Kanae Tanigorō (金井たに五郎) (also 金江谷五郎 (Kanai Yagorō)).
|
[
"rōnin",
"Edo",
"samurai",
"ningyō jōruri",
"kabuki",
"seppuku",
"sewamono",
"Keian Uprising",
"Yui Shōsetsu",
"jidaimono",
"Tokugawa shogunate"
] |
|
14415_NT
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Two Actors in Samurai Roles (Gosotei Hirosada)
|
Explore the Play about the Image of this artwork.
|
The scene in this diptych is taken from the play Go Taiheiki Shiroishi Banashi (碁太平記白石噺). Originally written in 1780 for the ningyō jōruri puppet theatre by Kijō Tarō (紀上太郎),Utei Enba (烏亭焉馬) and Yō Yōtai (容楊黛), the play was soon adapted for the kabuki stage. The seventh act, commonly referred to as "Ageya", is still performed on a regular basis.Made up of eleven acts, the play is part jidaimono historical drama and part sewamono contemporary drama. It recounts the story of the Keian Uprising of 1651 led by Yui Shōsetsu (由井正雪) (d. 1651), a commoner who rose to prominence as an expert swordsman and martial artist. Frustrated by the increasingly strict regulations placed on the samurai, Yui and a small band of rōnin attempted to stage a coup against the ruling Tokugawa shogunate. The plot was discovered, Yui arrested and ultimately allowed to commit seppuku ritual suicide. The other section of the play tells the story of a revenge plot hatched by two long-lost sisters. Reunited in an Edo brothel, the two women plan to exact vengeance on the evil samurai who killed their farmer father.The diptych is taken from a performance of the play which was staged in the eighth month of 1848 at Osaka's Kado Theatre.
The print on the right is of the actor Ichikawa Ebizō as Uji Hyōbu-no-suke (宇治兵部助)(also Uji Jōetsu (宇治常悦)), a fictionalized version of rebel leader Yui Shōsetsu. The left print shows Arashi Rikan as Kanae Tanigorō (金井たに五郎) (also 金江谷五郎 (Kanai Yagorō)).
|
[
"rōnin",
"Edo",
"samurai",
"ningyō jōruri",
"kabuki",
"seppuku",
"sewamono",
"Keian Uprising",
"Yui Shōsetsu",
"jidaimono",
"Tokugawa shogunate"
] |
|
14416_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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In the context of Two Actors in Samurai Roles (Gosotei Hirosada), discuss the Description of the Image.
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The diptych depicts two samurai facing each other in dramatic combative poses. They both wear waraji straw sandals, dark blue thigh-length kimono, and light blue obi tied casually around their waists. Both figures have chonmage topknots and carry two swords tucked into their obi. The figure on the left stands in an active pose with one foot off the ground. With his right hand he raises a sword over his head, and in his left he profers an ōgi folding fan with writing—possibly a poem—on it. The figure on the right wears a more elaborate kimono, which includes a haori jacket decorated with a flower kamon family crest on the sleeve and shoulder. He stands with his legs widely and firmly planted, about to grab his sword.
The scene takes place outdoors against the backdrop of pinetrees. Like the sky and ground which are grey with no detail, the trees appear simply as silhouettes. Among the trees in the background is the shadow of a building with a traditional thatched roof. On the ground between the two figures is a fire.
|
[
"samurai",
"chonmage",
"obi",
"haori",
"kamon",
"folding fan",
"kimono"
] |
|
14416_NT
|
Two Actors in Samurai Roles (Gosotei Hirosada)
|
In the context of this artwork, discuss the Description of the Image.
|
The diptych depicts two samurai facing each other in dramatic combative poses. They both wear waraji straw sandals, dark blue thigh-length kimono, and light blue obi tied casually around their waists. Both figures have chonmage topknots and carry two swords tucked into their obi. The figure on the left stands in an active pose with one foot off the ground. With his right hand he raises a sword over his head, and in his left he profers an ōgi folding fan with writing—possibly a poem—on it. The figure on the right wears a more elaborate kimono, which includes a haori jacket decorated with a flower kamon family crest on the sleeve and shoulder. He stands with his legs widely and firmly planted, about to grab his sword.
The scene takes place outdoors against the backdrop of pinetrees. Like the sky and ground which are grey with no detail, the trees appear simply as silhouettes. Among the trees in the background is the shadow of a building with a traditional thatched roof. On the ground between the two figures is a fire.
|
[
"samurai",
"chonmage",
"obi",
"haori",
"kamon",
"folding fan",
"kimono"
] |
|
14417_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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In the context of Two Actors in Samurai Roles (Gosotei Hirosada), analyze the Arashi Rikan III of the Subjects.
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Born in 1812, Rikan III began his stage career appearing with his father's travelling actor troupe. As a youth, however, he began studying kabuki under the head of the Arashi Rikan family, Rikan II. He performed very frequently on the Osaka, Edo and Kyoto stages. although especially praised for his tachiyaku (male heroes) and onnagata female roles, he has been described as "an outstanding kaneru yakusha," which is to say he was capable of performing a wide variety of both male and female roles. He was particularly praised for his powerful physique and voice, as well as his shamisen playing. Rikan III remained active on the stage until his death in 1863. He is buried on the grounds of Hōzenji Temple in the Dōtombori entertainment district of Osaka.
|
[
"Edo",
"kabuki",
"onnagata",
"tachiyaku",
"Kyoto",
"shamisen"
] |
|
14417_NT
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Two Actors in Samurai Roles (Gosotei Hirosada)
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In the context of this artwork, analyze the Arashi Rikan III of the Subjects.
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Born in 1812, Rikan III began his stage career appearing with his father's travelling actor troupe. As a youth, however, he began studying kabuki under the head of the Arashi Rikan family, Rikan II. He performed very frequently on the Osaka, Edo and Kyoto stages. although especially praised for his tachiyaku (male heroes) and onnagata female roles, he has been described as "an outstanding kaneru yakusha," which is to say he was capable of performing a wide variety of both male and female roles. He was particularly praised for his powerful physique and voice, as well as his shamisen playing. Rikan III remained active on the stage until his death in 1863. He is buried on the grounds of Hōzenji Temple in the Dōtombori entertainment district of Osaka.
|
[
"Edo",
"kabuki",
"onnagata",
"tachiyaku",
"Kyoto",
"shamisen"
] |
|
14418_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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Describe the characteristics of the Ichikawa Ebizō V in Two Actors in Samurai Roles (Gosotei Hirosada)'s Subjects.
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Born in Edo in 1791, Ebizō was the son of a shibai jaya (theatre tea-house) owner and grandson of Ichikawa Danjūrō V, one of the biggest kabuki stars of his day. He first appeared on the stage in 1794 at the age of three, and went on to become an "outstanding tachiyaku [actor of male roles] and the most popular actor of the nineteenth century." He is described as "highly original", and as being particularly skilled at performing multiple roles within the same play and the requisite quick changes.Ebizō V gained infamy in the summer of 1842 when he was found to be in violation of the restrictive sumptuary laws imposed through the Tempō Reforms. He was arrested and temporarily banished from Edo to Kamigata on the grounds that his ostentatious lifestyle was deemed to be irreconcilable with the Tokugawa bakufu's call for modesty and frugality. He was able to return seven years later, and had a very active career until his death in 1859. His sons continued his tradition, and both the Danjūrō and Ebizō lines continue to this day.
|
[
"Edo",
"sumptuary law",
"kabuki",
"Kamigata",
"tachiyaku"
] |
|
14418_NT
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Two Actors in Samurai Roles (Gosotei Hirosada)
|
Describe the characteristics of the Ichikawa Ebizō V in this artwork's Subjects.
|
Born in Edo in 1791, Ebizō was the son of a shibai jaya (theatre tea-house) owner and grandson of Ichikawa Danjūrō V, one of the biggest kabuki stars of his day. He first appeared on the stage in 1794 at the age of three, and went on to become an "outstanding tachiyaku [actor of male roles] and the most popular actor of the nineteenth century." He is described as "highly original", and as being particularly skilled at performing multiple roles within the same play and the requisite quick changes.Ebizō V gained infamy in the summer of 1842 when he was found to be in violation of the restrictive sumptuary laws imposed through the Tempō Reforms. He was arrested and temporarily banished from Edo to Kamigata on the grounds that his ostentatious lifestyle was deemed to be irreconcilable with the Tokugawa bakufu's call for modesty and frugality. He was able to return seven years later, and had a very active career until his death in 1859. His sons continued his tradition, and both the Danjūrō and Ebizō lines continue to this day.
|
[
"Edo",
"sumptuary law",
"kabuki",
"Kamigata",
"tachiyaku"
] |
|
14419_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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In the context of Two Actors in Samurai Roles (Gosotei Hirosada), explain the Kamigata-e of the Medium and genre.
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Gosōtei Hirosada's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the emergence of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were produced almost exclusively by amateur “talented kabuki fans” promoting their favourite actors.
|
[
"Edo",
"ukiyo-e",
"kabuki",
"Kamigata",
"Gosōtei Hirosada",
"Kyoto"
] |
|
14419_NT
|
Two Actors in Samurai Roles (Gosotei Hirosada)
|
In the context of this artwork, explain the Kamigata-e of the Medium and genre.
|
Gosōtei Hirosada's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the emergence of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were produced almost exclusively by amateur “talented kabuki fans” promoting their favourite actors.
|
[
"Edo",
"ukiyo-e",
"kabuki",
"Kamigata",
"Gosōtei Hirosada",
"Kyoto"
] |
|
14420_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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Explore the Kabuki-e about the Medium and genre of this artwork, Two Actors in Samurai Roles (Gosotei Hirosada).
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Literally 'kabuki pictures', kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, stars emerged, which in turn led to the yakusha-e (役者絵) (actor print) subgenre. Further subgenres of yakusha-e include ōkubi-e (大首絵) bust portraits, zenshin-zu (全身図) full-length portraits, mitate-e (見立絵) parody pictures, and shini-e (死に絵) death portraits.
|
[
"Edo",
"Kabuki",
"kabuki"
] |
|
14420_NT
|
Two Actors in Samurai Roles (Gosotei Hirosada)
|
Explore the Kabuki-e about the Medium and genre of this artwork.
|
Literally 'kabuki pictures', kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, stars emerged, which in turn led to the yakusha-e (役者絵) (actor print) subgenre. Further subgenres of yakusha-e include ōkubi-e (大首絵) bust portraits, zenshin-zu (全身図) full-length portraits, mitate-e (見立絵) parody pictures, and shini-e (死に絵) death portraits.
|
[
"Edo",
"Kabuki",
"kabuki"
] |
|
14421_T
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Two Actors in Samurai Roles (Gosotei Hirosada)
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Focus on Two Actors in Samurai Roles (Gosotei Hirosada) and discuss the Related works.
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Actors Kataoka Gadô II as Matsugae Tetsunosuke and Arashi Rikan III as Saibara Kageyu (3/1848) from the series Tales of Renowned Heroes. "Museum of Fine Arts, Boston". Archived from the original on 2014-05-28. Retrieved 2014-06-06.{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Arashi Rikan (嵐璃寛) in the play Meiboku Sendai Hagi (伽羅先代萩) (3/1848) from the series "Tales of Renowned Heroes". "Art Research Centre, Ritsumeikan University". Archived from the original on 2014-05-28. Retrieved 2014-06-06.{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Jitsukawa Enzaburō (実川延三郎) in the play Azuma Miyage Date no Hinagata (東都産伊達雛形) (8/1848) from the series "Tales of Renowned Heroes". "Art Research Centre, Ritsumeikan University". Archived from the original on 2014-04-02. Retrieved 2014-06-17.{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Kataoka Ichizō (片岡市蔵) in the play Azuma Miyage Date no Hinagata (東都産伊達雛形) (8/1848) from the series "Tales of Renowned Heroes" (8/1848). "Art Research Centre, Ritsumeikan University".{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Mimasu Daigorō (三枡大五郎) in the play Azuma Miyage Date no Hinagata (東都産伊達雛形) (8/1848) from the series "Tales of Renowned Heroes". "Art Research Centre, Ritsumeikan University". Archived from the original on 2014-04-03. Retrieved 2014-06-17.{{cite web}}: CS1 maint: numeric names: authors list (link)
|
[
"Kataoka Ichizō"
] |
|
14421_NT
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Two Actors in Samurai Roles (Gosotei Hirosada)
|
Focus on this artwork and discuss the Related works.
|
Actors Kataoka Gadô II as Matsugae Tetsunosuke and Arashi Rikan III as Saibara Kageyu (3/1848) from the series Tales of Renowned Heroes. "Museum of Fine Arts, Boston". Archived from the original on 2014-05-28. Retrieved 2014-06-06.{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Arashi Rikan (嵐璃寛) in the play Meiboku Sendai Hagi (伽羅先代萩) (3/1848) from the series "Tales of Renowned Heroes". "Art Research Centre, Ritsumeikan University". Archived from the original on 2014-05-28. Retrieved 2014-06-06.{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Jitsukawa Enzaburō (実川延三郎) in the play Azuma Miyage Date no Hinagata (東都産伊達雛形) (8/1848) from the series "Tales of Renowned Heroes". "Art Research Centre, Ritsumeikan University". Archived from the original on 2014-04-02. Retrieved 2014-06-17.{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Kataoka Ichizō (片岡市蔵) in the play Azuma Miyage Date no Hinagata (東都産伊達雛形) (8/1848) from the series "Tales of Renowned Heroes" (8/1848). "Art Research Centre, Ritsumeikan University".{{cite web}}: CS1 maint: numeric names: authors list (link)Actor Mimasu Daigorō (三枡大五郎) in the play Azuma Miyage Date no Hinagata (東都産伊達雛形) (8/1848) from the series "Tales of Renowned Heroes". "Art Research Centre, Ritsumeikan University". Archived from the original on 2014-04-03. Retrieved 2014-06-17.{{cite web}}: CS1 maint: numeric names: authors list (link)
|
[
"Kataoka Ichizō"
] |
|
14422_T
|
Bridge Tender's House (artwork)
|
How does Bridge Tender's House (artwork) elucidate its abstract?
|
Bridge Tender's House is a public artwork by American artist Mikyoung Kim, located on the 14th Street Bridge in Washington, D.C., United States. "Bridge Tender's House" was commissioned through the D.C. Commission on the Arts and Humanities.
|
[
"American",
"Washington, D.C.",
"United States",
"14th Street Bridge",
"Mikyoung Kim"
] |
|
14422_NT
|
Bridge Tender's House (artwork)
|
How does this artwork elucidate its abstract?
|
Bridge Tender's House is a public artwork by American artist Mikyoung Kim, located on the 14th Street Bridge in Washington, D.C., United States. "Bridge Tender's House" was commissioned through the D.C. Commission on the Arts and Humanities.
|
[
"American",
"Washington, D.C.",
"United States",
"14th Street Bridge",
"Mikyoung Kim"
] |
|
14423_T
|
Bridge Tender's House (artwork)
|
Focus on Bridge Tender's House (artwork) and analyze the Description.
|
Housed inside the bridge's original watchtower (or bridge tender's house), each of the six windows has a group of reflective, dichroic acrylic kaleidoscope cones that feature abstract reflective floating surfaces of color and light. The bottom of each cone has a mirror and a light that assists in producing a reflection. Each angle produces a different hue which emanates from the windows, visible from the bridge, the Washington Metro and the Potomac River, but in compliance with U.S. Coast Guard regulations, not allowing it to distract drivers on land or water. Overall, the piece sends out "thousands of glimmering colors in six directions where a drawbridge once sat."The kaleidoscopes consist of panels of clear and reflective acrylic material. The reflective and dichroic panels are clipped and bolted to the masonry window sill of the structure. The acrylic was chosen due to its sturdiness as a shatterproof, heat resistant, fire retardant product that also resists sunlight fading. Three fiber optic illumination boxes with a central halide fixture are installed with multiple fiber optic cables that serve as lighting sources for the kaleidoscopes. They are secured with steel beams and platforms, which also serve as a rotating table for the lights.
|
[
"U.S. Coast Guard",
"dichroic acrylic",
"kaleidoscope",
"steel",
"Potomac River",
"Washington Metro",
"mirror",
"fiber optic",
"bridge tender's house",
"halide",
"hue",
"drawbridge",
"acrylic",
"watchtower"
] |
|
14423_NT
|
Bridge Tender's House (artwork)
|
Focus on this artwork and analyze the Description.
|
Housed inside the bridge's original watchtower (or bridge tender's house), each of the six windows has a group of reflective, dichroic acrylic kaleidoscope cones that feature abstract reflective floating surfaces of color and light. The bottom of each cone has a mirror and a light that assists in producing a reflection. Each angle produces a different hue which emanates from the windows, visible from the bridge, the Washington Metro and the Potomac River, but in compliance with U.S. Coast Guard regulations, not allowing it to distract drivers on land or water. Overall, the piece sends out "thousands of glimmering colors in six directions where a drawbridge once sat."The kaleidoscopes consist of panels of clear and reflective acrylic material. The reflective and dichroic panels are clipped and bolted to the masonry window sill of the structure. The acrylic was chosen due to its sturdiness as a shatterproof, heat resistant, fire retardant product that also resists sunlight fading. Three fiber optic illumination boxes with a central halide fixture are installed with multiple fiber optic cables that serve as lighting sources for the kaleidoscopes. They are secured with steel beams and platforms, which also serve as a rotating table for the lights.
|
[
"U.S. Coast Guard",
"dichroic acrylic",
"kaleidoscope",
"steel",
"Potomac River",
"Washington Metro",
"mirror",
"fiber optic",
"bridge tender's house",
"halide",
"hue",
"drawbridge",
"acrylic",
"watchtower"
] |
|
14424_T
|
Bridge Tender's House (artwork)
|
In Bridge Tender's House (artwork), how is the Acquisition discussed?
|
The Washington D.C. Department of Transportation believed that the watchtower, which served as a lookout point for the bridge's former role as a drawbridge (which ended in the 1960s), was an eyesore and requested the assistance of the D.C. Commission on the Arts and Humanities to find an artist to create something that would enhance the space.In all, 122 artists applied for the project, a selected group of artists were brought to the watchtower to experience the space, and five finalists were selected. The submission requirements set by the District Department of Transportation reflected concerns for driver safety: no additional extensions to the height of the tower or flashing lights were allowed, the artwork could not slow down traffic, and of course safety, low maintenance, and durability to the work of art were required. The finalists' projects were also reviewed by the U.S. Coast Guard, the Federal Aviation Administration and the Federal Highway Administration. Eventually, Mikyoung Kim was selected as the artist for the work.
|
[
"U.S. Coast Guard",
"District Department of Transportation",
"Federal Aviation Administration",
"Mikyoung Kim",
"drawbridge",
"watchtower",
"Federal Highway Administration"
] |
|
14424_NT
|
Bridge Tender's House (artwork)
|
In this artwork, how is the Acquisition discussed?
|
The Washington D.C. Department of Transportation believed that the watchtower, which served as a lookout point for the bridge's former role as a drawbridge (which ended in the 1960s), was an eyesore and requested the assistance of the D.C. Commission on the Arts and Humanities to find an artist to create something that would enhance the space.In all, 122 artists applied for the project, a selected group of artists were brought to the watchtower to experience the space, and five finalists were selected. The submission requirements set by the District Department of Transportation reflected concerns for driver safety: no additional extensions to the height of the tower or flashing lights were allowed, the artwork could not slow down traffic, and of course safety, low maintenance, and durability to the work of art were required. The finalists' projects were also reviewed by the U.S. Coast Guard, the Federal Aviation Administration and the Federal Highway Administration. Eventually, Mikyoung Kim was selected as the artist for the work.
|
[
"U.S. Coast Guard",
"District Department of Transportation",
"Federal Aviation Administration",
"Mikyoung Kim",
"drawbridge",
"watchtower",
"Federal Highway Administration"
] |
|
14425_T
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Bridge Tender's House (artwork)
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Focus on Bridge Tender's House (artwork) and explore the Artist.
|
Mikyoung Kim is a landscape architect from Boston, Massachusetts and currently serves as a professor of design at the Rhode Island School of Design
|
[
"Rhode Island School of Design",
"landscape architect",
"Boston",
"Boston, Massachusetts",
"Mikyoung Kim"
] |
|
14425_NT
|
Bridge Tender's House (artwork)
|
Focus on this artwork and explore the Artist.
|
Mikyoung Kim is a landscape architect from Boston, Massachusetts and currently serves as a professor of design at the Rhode Island School of Design
|
[
"Rhode Island School of Design",
"landscape architect",
"Boston",
"Boston, Massachusetts",
"Mikyoung Kim"
] |
|
14426_T
|
Bridge Tender's House (artwork)
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Focus on Bridge Tender's House (artwork) and explain the Concept.
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Kim's creation of the Bridge Tenders House was inspired by the "shimmering Potomac river" and the "fast paced movement of the train and cars". Before the installation of the artwork the watchtower underwent a major rehabilitation project. It was re-roofed, repairs to masonry and tiles took place, asbestos removed, and glass was replaced.
|
[
"asbestos",
"watchtower"
] |
|
14426_NT
|
Bridge Tender's House (artwork)
|
Focus on this artwork and explain the Concept.
|
Kim's creation of the Bridge Tenders House was inspired by the "shimmering Potomac river" and the "fast paced movement of the train and cars". Before the installation of the artwork the watchtower underwent a major rehabilitation project. It was re-roofed, repairs to masonry and tiles took place, asbestos removed, and glass was replaced.
|
[
"asbestos",
"watchtower"
] |
|
14427_T
|
Bridge Tender's House (artwork)
|
Explore the Installation of this artwork, Bridge Tender's House (artwork).
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Once the renovations to the tower were completed the artwork was installed. Once the northbound bridge deck construction was completed the piece was activated. The lights turn on starting at 4pm until midnight each night.
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[] |
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14427_NT
|
Bridge Tender's House (artwork)
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Explore the Installation of this artwork.
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Once the renovations to the tower were completed the artwork was installed. Once the northbound bridge deck construction was completed the piece was activated. The lights turn on starting at 4pm until midnight each night.
|
[] |
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14428_T
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Bridge Tender's House (artwork)
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Focus on Bridge Tender's House (artwork) and discuss the Conservation.
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The 400-watt metal halide fixture and fiber optic illuminating boxes require a bulb change every 1 to 2 years. The acrylic surfaces which face the window are cleaned with a non-abrasive cloth and a standard window cleaner. Clear fishing line is placed across the openings in the surfaces to deter birds from entering the space and clear non-glare acrylic panels can be placed in front of each kaleidoscope to protect the internal space even further.
|
[
"kaleidoscope",
"fiber optic",
"halide",
"fishing line",
"acrylic"
] |
|
14428_NT
|
Bridge Tender's House (artwork)
|
Focus on this artwork and discuss the Conservation.
|
The 400-watt metal halide fixture and fiber optic illuminating boxes require a bulb change every 1 to 2 years. The acrylic surfaces which face the window are cleaned with a non-abrasive cloth and a standard window cleaner. Clear fishing line is placed across the openings in the surfaces to deter birds from entering the space and clear non-glare acrylic panels can be placed in front of each kaleidoscope to protect the internal space even further.
|
[
"kaleidoscope",
"fiber optic",
"halide",
"fishing line",
"acrylic"
] |
|
14429_T
|
La Gare de Perpignan
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How does La Gare de Perpignan elucidate its abstract?
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La Gare de Perpignan (Perpignan Train Station also known as Pop-Op-Yes-Yes-Pompier) is a c. 1965 large-scale oil on canvas painting by the Spanish surrealist Salvador Dalí, on display in the Museum Ludwig in Cologne.
The railway station of the French city of Perpignan, near the border with Spain, held special significance for Dalí, who had proclaimed it to be the "Center of the Universe" after experiencing a vision of cosmogonic ecstasy there in 1963.
|
[
"French",
"surrealist",
"Museum Ludwig",
"Cologne",
"railway station",
"Spanish",
"Salvador Dalí",
"Gare de Perpignan",
"ecstasy",
"Perpignan",
"Spain",
"cosmogonic"
] |
|
14429_NT
|
La Gare de Perpignan
|
How does this artwork elucidate its abstract?
|
La Gare de Perpignan (Perpignan Train Station also known as Pop-Op-Yes-Yes-Pompier) is a c. 1965 large-scale oil on canvas painting by the Spanish surrealist Salvador Dalí, on display in the Museum Ludwig in Cologne.
The railway station of the French city of Perpignan, near the border with Spain, held special significance for Dalí, who had proclaimed it to be the "Center of the Universe" after experiencing a vision of cosmogonic ecstasy there in 1963.
|
[
"French",
"surrealist",
"Museum Ludwig",
"Cologne",
"railway station",
"Spanish",
"Salvador Dalí",
"Gare de Perpignan",
"ecstasy",
"Perpignan",
"Spain",
"cosmogonic"
] |
|
14430_T
|
La Gare de Perpignan
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Focus on La Gare de Perpignan and analyze the Description.
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The sacrifice of the son is imaged in the form of Christ on the Cross, with his crown of thorns, floating in the center of the composition. The bleeding wound of Christ is associated with the farmer's fork (on the right) thrust into the ground (as a fertility ritual). Dalí is represented twice in the vertical axis: he appears in the light at the center of the image, seen from below, floating with arms spread, and again at the top of the painting. On the bottom of the painting lies a calm sea with a boat, an ancient symbol of the passage from life to death, reinforcing the theme of Christ's sacrifice. Above the sea, a woman seen from the back watches these scenes, immobile, and recalling the helplessness of man facing death, symbolized not only by the bloody wounds of Christ, but also by Dalí, who, spread-eagled, seems to fall into nothingness.
At the top center of the painting, a flat wagon carrying a specialized trailer comes out of nowhere (characteristic of Surrealism), and reminds one of the central themes of the painting, the railway station of Perpignan in France, near the Spanish border in the Pyrenees. The left side of the painting shows embodiment of positive values (the couple on the bags of wheat represent labor, and the man in a meditative pose embodies respect), while on the right of the image are embodied sins and suffering (the man and woman representing lust, and the woman mourning). The two figures flanking the far left and right sides are taken from The Angelus, a well-known pious painting by the French artist Jean-François Millet.
|
[
"French",
"France",
"Surrealism",
"railway station",
"Spanish",
"Jean-François Millet",
"flat wagon",
"left",
"Perpignan",
"crown of thorns",
"Pyrenees",
"trailer",
"railway station of Perpignan",
"The Angelus",
"Christ on the Cross"
] |
|
14430_NT
|
La Gare de Perpignan
|
Focus on this artwork and analyze the Description.
|
The sacrifice of the son is imaged in the form of Christ on the Cross, with his crown of thorns, floating in the center of the composition. The bleeding wound of Christ is associated with the farmer's fork (on the right) thrust into the ground (as a fertility ritual). Dalí is represented twice in the vertical axis: he appears in the light at the center of the image, seen from below, floating with arms spread, and again at the top of the painting. On the bottom of the painting lies a calm sea with a boat, an ancient symbol of the passage from life to death, reinforcing the theme of Christ's sacrifice. Above the sea, a woman seen from the back watches these scenes, immobile, and recalling the helplessness of man facing death, symbolized not only by the bloody wounds of Christ, but also by Dalí, who, spread-eagled, seems to fall into nothingness.
At the top center of the painting, a flat wagon carrying a specialized trailer comes out of nowhere (characteristic of Surrealism), and reminds one of the central themes of the painting, the railway station of Perpignan in France, near the Spanish border in the Pyrenees. The left side of the painting shows embodiment of positive values (the couple on the bags of wheat represent labor, and the man in a meditative pose embodies respect), while on the right of the image are embodied sins and suffering (the man and woman representing lust, and the woman mourning). The two figures flanking the far left and right sides are taken from The Angelus, a well-known pious painting by the French artist Jean-François Millet.
|
[
"French",
"France",
"Surrealism",
"railway station",
"Spanish",
"Jean-François Millet",
"flat wagon",
"left",
"Perpignan",
"crown of thorns",
"Pyrenees",
"trailer",
"railway station of Perpignan",
"The Angelus",
"Christ on the Cross"
] |
|
14431_T
|
High Street, Oxford (painting)
|
In High Street, Oxford (painting), how is the abstract discussed?
|
High Street, Oxford is an oil painting by J. M. W. Turner that was exhibited in 1810.The painting shows a view looking west along the High Street, a major street in central Oxford, England, with University College on the left, All Souls College on the right, and the spires of All Saints Church (now the library of Lincoln College, centre) and St Mary's Church (the University church, centre right). In the distance is the tower of St Martin's Church (marking the centre of Oxford, now known as Carfax Tower since the rest of the church has been demolished).
Originally, the painting was commissioned by James Wyatt. He intended to have it engraved and sold as a print at his shop, located at 115 High Street in Oxford.The painting is now exhibited at the Ashmolean Museum in Oxford. In 2015, there was a campaign to raise money for the purchase of the picture (estimated value £3.5 million) since previously it was on long-term loan to the museum from a private collection since 1997. It was left to the nation in lieu of death duties. The painting was acquired using grants of £550,000 from the UK Heritage Lottery Fund, £220,000 from the UK Art Fund, and £30,000 from the Friends and Patrons of the Ashmolean Museum.Thomas Malton, who taught Turner, also painted a similar painting.
|
[
"James Wyatt",
"University College",
"Oxford",
"Thomas Malton",
"St Mary's Church",
"Ashmolean Museum",
"High Street, Oxford",
"All Souls College",
"Carfax Tower",
"University",
"High Street",
"oil painting",
"St Martin's Church",
"Lincoln College",
"Heritage Lottery Fund",
"Art Fund",
"J. M. W. Turner",
"All Saints Church"
] |
|
14431_NT
|
High Street, Oxford (painting)
|
In this artwork, how is the abstract discussed?
|
High Street, Oxford is an oil painting by J. M. W. Turner that was exhibited in 1810.The painting shows a view looking west along the High Street, a major street in central Oxford, England, with University College on the left, All Souls College on the right, and the spires of All Saints Church (now the library of Lincoln College, centre) and St Mary's Church (the University church, centre right). In the distance is the tower of St Martin's Church (marking the centre of Oxford, now known as Carfax Tower since the rest of the church has been demolished).
Originally, the painting was commissioned by James Wyatt. He intended to have it engraved and sold as a print at his shop, located at 115 High Street in Oxford.The painting is now exhibited at the Ashmolean Museum in Oxford. In 2015, there was a campaign to raise money for the purchase of the picture (estimated value £3.5 million) since previously it was on long-term loan to the museum from a private collection since 1997. It was left to the nation in lieu of death duties. The painting was acquired using grants of £550,000 from the UK Heritage Lottery Fund, £220,000 from the UK Art Fund, and £30,000 from the Friends and Patrons of the Ashmolean Museum.Thomas Malton, who taught Turner, also painted a similar painting.
|
[
"James Wyatt",
"University College",
"Oxford",
"Thomas Malton",
"St Mary's Church",
"Ashmolean Museum",
"High Street, Oxford",
"All Souls College",
"Carfax Tower",
"University",
"High Street",
"oil painting",
"St Martin's Church",
"Lincoln College",
"Heritage Lottery Fund",
"Art Fund",
"J. M. W. Turner",
"All Saints Church"
] |
|
14432_T
|
The Ghost of Oyuki
|
Focus on The Ghost of Oyuki and explain the abstract.
|
The Ghost of Oyuki (お雪の幻, Oyuki no maboroshi) is a painting of a female yūrei, (a traditional Japanese ghost), by Maruyama Ōkyo (1733–1795), founder of the Maruyama-Shijō school of painting.According to an inscription on the painting, Okyo had a mistress in the Tominaga Geisha house. She died young and Okyo mourned her death. One night her spirit came to him in a dream. Unable to get her image out of his head, he painted this portrait. This is one of the earliest paintings of a yūrei with the basic late-Edo period ghost characteristics: disheveled hair, white kimono, limp hands, nearly transparent, lack of lower body.
|
[
"yūrei",
"Geisha",
"kimono",
"Edo period",
"Maruyama Ōkyo"
] |
|
14432_NT
|
The Ghost of Oyuki
|
Focus on this artwork and explain the abstract.
|
The Ghost of Oyuki (お雪の幻, Oyuki no maboroshi) is a painting of a female yūrei, (a traditional Japanese ghost), by Maruyama Ōkyo (1733–1795), founder of the Maruyama-Shijō school of painting.According to an inscription on the painting, Okyo had a mistress in the Tominaga Geisha house. She died young and Okyo mourned her death. One night her spirit came to him in a dream. Unable to get her image out of his head, he painted this portrait. This is one of the earliest paintings of a yūrei with the basic late-Edo period ghost characteristics: disheveled hair, white kimono, limp hands, nearly transparent, lack of lower body.
|
[
"yūrei",
"Geisha",
"kimono",
"Edo period",
"Maruyama Ōkyo"
] |
|
14433_T
|
Statue of Robert E. Lee (Valentine)
|
Explore the abstract of this artwork, Statue of Robert E. Lee (Valentine).
|
Robert E. Lee is a bronze sculpture commemorating the general of the same name by Edward Virginius Valentine, formerly installed in the crypt of the United States Capitol as part of the National Statuary Hall Collection. The statue was given by the commonwealth of Virginia in 1909. On December 21, 2020, the sculpture was removed from the grounds of the United States Capitol and relocated to the Virginia Museum of History & Culture.
|
[
"crypt",
"Edward Virginius Valentine",
"National Statuary Hall Collection",
"bronze sculpture",
"general of the same name",
"National Statuary Hall",
"Virginia",
"Virginia Museum of History & Culture",
"United States Capitol",
"Robert E. Lee"
] |
|
14433_NT
|
Statue of Robert E. Lee (Valentine)
|
Explore the abstract of this artwork.
|
Robert E. Lee is a bronze sculpture commemorating the general of the same name by Edward Virginius Valentine, formerly installed in the crypt of the United States Capitol as part of the National Statuary Hall Collection. The statue was given by the commonwealth of Virginia in 1909. On December 21, 2020, the sculpture was removed from the grounds of the United States Capitol and relocated to the Virginia Museum of History & Culture.
|
[
"crypt",
"Edward Virginius Valentine",
"National Statuary Hall Collection",
"bronze sculpture",
"general of the same name",
"National Statuary Hall",
"Virginia",
"Virginia Museum of History & Culture",
"United States Capitol",
"Robert E. Lee"
] |
|
14434_T
|
Statue of Robert E. Lee (Valentine)
|
Focus on Statue of Robert E. Lee (Valentine) and discuss the Replacement.
|
On January 2, 2020, Virginia governor Ralph Northam requested a bill to remove the statue from the U.S. Capitol building. The idea came from United States representatives Jennifer Wexton and Donald McEachin. "These statutes aimed to rewrite Lee’s reputation from that of a cruel slave owner and Confederate General to portraying him as a kind man and reluctant war hero who selflessly served his home state of Virginia," Wexton and McEachin wrote in a letter to Northam. The pair suggested several potential candidates, including educator and orator Booker T. Washington and civil rights attorney Oliver Hill.On December 16, 2020, the Commission on Historical Statues in the United States Capitol unanimously recommended that the Lee statue be replaced with a statue of civil rights activist Barbara Rose Johns as the Virginian representative within the collection. The statue of Robert E. Lee was removed from the National Statuary Hall five days later, on 21 December with Wexton, McEachin and Virginia United States Senator Tim Kaine in attendance. It was then transferred to the Virginia Museum of History & Culture.
|
[
"Tim Kaine",
"Booker T. Washington",
"Donald McEachin",
"National Statuary Hall",
"Virginia",
"Ralph Northam",
"Virginia Museum of History & Culture",
"United States Capitol",
"Barbara Rose Johns",
"Jennifer Wexton",
"Robert E. Lee",
"Oliver Hill"
] |
|
14434_NT
|
Statue of Robert E. Lee (Valentine)
|
Focus on this artwork and discuss the Replacement.
|
On January 2, 2020, Virginia governor Ralph Northam requested a bill to remove the statue from the U.S. Capitol building. The idea came from United States representatives Jennifer Wexton and Donald McEachin. "These statutes aimed to rewrite Lee’s reputation from that of a cruel slave owner and Confederate General to portraying him as a kind man and reluctant war hero who selflessly served his home state of Virginia," Wexton and McEachin wrote in a letter to Northam. The pair suggested several potential candidates, including educator and orator Booker T. Washington and civil rights attorney Oliver Hill.On December 16, 2020, the Commission on Historical Statues in the United States Capitol unanimously recommended that the Lee statue be replaced with a statue of civil rights activist Barbara Rose Johns as the Virginian representative within the collection. The statue of Robert E. Lee was removed from the National Statuary Hall five days later, on 21 December with Wexton, McEachin and Virginia United States Senator Tim Kaine in attendance. It was then transferred to the Virginia Museum of History & Culture.
|
[
"Tim Kaine",
"Booker T. Washington",
"Donald McEachin",
"National Statuary Hall",
"Virginia",
"Ralph Northam",
"Virginia Museum of History & Culture",
"United States Capitol",
"Barbara Rose Johns",
"Jennifer Wexton",
"Robert E. Lee",
"Oliver Hill"
] |
|
14435_T
|
Averoldi Polyptych
|
How does Averoldi Polyptych elucidate its abstract?
|
The Averoldi Polyptych, also known as the Averoldi Altarpiece, is a painting by the Italian Renaissance painter Titian, dating to 1520–1522, in the basilica church of Santi Nazaro e Celso in Brescia, northern Italy.
It is signed "Ticianus Faciebat / MDXXII" on the column of the panel showing St. Sebastian.
|
[
"Santi Nazaro e Celso",
"Altarpiece",
"Italy",
"Titian",
"Brescia"
] |
|
14435_NT
|
Averoldi Polyptych
|
How does this artwork elucidate its abstract?
|
The Averoldi Polyptych, also known as the Averoldi Altarpiece, is a painting by the Italian Renaissance painter Titian, dating to 1520–1522, in the basilica church of Santi Nazaro e Celso in Brescia, northern Italy.
It is signed "Ticianus Faciebat / MDXXII" on the column of the panel showing St. Sebastian.
|
[
"Santi Nazaro e Celso",
"Altarpiece",
"Italy",
"Titian",
"Brescia"
] |
|
14436_T
|
Averoldi Polyptych
|
Focus on Averoldi Polyptych and analyze the History.
|
The work was commissioned by Altobello Averoldi, papal legate to Venice, from Titian during the period when he was the official painter of the Republic of Venice. The work was delivered in 1522, as indicated by Titian's signature in the lower right panel. The large polyptych was placed behind the high altar of the church of Santi Nazaro e Celso of Brescia, replacing another altarpiece by Vincenzo Foppa (of which now a Nativity of Jesus remains in the church of Santa Maria Assunta at Chiesanuova, as well as two side panels in the Pinacoteca Tosio Martinengo). At this time Brescia formed part of Venice's mainland possessions.
A first version of the St. Sebastian panel was offered to Duke Alfonso d'Este of Ferrara in compensation for Titian's late completion of his Bacchanalia. The Duke declined the offer, and the early St. Sebastian was perhaps sent to Mantua, where one such painting is mentioned among the works of art sold by the Gonzaga to Charles I of England. Its whereabouts after that are unknown.Averoldi subsequently also started to complain about Titian's late delivery.
|
[
"Pinacoteca Tosio Martinengo",
"Santi Nazaro e Celso",
"Vincenzo Foppa",
"Chiesanuova",
"Gonzaga",
"Ferrara",
"Republic of Venice",
"Alfonso d'Este",
"Titian",
"papal legate",
"Mantua",
"Venice",
"Brescia",
"altarpiece",
"Charles I of England"
] |
|
14436_NT
|
Averoldi Polyptych
|
Focus on this artwork and analyze the History.
|
The work was commissioned by Altobello Averoldi, papal legate to Venice, from Titian during the period when he was the official painter of the Republic of Venice. The work was delivered in 1522, as indicated by Titian's signature in the lower right panel. The large polyptych was placed behind the high altar of the church of Santi Nazaro e Celso of Brescia, replacing another altarpiece by Vincenzo Foppa (of which now a Nativity of Jesus remains in the church of Santa Maria Assunta at Chiesanuova, as well as two side panels in the Pinacoteca Tosio Martinengo). At this time Brescia formed part of Venice's mainland possessions.
A first version of the St. Sebastian panel was offered to Duke Alfonso d'Este of Ferrara in compensation for Titian's late completion of his Bacchanalia. The Duke declined the offer, and the early St. Sebastian was perhaps sent to Mantua, where one such painting is mentioned among the works of art sold by the Gonzaga to Charles I of England. Its whereabouts after that are unknown.Averoldi subsequently also started to complain about Titian's late delivery.
|
[
"Pinacoteca Tosio Martinengo",
"Santi Nazaro e Celso",
"Vincenzo Foppa",
"Chiesanuova",
"Gonzaga",
"Ferrara",
"Republic of Venice",
"Alfonso d'Este",
"Titian",
"papal legate",
"Mantua",
"Venice",
"Brescia",
"altarpiece",
"Charles I of England"
] |
|
14437_T
|
Averoldi Polyptych
|
In Averoldi Polyptych, how is the Description discussed?
|
The use of a compartmentally-divided polyptych, a solution that must have been rather old-fashioned for the time, is likely to have followed a specific request from Averoldi. In any event, Titian managed to produce a certain degree of unity, although not spatially or architecturally, unlike 15th century polyptychs. Instead, the Veneto-born painter adopted a chromatic-dynamic, with a sense of light converging towards the central scene.The panels are:Resurrection of Christ, 278x122 cm
Saints Nazarius and Celsus with Donor, 170x65 cm
Saint Sebastian, 170x65
Angel of the Annunciation, 79x65 cm
Annunciation of the Virgin, 79x65 cmThe work inspired several Renaissance painters from the Brescia area, including Savoldo and Moretto
|
[
"Savoldo",
"Annunciation",
"Moretto",
"Angel",
"Titian",
"Saint Sebastian",
"Nazarius and Celsus",
"Brescia"
] |
|
14437_NT
|
Averoldi Polyptych
|
In this artwork, how is the Description discussed?
|
The use of a compartmentally-divided polyptych, a solution that must have been rather old-fashioned for the time, is likely to have followed a specific request from Averoldi. In any event, Titian managed to produce a certain degree of unity, although not spatially or architecturally, unlike 15th century polyptychs. Instead, the Veneto-born painter adopted a chromatic-dynamic, with a sense of light converging towards the central scene.The panels are:Resurrection of Christ, 278x122 cm
Saints Nazarius and Celsus with Donor, 170x65 cm
Saint Sebastian, 170x65
Angel of the Annunciation, 79x65 cm
Annunciation of the Virgin, 79x65 cmThe work inspired several Renaissance painters from the Brescia area, including Savoldo and Moretto
|
[
"Savoldo",
"Annunciation",
"Moretto",
"Angel",
"Titian",
"Saint Sebastian",
"Nazarius and Celsus",
"Brescia"
] |
|
14438_T
|
Averoldi Polyptych
|
In the context of Averoldi Polyptych, explore the Resurrection of the Description.
|
The central scene depicts a triumphant risen Christ, high above, in a dark yellow and grey dawn sky. He holds aloft the banner of the Crusader saint, St. George, as an emblem of the Catholic church. Beneath him is a group of armour-clad soldiers.
The work shows the influence of works by Raphael, such as the Transfiguration (the centripetal position of Christ) and the fresco of the Deliverance of Saint Peter for the quasi-night atmosphere. Another possible influence that has been suggested here is that of Danube school, in details such as the dramatic lighting effects on the landscape. A depiction of the ideal Jerusalem in the background was a Northern European fashion.
|
[
"Raphael",
"Crusader",
"Danube school",
"Deliverance of Saint Peter",
"Transfiguration"
] |
|
14438_NT
|
Averoldi Polyptych
|
In the context of this artwork, explore the Resurrection of the Description.
|
The central scene depicts a triumphant risen Christ, high above, in a dark yellow and grey dawn sky. He holds aloft the banner of the Crusader saint, St. George, as an emblem of the Catholic church. Beneath him is a group of armour-clad soldiers.
The work shows the influence of works by Raphael, such as the Transfiguration (the centripetal position of Christ) and the fresco of the Deliverance of Saint Peter for the quasi-night atmosphere. Another possible influence that has been suggested here is that of Danube school, in details such as the dramatic lighting effects on the landscape. A depiction of the ideal Jerusalem in the background was a Northern European fashion.
|
[
"Raphael",
"Crusader",
"Danube school",
"Deliverance of Saint Peter",
"Transfiguration"
] |
|
14439_T
|
Averoldi Polyptych
|
In the context of Averoldi Polyptych, explain the Saints Nazarius and Celsus with Donor of the Description.
|
The left panel show the saints Nazarius and Celsus, to whom the church housing the altar was dedicated, on a gloomy background. Nazarius wears shining armor, his disciple, Celsus, behind him. The kneeling donor, Altobello Averoldi, the papal legate to Venice, is portrayed in profile, stylistically reminiscent of the depiction of Sigismondo de' Conti in Raphael's Madonna of Foligno. The influence of Giorgione, who before his death in 1510 had worked with Titian, may be discerned in the calm atmosphere and the dull colors.
|
[
"Raphael",
"Titian",
"left",
"papal legate",
"Venice",
"Nazarius and Celsus",
"Giorgione",
"Madonna of Foligno"
] |
|
14439_NT
|
Averoldi Polyptych
|
In the context of this artwork, explain the Saints Nazarius and Celsus with Donor of the Description.
|
The left panel show the saints Nazarius and Celsus, to whom the church housing the altar was dedicated, on a gloomy background. Nazarius wears shining armor, his disciple, Celsus, behind him. The kneeling donor, Altobello Averoldi, the papal legate to Venice, is portrayed in profile, stylistically reminiscent of the depiction of Sigismondo de' Conti in Raphael's Madonna of Foligno. The influence of Giorgione, who before his death in 1510 had worked with Titian, may be discerned in the calm atmosphere and the dull colors.
|
[
"Raphael",
"Titian",
"left",
"papal legate",
"Venice",
"Nazarius and Celsus",
"Giorgione",
"Madonna of Foligno"
] |
|
14440_T
|
Averoldi Polyptych
|
Explore the Saint Sebastian about the Description of this artwork, Averoldi Polyptych.
|
The right-hand panel shows a traditional Martyrdom of Saint Sebastian, although in this case the saint is depicted in a rather contorted position. This may be derived from Michelangelo's Punishment of Aman on the Sistine Chapel ceiling, or from Raphael's Fire in the Borgo also in the Vatican. The saint's arms are tied to a tree trunk at different heights; the legs are also differently articulated because Sebastian's right foot rests on a section of a fallen stone column.
It has been suggested that the saint's face resembles that of the risen Christ in the central panel. Some resemblance has also been claimed to Titian himself; he was 30-years-old at the time.In the background of this panel is an announcing angel. His gaze is directed towards Sebastian and to Saint Roch whom she is attending: prayers to both saints were invoked as a protection against the plague, and Roch's uncovered legs show the characteristic lesions.
Two preparatory drawings of the panel exist: one (16.2 x 13.6 cm) is at the Kupferstichkabinett in Berlin, and another (18.3 x 11.5 cm) is in the Städel in Frankfurt.
|
[
"Frankfurt",
"Raphael",
"Michelangelo",
"Sistine Chapel ceiling",
"Städel",
"Titian",
"Saint Sebastian",
"Kupferstichkabinett",
"Saint Roch"
] |
|
14440_NT
|
Averoldi Polyptych
|
Explore the Saint Sebastian about the Description of this artwork.
|
The right-hand panel shows a traditional Martyrdom of Saint Sebastian, although in this case the saint is depicted in a rather contorted position. This may be derived from Michelangelo's Punishment of Aman on the Sistine Chapel ceiling, or from Raphael's Fire in the Borgo also in the Vatican. The saint's arms are tied to a tree trunk at different heights; the legs are also differently articulated because Sebastian's right foot rests on a section of a fallen stone column.
It has been suggested that the saint's face resembles that of the risen Christ in the central panel. Some resemblance has also been claimed to Titian himself; he was 30-years-old at the time.In the background of this panel is an announcing angel. His gaze is directed towards Sebastian and to Saint Roch whom she is attending: prayers to both saints were invoked as a protection against the plague, and Roch's uncovered legs show the characteristic lesions.
Two preparatory drawings of the panel exist: one (16.2 x 13.6 cm) is at the Kupferstichkabinett in Berlin, and another (18.3 x 11.5 cm) is in the Städel in Frankfurt.
|
[
"Frankfurt",
"Raphael",
"Michelangelo",
"Sistine Chapel ceiling",
"Städel",
"Titian",
"Saint Sebastian",
"Kupferstichkabinett",
"Saint Roch"
] |
|
14441_T
|
Averoldi Polyptych
|
In the context of Averoldi Polyptych, discuss the Annunciation of the Description.
|
The two upper panels make up an Annunciation, with the announcing angel on the left and the Virgin on the right, according to a tradition dating from the Middle Ages. Titian represented the two figures in strong light, in particular the angel, which is illuminated from behind. His figure is unrolling a cartouche with the Gospel words Ave Gratia Plena, the salutation of the archangel Gabriel to the virgin Mary.
|
[
"Annunciation",
"Titian",
"left"
] |
|
14441_NT
|
Averoldi Polyptych
|
In the context of this artwork, discuss the Annunciation of the Description.
|
The two upper panels make up an Annunciation, with the announcing angel on the left and the Virgin on the right, according to a tradition dating from the Middle Ages. Titian represented the two figures in strong light, in particular the angel, which is illuminated from behind. His figure is unrolling a cartouche with the Gospel words Ave Gratia Plena, the salutation of the archangel Gabriel to the virgin Mary.
|
[
"Annunciation",
"Titian",
"left"
] |
|
14442_T
|
Statue of Chester A. Arthur
|
How does Statue of Chester A. Arthur elucidate its abstract?
|
An outdoor bronze sculpture of American president Chester A. Arthur by artist George Edwin Bissell and architect James Brown Lord is installed at Madison Square Park in Manhattan, New York. Cast in 1898 and dedicated on June 13, 1899, the statue rests on a Barre Granite pedestal.
|
[
"James Brown Lord",
"Chester A. Arthur",
"bronze sculpture",
"Madison Square Park",
"Barre Granite",
"George Edwin Bissell"
] |
|
14442_NT
|
Statue of Chester A. Arthur
|
How does this artwork elucidate its abstract?
|
An outdoor bronze sculpture of American president Chester A. Arthur by artist George Edwin Bissell and architect James Brown Lord is installed at Madison Square Park in Manhattan, New York. Cast in 1898 and dedicated on June 13, 1899, the statue rests on a Barre Granite pedestal.
|
[
"James Brown Lord",
"Chester A. Arthur",
"bronze sculpture",
"Madison Square Park",
"Barre Granite",
"George Edwin Bissell"
] |
|
14443_T
|
Alexander von Humboldt Memorial, Berlin
|
Focus on Alexander von Humboldt Memorial, Berlin and analyze the abstract.
|
The Alexander von Humboldt Memorial to the right of the Humboldt University main building on Unter den Linden avenue in Berlin's Mitte district commemorates the Prussian polymath and natural scientist Alexander von Humboldt (1769–1859). Created in 1882 by Reinhold Begas in neo-baroque style, the marble statue is a masterpiece of the Berlin school of sculpture.
|
[
"Berlin",
"neo-baroque",
"Alexander von Humboldt",
"Prussia",
"Reinhold Begas",
"Unter den Linden",
"Humboldt University"
] |
|
14443_NT
|
Alexander von Humboldt Memorial, Berlin
|
Focus on this artwork and analyze the abstract.
|
The Alexander von Humboldt Memorial to the right of the Humboldt University main building on Unter den Linden avenue in Berlin's Mitte district commemorates the Prussian polymath and natural scientist Alexander von Humboldt (1769–1859). Created in 1882 by Reinhold Begas in neo-baroque style, the marble statue is a masterpiece of the Berlin school of sculpture.
|
[
"Berlin",
"neo-baroque",
"Alexander von Humboldt",
"Prussia",
"Reinhold Begas",
"Unter den Linden",
"Humboldt University"
] |
|
14444_T
|
The Great Executioner
|
In The Great Executioner, how is the abstract discussed?
|
The Great Executioner is a mezzotint by the soldier and amateur artist Prince Rupert of the Rhine (1619-1682), finished in 1658.
The subject of the picture is the execution of John the Baptist, after Jusepe de Ribera's painting. Rupert had become interested in mezzotint design during his time in Europe during the Interregnum following the English civil war, and there is an extensive debate over Rupert's role in the invention of the technique itself. Rupert's mezzotint works were popularised by the print collector John Evelyn after the Restoration, and became much admired across Europe. The Great Executioner is generally considered to be one of Rupert's finest works; produced in 1658, it is still regarded by critics as containing 'brilliance and energy', 'superb', 'one of the greatest mezzotints', and 'among the finest [mezzotints] ever produced'. Rupert's name can be seen signed along the executioner's blade.
|
[
"John Evelyn",
"Jusepe de Ribera",
"Prince Rupert of the Rhine",
"Interregnum",
"Restoration",
"English civil war",
"John the Baptist",
"mezzotint"
] |
|
14444_NT
|
The Great Executioner
|
In this artwork, how is the abstract discussed?
|
The Great Executioner is a mezzotint by the soldier and amateur artist Prince Rupert of the Rhine (1619-1682), finished in 1658.
The subject of the picture is the execution of John the Baptist, after Jusepe de Ribera's painting. Rupert had become interested in mezzotint design during his time in Europe during the Interregnum following the English civil war, and there is an extensive debate over Rupert's role in the invention of the technique itself. Rupert's mezzotint works were popularised by the print collector John Evelyn after the Restoration, and became much admired across Europe. The Great Executioner is generally considered to be one of Rupert's finest works; produced in 1658, it is still regarded by critics as containing 'brilliance and energy', 'superb', 'one of the greatest mezzotints', and 'among the finest [mezzotints] ever produced'. Rupert's name can be seen signed along the executioner's blade.
|
[
"John Evelyn",
"Jusepe de Ribera",
"Prince Rupert of the Rhine",
"Interregnum",
"Restoration",
"English civil war",
"John the Baptist",
"mezzotint"
] |
|
14445_T
|
A Pilgrimage to San Isidro
|
Focus on A Pilgrimage to San Isidro and explore the abstract.
|
A Pilgrimage to San Isidro (Spanish: La romería de San Isidro) is one of the Black Paintings painted by Francisco de Goya between 1819–23 on the interior walls of the house known as Quinta del Sordo ("The House of the Deaf Man") that he purchased in 1819. It probably occupied a wall on the first floor of the house, opposite The Great He-Goat.Like the other Black Paintings, it was transferred to canvas in 1873–74 under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado. The owner, Baron Emile d'Erlanger, donated the canvases to the Spanish state in 1881, and they are now on display at the Museo del Prado.A Pilgrimage to San Isidro shows a view of the pilgrimage towards San Isidro's Hermitage of Madrid that is totally opposite to Goya's treatment of the same subject thirty years earlier in The Meadow of San Isidro. If the earlier work was a question of depicting the customs of a traditional holiday in Madrid and providing a reasonably accurate view of the city, the present painting depicts a group of prominent figures in the night, apparently intoxicated and singing with distorted faces. Figures from diverse social strata also figure in the painting. In the foreground a group of humble extraction appears, while farther into the background top hats and nuns' habits can be seen.
The topic of the procession was used to emphasize theatrical or satirical aspects; in this respect the picture has parallels to The Burial of the Sardine, painted between 1812 and 1819. The locale of Goya's house, which was the repository for his Black Paintings, had approximately the same vantage point in which we view the pilgrims in his earlier tapestry cartoon. Now, in this darker painting, the procession may be leading up to this very house and into Goya's haunted imagination. "It is Goya whom they have come to see. And to serenade: for what does it matter to a deaf man that the guitar has no strings?"
It is a recurring theme in Goya's paintings to present a crowd that fades little by little into the distance. Already it was present in San Isidro's Meadow and it was later used frequently in The Disasters of War. At the very edge of this painting the silhouette of the rocky outcroppings and that of the parading multitude coincides; this way, the opened space emphasizes the whole rest of the solid and compact mass, dehumanizing the individuals into a formless group. The exception is a figure to the right whose face can be seen in profile and seems to moan or sing.
Like the other works in this series, the painting's palette is very diminished. In this case, blacks, ochres, grays and earth tones are applied with very free, energetic brushstrokes. The theme of the loss of identity in crowds in this painting can be seen as a precursor to expressionist painting, particularly the work of James Ensor.
|
[
"Black Paintings",
"Baron Emile d'Erlanger",
"San Isidro",
"The Great He-Goat",
"James Ensor",
"Quinta del Sordo",
"expressionist",
"The Burial of the Sardine",
"Museo del Prado",
"Salvador Martínez Cubells",
"Francisco de Goya",
"transferred to canvas",
"The Disasters of War",
"Madrid"
] |
|
14445_NT
|
A Pilgrimage to San Isidro
|
Focus on this artwork and explore the abstract.
|
A Pilgrimage to San Isidro (Spanish: La romería de San Isidro) is one of the Black Paintings painted by Francisco de Goya between 1819–23 on the interior walls of the house known as Quinta del Sordo ("The House of the Deaf Man") that he purchased in 1819. It probably occupied a wall on the first floor of the house, opposite The Great He-Goat.Like the other Black Paintings, it was transferred to canvas in 1873–74 under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado. The owner, Baron Emile d'Erlanger, donated the canvases to the Spanish state in 1881, and they are now on display at the Museo del Prado.A Pilgrimage to San Isidro shows a view of the pilgrimage towards San Isidro's Hermitage of Madrid that is totally opposite to Goya's treatment of the same subject thirty years earlier in The Meadow of San Isidro. If the earlier work was a question of depicting the customs of a traditional holiday in Madrid and providing a reasonably accurate view of the city, the present painting depicts a group of prominent figures in the night, apparently intoxicated and singing with distorted faces. Figures from diverse social strata also figure in the painting. In the foreground a group of humble extraction appears, while farther into the background top hats and nuns' habits can be seen.
The topic of the procession was used to emphasize theatrical or satirical aspects; in this respect the picture has parallels to The Burial of the Sardine, painted between 1812 and 1819. The locale of Goya's house, which was the repository for his Black Paintings, had approximately the same vantage point in which we view the pilgrims in his earlier tapestry cartoon. Now, in this darker painting, the procession may be leading up to this very house and into Goya's haunted imagination. "It is Goya whom they have come to see. And to serenade: for what does it matter to a deaf man that the guitar has no strings?"
It is a recurring theme in Goya's paintings to present a crowd that fades little by little into the distance. Already it was present in San Isidro's Meadow and it was later used frequently in The Disasters of War. At the very edge of this painting the silhouette of the rocky outcroppings and that of the parading multitude coincides; this way, the opened space emphasizes the whole rest of the solid and compact mass, dehumanizing the individuals into a formless group. The exception is a figure to the right whose face can be seen in profile and seems to moan or sing.
Like the other works in this series, the painting's palette is very diminished. In this case, blacks, ochres, grays and earth tones are applied with very free, energetic brushstrokes. The theme of the loss of identity in crowds in this painting can be seen as a precursor to expressionist painting, particularly the work of James Ensor.
|
[
"Black Paintings",
"Baron Emile d'Erlanger",
"San Isidro",
"The Great He-Goat",
"James Ensor",
"Quinta del Sordo",
"expressionist",
"The Burial of the Sardine",
"Museo del Prado",
"Salvador Martínez Cubells",
"Francisco de Goya",
"transferred to canvas",
"The Disasters of War",
"Madrid"
] |
|
14446_T
|
Portrait of Helena van der Schalcke
|
Focus on Portrait of Helena van der Schalcke and explain the abstract.
|
Portrait of Helen van der Schalcke or Helena van der Schalcke as a Child is an oil-on-panel painting by Dutch artist Gerard ter Borch, created c. 1648. The painting is held at the Rijksmuseum, in Amsterdam.
|
[
"Amsterdam",
"Rijksmuseum",
"oil-on-panel",
"Gerard ter Borch"
] |
|
14446_NT
|
Portrait of Helena van der Schalcke
|
Focus on this artwork and explain the abstract.
|
Portrait of Helen van der Schalcke or Helena van der Schalcke as a Child is an oil-on-panel painting by Dutch artist Gerard ter Borch, created c. 1648. The painting is held at the Rijksmuseum, in Amsterdam.
|
[
"Amsterdam",
"Rijksmuseum",
"oil-on-panel",
"Gerard ter Borch"
] |
|
14447_T
|
Portrait of Helena van der Schalcke
|
Explore the Description and analysis of this artwork, Portrait of Helena van der Schalcke.
|
The painting depicts Helena van der Schalcke (1646–1671) at the age of two years. The girl is wearing a beautiful dress, decorated with lace and bows. She also wears a large gold necklace and chic clothes with a lady's wicker bag. She is depicted as a small adult.
Helena van der Schalcke was the daughter of the cloth merchant Gerard van der Schalcke and his wife Johanna Bardoel. They too were portrayed by Ter Borch. In the painting Helena has a red carnation in her hand. This flower is common in portraits of the time. A carnation is a symbol of the resurrection and of the hope of eternal life.
Helena wears a long, wide dress of white silk. Ter Borch paid a lot of attention to the reproduction of the fabric. He has enlivened the white with touches of paint from soft pink to blue-grey.
In the seventeenth century it was common for children to wear dresses at a young age, both girls and boys. The garments at the time were small copies of those for adult women. Yet there was a difference: long ribbons often hung on the back with which the child could be held, so-called leashes, which can also be seen on Helena's back.
The interior in which Helena is depicted is completely empty. Even the separation between the floor and the wall is blurred. Ter Borch often gives his portraits this empty, neutral background. In this way, nothing distracts the attention from the portrayed.
|
[] |
|
14447_NT
|
Portrait of Helena van der Schalcke
|
Explore the Description and analysis of this artwork.
|
The painting depicts Helena van der Schalcke (1646–1671) at the age of two years. The girl is wearing a beautiful dress, decorated with lace and bows. She also wears a large gold necklace and chic clothes with a lady's wicker bag. She is depicted as a small adult.
Helena van der Schalcke was the daughter of the cloth merchant Gerard van der Schalcke and his wife Johanna Bardoel. They too were portrayed by Ter Borch. In the painting Helena has a red carnation in her hand. This flower is common in portraits of the time. A carnation is a symbol of the resurrection and of the hope of eternal life.
Helena wears a long, wide dress of white silk. Ter Borch paid a lot of attention to the reproduction of the fabric. He has enlivened the white with touches of paint from soft pink to blue-grey.
In the seventeenth century it was common for children to wear dresses at a young age, both girls and boys. The garments at the time were small copies of those for adult women. Yet there was a difference: long ribbons often hung on the back with which the child could be held, so-called leashes, which can also be seen on Helena's back.
The interior in which Helena is depicted is completely empty. Even the separation between the floor and the wall is blurred. Ter Borch often gives his portraits this empty, neutral background. In this way, nothing distracts the attention from the portrayed.
|
[] |
|
14448_T
|
Psyche Revived by Cupid's Kiss
|
Focus on Psyche Revived by Cupid's Kiss and discuss the abstract.
|
Psyche Revived by Cupid's Kiss (Italian: Amore e Psiche [aˈmoːre e ˈpsiːke]; French: Psyché ranimée par le baiser de l'Amour; Russian: Амур и Психея, romanized: Amúr i Psikhéja) is a sculpture by Italian artist Antonio Canova first commissioned in 1787 by Colonel John Campbell. It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss. The story of Cupid and Psyche is taken from Lucius Apuleius' Latin novel The Golden Ass, and was popular in art.
Joachim Murat acquired the first or prime version (pictured) in 1800. After his death the statue entered the Louvre Museum in Paris, France in 1824;Prince Yusupov, a Russian nobleman acquired the 2nd version of the piece from Canova in Rome in 1796, and it later entered the Hermitage Museum in Saint Petersburg. A full-scale model for the 2nd version is in the Metropolitan Museum of Art.
|
[
"Prince Yusupov",
"France",
"Cupid",
"Hermitage",
"Psyche",
"masterpiece",
"Romanticism",
"French",
"Colonel John Campbell",
"Hermitage Museum",
"Neoclassical",
"Apuleius",
"Italian",
"Saint Petersburg",
"Louvre",
"Louvre Museum",
"Lucius Apuleius",
"prime version",
"Paris",
"Antonio Canova",
"Cupid and Psyche",
"Joachim Murat",
"sculpture",
"The Golden Ass",
"Metropolitan Museum of Art"
] |
|
14448_NT
|
Psyche Revived by Cupid's Kiss
|
Focus on this artwork and discuss the abstract.
|
Psyche Revived by Cupid's Kiss (Italian: Amore e Psiche [aˈmoːre e ˈpsiːke]; French: Psyché ranimée par le baiser de l'Amour; Russian: Амур и Психея, romanized: Amúr i Psikhéja) is a sculpture by Italian artist Antonio Canova first commissioned in 1787 by Colonel John Campbell. It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss. The story of Cupid and Psyche is taken from Lucius Apuleius' Latin novel The Golden Ass, and was popular in art.
Joachim Murat acquired the first or prime version (pictured) in 1800. After his death the statue entered the Louvre Museum in Paris, France in 1824;Prince Yusupov, a Russian nobleman acquired the 2nd version of the piece from Canova in Rome in 1796, and it later entered the Hermitage Museum in Saint Petersburg. A full-scale model for the 2nd version is in the Metropolitan Museum of Art.
|
[
"Prince Yusupov",
"France",
"Cupid",
"Hermitage",
"Psyche",
"masterpiece",
"Romanticism",
"French",
"Colonel John Campbell",
"Hermitage Museum",
"Neoclassical",
"Apuleius",
"Italian",
"Saint Petersburg",
"Louvre",
"Louvre Museum",
"Lucius Apuleius",
"prime version",
"Paris",
"Antonio Canova",
"Cupid and Psyche",
"Joachim Murat",
"sculpture",
"The Golden Ass",
"Metropolitan Museum of Art"
] |
|
14449_T
|
Psyche Revived by Cupid's Kiss
|
How does Psyche Revived by Cupid's Kiss elucidate its Description?
|
Having been recently awakened, Psyche reaches up towards her lover, Cupid, as he gently holds her by supporting her head and breast. Antonio Canova's fine technique in carving marble contrasts their realistic smooth skin with the surrounding elements. Loosely draped around Psyche's lower body, a sheet further emphasizes the difference between the texture of skin and drapery. Rough texture provides the basis of the rock upon which the composition is placed supplementing the distinctions of elements. Fine curls and lines make up the hair and light feathery details create realistic wings upon the landing Cupid.
In Apuleius, Psyche had been warned by Venus against opening the jar she was given to collect a scrap of beauty from Proserpina for Venus: "But I give you one especially strong warning. Do not open or peep into the [jar] you carry, and repress all curiosity as to the "Imprisoned Treasure of Divine Beauty"." But she gave way to curiosity just as she had returned from her voyage into the Underworld, peering into the jar to take some of the Divine Beauty for herself. However, Proserpina had not filled it with the Beauty, but rather with the "Sleep of the Innermost Darkness, the night of Styx, which freed from its cell rushed upon her and penetrated her whole body with a heavy cloud of unconsciousness and unfolded her where she lay." It is the moment in which Psyche is "a corpse asleep" revived by Cupid that Canova chose to depict. "Delicately purging her of the Sleep, which he put back in its original lair the [jar], he roused Psyche with a charming prick of his Arrow." Various details such as the jar behind Psyche allude to the story by Apuleius as Psyche had just opened it and had gone to sleep thus the jar remains lying beside her. Additionally, the arrow which Cupid struck Psyche with to awaken her is also found near the jar and Cupid wears a quiver next to his waist.Amor and Psyche by Antonio Canova, Detail
|
[
"Underworld",
"Styx",
"Cupid",
"Psyche",
"Apuleius",
"marble",
"Proserpina",
"Antonio Canova",
"Venus"
] |
|
14449_NT
|
Psyche Revived by Cupid's Kiss
|
How does this artwork elucidate its Description?
|
Having been recently awakened, Psyche reaches up towards her lover, Cupid, as he gently holds her by supporting her head and breast. Antonio Canova's fine technique in carving marble contrasts their realistic smooth skin with the surrounding elements. Loosely draped around Psyche's lower body, a sheet further emphasizes the difference between the texture of skin and drapery. Rough texture provides the basis of the rock upon which the composition is placed supplementing the distinctions of elements. Fine curls and lines make up the hair and light feathery details create realistic wings upon the landing Cupid.
In Apuleius, Psyche had been warned by Venus against opening the jar she was given to collect a scrap of beauty from Proserpina for Venus: "But I give you one especially strong warning. Do not open or peep into the [jar] you carry, and repress all curiosity as to the "Imprisoned Treasure of Divine Beauty"." But she gave way to curiosity just as she had returned from her voyage into the Underworld, peering into the jar to take some of the Divine Beauty for herself. However, Proserpina had not filled it with the Beauty, but rather with the "Sleep of the Innermost Darkness, the night of Styx, which freed from its cell rushed upon her and penetrated her whole body with a heavy cloud of unconsciousness and unfolded her where she lay." It is the moment in which Psyche is "a corpse asleep" revived by Cupid that Canova chose to depict. "Delicately purging her of the Sleep, which he put back in its original lair the [jar], he roused Psyche with a charming prick of his Arrow." Various details such as the jar behind Psyche allude to the story by Apuleius as Psyche had just opened it and had gone to sleep thus the jar remains lying beside her. Additionally, the arrow which Cupid struck Psyche with to awaken her is also found near the jar and Cupid wears a quiver next to his waist.Amor and Psyche by Antonio Canova, Detail
|
[
"Underworld",
"Styx",
"Cupid",
"Psyche",
"Apuleius",
"marble",
"Proserpina",
"Antonio Canova",
"Venus"
] |
|
14450_T
|
Psyche Revived by Cupid's Kiss
|
Focus on Psyche Revived by Cupid's Kiss and analyze the Criticism.
|
There is a handle near one of Psyche's feet as the statue was meant to be able to be revolved on its base. Many of Canova's sculptures had custom built settings or a device that would move the base, thus the handle provided for some of the movement of the statue. This movement emphasizes the emotion and beauty of the sculpture while piquing interest from all angles. Carl Ludwig Fernow, a critic of Canova, complained about the vitality of the embracing figures as there is no singular view from which it should be seen. He stated, "you must run around it, look at it from high and low, up and down, look at it again and keep getting lost". Fernow continued that one's view must have a singular fixed point without the entire piece striking the viewer. Fernow's criticism of Canova's work is a complaint of having to view the sculpture by walking around it rather than from one perspective. Fernow continues, "this effort is somewhat mitigated, for the group perches on a pedestal and can be walked around at will; but the observer strives in vain to find a point of view from which to see both faces together, and in which to reduce each ray of tender expression to one central point of convergence."
|
[
"Psyche",
"perspective",
"Carl Ludwig Fernow",
"sculpture"
] |
|
14450_NT
|
Psyche Revived by Cupid's Kiss
|
Focus on this artwork and analyze the Criticism.
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There is a handle near one of Psyche's feet as the statue was meant to be able to be revolved on its base. Many of Canova's sculptures had custom built settings or a device that would move the base, thus the handle provided for some of the movement of the statue. This movement emphasizes the emotion and beauty of the sculpture while piquing interest from all angles. Carl Ludwig Fernow, a critic of Canova, complained about the vitality of the embracing figures as there is no singular view from which it should be seen. He stated, "you must run around it, look at it from high and low, up and down, look at it again and keep getting lost". Fernow continued that one's view must have a singular fixed point without the entire piece striking the viewer. Fernow's criticism of Canova's work is a complaint of having to view the sculpture by walking around it rather than from one perspective. Fernow continues, "this effort is somewhat mitigated, for the group perches on a pedestal and can be walked around at will; but the observer strives in vain to find a point of view from which to see both faces together, and in which to reduce each ray of tender expression to one central point of convergence."
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[
"Psyche",
"perspective",
"Carl Ludwig Fernow",
"sculpture"
] |
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