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14451_T
|
Psyche Revived by Cupid's Kiss
|
In Psyche Revived by Cupid's Kiss, how is the Canova discussed?
|
The sculptor was born in 1757 in Possagno, Italy, was raised by his stonemason paternal grandfather, Pasino Canova. Venetian Senator Giovanni Falier was Canova's patron with great influence which started Canova's career. During Napoleon Bonaparte's campaigns of 1796–97, Napoleon caught wind of Canova's sculpture; "General Bonaparte offered Canova his protection and greatly flattered the sculptor, and later, when he was military dictator of France as first consul, he sought to enlist Canova's considerable talents for his own glorification." Canova however, deemed himself an independent artist and had previously rejected a court invitation from Czarina Catherine II, as Canova believed, "art was above politics". Yet this was not enough as "in the end power politics, manifested in French pressure on the papacy, forced [Canova] to acquiesce." Against his wishes, Canova gained various titles and honors such as "Cavaliere of the Golden Spur, Cavaliere di Cristo, [and] marquisate of Ischia". Canova was a wildly successful independent sculptor and his skill and talent is evident within his works such as Psyche Revived by Cupid's Kiss.
|
[
"Napoleon",
"France",
"Cupid",
"Psyche",
"first consul",
"French",
"military dictator",
"stonemason",
"Catherine II",
"Napoleon Bonaparte",
"sculpture",
"Possagno",
"Giovanni Falier",
"Ischia"
] |
|
14451_NT
|
Psyche Revived by Cupid's Kiss
|
In this artwork, how is the Canova discussed?
|
The sculptor was born in 1757 in Possagno, Italy, was raised by his stonemason paternal grandfather, Pasino Canova. Venetian Senator Giovanni Falier was Canova's patron with great influence which started Canova's career. During Napoleon Bonaparte's campaigns of 1796–97, Napoleon caught wind of Canova's sculpture; "General Bonaparte offered Canova his protection and greatly flattered the sculptor, and later, when he was military dictator of France as first consul, he sought to enlist Canova's considerable talents for his own glorification." Canova however, deemed himself an independent artist and had previously rejected a court invitation from Czarina Catherine II, as Canova believed, "art was above politics". Yet this was not enough as "in the end power politics, manifested in French pressure on the papacy, forced [Canova] to acquiesce." Against his wishes, Canova gained various titles and honors such as "Cavaliere of the Golden Spur, Cavaliere di Cristo, [and] marquisate of Ischia". Canova was a wildly successful independent sculptor and his skill and talent is evident within his works such as Psyche Revived by Cupid's Kiss.
|
[
"Napoleon",
"France",
"Cupid",
"Psyche",
"first consul",
"French",
"military dictator",
"stonemason",
"Catherine II",
"Napoleon Bonaparte",
"sculpture",
"Possagno",
"Giovanni Falier",
"Ischia"
] |
|
14452_T
|
Christ Child (sculpture)
|
Focus on Christ Child (sculpture) and explore the abstract.
|
Christ Child, also known as In the Beginning or the Millennium Sculpture, is an outdoor sculpture by Michael "Mike" Chapman, located under the portico of St Martins-in-the-Fields at Trafalgar Square in London, United Kingdom. The opening text from the Gospel of John is inscribed around the sculpture: "In the beginning was the word and the word became flesh and lived among us". Chapman has said of the sculpture: "For the millennium I was commissioned to produce a sculpture to be placed in Trafalgar square, during Christmas prior to the celebrations. It seemed to me that a tiny life-size baby carved from stone in such an enormous environment would be the best way to remind us all of just whose birthday we were celebrating. In a 4.5 tonne block of Portland stone, this work can be found at the entrance to the church." It has been called "strikingly modern".
|
[
"Trafalgar Square",
"United Kingdom",
"London",
"Portland stone",
"Gospel of John",
"St Martins-in-the-Fields"
] |
|
14452_NT
|
Christ Child (sculpture)
|
Focus on this artwork and explore the abstract.
|
Christ Child, also known as In the Beginning or the Millennium Sculpture, is an outdoor sculpture by Michael "Mike" Chapman, located under the portico of St Martins-in-the-Fields at Trafalgar Square in London, United Kingdom. The opening text from the Gospel of John is inscribed around the sculpture: "In the beginning was the word and the word became flesh and lived among us". Chapman has said of the sculpture: "For the millennium I was commissioned to produce a sculpture to be placed in Trafalgar square, during Christmas prior to the celebrations. It seemed to me that a tiny life-size baby carved from stone in such an enormous environment would be the best way to remind us all of just whose birthday we were celebrating. In a 4.5 tonne block of Portland stone, this work can be found at the entrance to the church." It has been called "strikingly modern".
|
[
"Trafalgar Square",
"United Kingdom",
"London",
"Portland stone",
"Gospel of John",
"St Martins-in-the-Fields"
] |
|
14453_T
|
Piss (Černý)
|
Focus on Piss (Černý) and explain the abstract.
|
Piss (Czech: Čůrající postavy) is an outdoor 2004 sculpture and fountain by Czech artist David Černý, installed outside the Franz Kafka Museum in Malá Strana, Prague, Czech Republic.
|
[
"Malá Strana",
"Franz Kafka Museum",
"David Černý",
"Prague",
"Czech"
] |
|
14453_NT
|
Piss (Černý)
|
Focus on this artwork and explain the abstract.
|
Piss (Czech: Čůrající postavy) is an outdoor 2004 sculpture and fountain by Czech artist David Černý, installed outside the Franz Kafka Museum in Malá Strana, Prague, Czech Republic.
|
[
"Malá Strana",
"Franz Kafka Museum",
"David Černý",
"Prague",
"Czech"
] |
|
14454_T
|
Piss (Černý)
|
Explore the Description of this artwork, Piss (Černý).
|
The fountain's basin is made of bronze and shaped like the Czech Republic. Standing in the fountain, opposite one another, are mechanical statues of men, standing 210 centimetres (6 ft 11 in) tall with bronze penises, urinating. Visitors to the area can command the men to write messages into the water via SMS.
|
[
"SMS",
"Czech"
] |
|
14454_NT
|
Piss (Černý)
|
Explore the Description of this artwork.
|
The fountain's basin is made of bronze and shaped like the Czech Republic. Standing in the fountain, opposite one another, are mechanical statues of men, standing 210 centimetres (6 ft 11 in) tall with bronze penises, urinating. Visitors to the area can command the men to write messages into the water via SMS.
|
[
"SMS",
"Czech"
] |
|
14455_T
|
Christ in the Desert
|
Focus on Christ in the Desert and discuss the abstract.
|
Christ in the Desert or Christ in the Wilderness (Russian: Христос в пустыне, tr. Khristos v pustyne) is an 1872 painting by Russian artist Ivan Kramskoi, reflecting the temptation of Christ. Kramskoi was offered a professorship for the painting by the Russian Academy of Arts Council, but having learned that in the beginning of 1873, rejected it (he had been expelled from the Academy earlier, and chose to keep his "youthful commitment to independence from the Academy"). Subsequently, it became one of the favourite paintings of Pavel Tretyakov, who bought it for his gallery in the year the painting was finished.
|
[
"his gallery",
"temptation of Christ",
"Pavel Tretyakov",
"professor",
"Russian Academy of Arts",
"Ivan Kramskoi"
] |
|
14455_NT
|
Christ in the Desert
|
Focus on this artwork and discuss the abstract.
|
Christ in the Desert or Christ in the Wilderness (Russian: Христос в пустыне, tr. Khristos v pustyne) is an 1872 painting by Russian artist Ivan Kramskoi, reflecting the temptation of Christ. Kramskoi was offered a professorship for the painting by the Russian Academy of Arts Council, but having learned that in the beginning of 1873, rejected it (he had been expelled from the Academy earlier, and chose to keep his "youthful commitment to independence from the Academy"). Subsequently, it became one of the favourite paintings of Pavel Tretyakov, who bought it for his gallery in the year the painting was finished.
|
[
"his gallery",
"temptation of Christ",
"Pavel Tretyakov",
"professor",
"Russian Academy of Arts",
"Ivan Kramskoi"
] |
|
14456_T
|
Christ in the Desert
|
How does Christ in the Desert elucidate its History?
|
The theme of Christ's temptation had attracted Kramskoi already in the early 1860s. In that period he made the first sketch of the composition. The first version of Christ in the Desert is dated to 1867, but turned out to be unsuccessful. Kramskoi realized that the choice of vertical format was inappropriate. He opted for the horizontal format and introduced the pallid rocky desert in the background.Kramskoi described the early history of the painting in his letters to writer Vsevolod Garshin.
|
[
"Vsevolod Garshin"
] |
|
14456_NT
|
Christ in the Desert
|
How does this artwork elucidate its History?
|
The theme of Christ's temptation had attracted Kramskoi already in the early 1860s. In that period he made the first sketch of the composition. The first version of Christ in the Desert is dated to 1867, but turned out to be unsuccessful. Kramskoi realized that the choice of vertical format was inappropriate. He opted for the horizontal format and introduced the pallid rocky desert in the background.Kramskoi described the early history of the painting in his letters to writer Vsevolod Garshin.
|
[
"Vsevolod Garshin"
] |
|
14457_T
|
Christ in the Desert
|
Focus on Christ in the Desert and analyze the The painting.
|
Christ in the Desert is one of Kramskoi's Jesus-themed paintings, the other being Rejoice, King of the Jews and Herodias. Kramskoy used primarily cold colours to reflect the chill dawn in the background. The thoughtful figure of Christ, wearing a dark wrap and a red tunic underneath, is slightly shifted to the right of centre. Kramskoi wrote: "To the question 'this is not Christ, how do you know he looked like that?', I permitted myself to reply 'but even the actual, living Christ has not been recognised'." The painting emphasizes Jesus's human constituent of hypostatic union and features a mind in struggle instead of action. Because the horizon divides the canvas plane almost in half, the figure of Jesus dominates the painting space and harmonizes with the stern wilderness simultaneously.
Kramskoi sold his work to Tretyakov for 6,000 rubles.
|
[
"tunic",
"cold colours",
"rubles",
"Jesus's human constituent",
"hypostatic union"
] |
|
14457_NT
|
Christ in the Desert
|
Focus on this artwork and analyze the The painting.
|
Christ in the Desert is one of Kramskoi's Jesus-themed paintings, the other being Rejoice, King of the Jews and Herodias. Kramskoy used primarily cold colours to reflect the chill dawn in the background. The thoughtful figure of Christ, wearing a dark wrap and a red tunic underneath, is slightly shifted to the right of centre. Kramskoi wrote: "To the question 'this is not Christ, how do you know he looked like that?', I permitted myself to reply 'but even the actual, living Christ has not been recognised'." The painting emphasizes Jesus's human constituent of hypostatic union and features a mind in struggle instead of action. Because the horizon divides the canvas plane almost in half, the figure of Jesus dominates the painting space and harmonizes with the stern wilderness simultaneously.
Kramskoi sold his work to Tretyakov for 6,000 rubles.
|
[
"tunic",
"cold colours",
"rubles",
"Jesus's human constituent",
"hypostatic union"
] |
|
14458_T
|
Christ in the Desert
|
In Christ in the Desert, how is the Reception discussed?
|
The painting received a wide feedback and appeared at the Peredvizhniks' second exposition of 1873. Pavel Tretyakov wrote: "I liked Kramskoi's Saviour very much... that's why I was harrying up to purchase him, but many people did not appreciate him much and the others did not at all. In my opinion this is the best painting in our school recently; maybe I am mistaken". Critic Vladimir Stasov noted that a "sorrowful note sensibly resounds in the general physiological array of the work". Vsevolod Garshin outlined the "expression of immense moral force, hatred against evil and complete resoluteness to fight it". According to Ivan Goncharov, who wrote "Christ in the Desert. A Painting of Mr. Kramskoi" (original Russian title: "Христос в пустыне». Картина г. Крамского"), "the entire figure seems to have diminished a bit from its natural size, contracted, not from starvation, thirst and bad weather, but from internal, inhuman insight to his thought and will during the struggle of forces of spirit and flesh". He also emphasized that "there is nothing festive, heroic, victorious — the future fate of the world and of all livings is concealed in that miserable, small being, in pauper appearance, under the rags, in humble simplicity, inseparable with true majesty and force". The Russian art researcher Georgy Wagner wrote the article "On the Interpretation of I. N. Kramskoi's Painting "Christ in the Desert" (Russian: "Об истолковании картины И.Н. Крамского "Христос в пустыне").
|
[
"Vsevolod Garshin",
"Ivan Goncharov",
"Pavel Tretyakov",
"Peredvizhniks",
"Vladimir Stasov"
] |
|
14458_NT
|
Christ in the Desert
|
In this artwork, how is the Reception discussed?
|
The painting received a wide feedback and appeared at the Peredvizhniks' second exposition of 1873. Pavel Tretyakov wrote: "I liked Kramskoi's Saviour very much... that's why I was harrying up to purchase him, but many people did not appreciate him much and the others did not at all. In my opinion this is the best painting in our school recently; maybe I am mistaken". Critic Vladimir Stasov noted that a "sorrowful note sensibly resounds in the general physiological array of the work". Vsevolod Garshin outlined the "expression of immense moral force, hatred against evil and complete resoluteness to fight it". According to Ivan Goncharov, who wrote "Christ in the Desert. A Painting of Mr. Kramskoi" (original Russian title: "Христос в пустыне». Картина г. Крамского"), "the entire figure seems to have diminished a bit from its natural size, contracted, not from starvation, thirst and bad weather, but from internal, inhuman insight to his thought and will during the struggle of forces of spirit and flesh". He also emphasized that "there is nothing festive, heroic, victorious — the future fate of the world and of all livings is concealed in that miserable, small being, in pauper appearance, under the rags, in humble simplicity, inseparable with true majesty and force". The Russian art researcher Georgy Wagner wrote the article "On the Interpretation of I. N. Kramskoi's Painting "Christ in the Desert" (Russian: "Об истолковании картины И.Н. Крамского "Христос в пустыне").
|
[
"Vsevolod Garshin",
"Ivan Goncharov",
"Pavel Tretyakov",
"Peredvizhniks",
"Vladimir Stasov"
] |
|
14459_T
|
Farmhouses Among Trees
|
Focus on Farmhouses Among Trees and explore the abstract.
|
Farmhouses Among Trees is an oil painting created by Dutch artist Vincent van Gogh in September 1883.The painting is exhibited in the Museum of John Paul II Collection in Warsaw.
|
[
"Vincent van Gogh",
"Museum of John Paul II Collection",
"Warsaw"
] |
|
14459_NT
|
Farmhouses Among Trees
|
Focus on this artwork and explore the abstract.
|
Farmhouses Among Trees is an oil painting created by Dutch artist Vincent van Gogh in September 1883.The painting is exhibited in the Museum of John Paul II Collection in Warsaw.
|
[
"Vincent van Gogh",
"Museum of John Paul II Collection",
"Warsaw"
] |
|
14460_T
|
Assumption of the Virgin (El Greco)
|
Focus on Assumption of the Virgin (El Greco) and explain the abstract.
|
The Assumption of the Virgin is an oil on canvas painting by Greek artist Doménikos Theotokópoulos, known as El Greco, in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. It was the first of nine paintings that El Greco was commissioned to paint for this church. The Assumption of the Virgin was El Greco's first work in Toledo and started his 37-year career there. Under the influence of Michelangelo, El Greco created a painting that in essence was Italian, with a naturalistic style, monumental figures, and a Roman school palette. The composition of El Greco's depiction of the Assumption of the Virgin resembles Titian's Assumption in the Basilica dei Frari in Venice with Virgin Mary and angels above and the apostles below. On the painting Virgin Mary floats upward which symbolizes her purity, while apostles gathered around her empty tomb express amazement and concern.
|
[
"El Greco",
"Santo Domingo el Antiguo",
"Michelangelo",
"the Assumption of the Virgin",
"Titian's Assumption",
"Basilica dei Frari",
"altarpiece"
] |
|
14460_NT
|
Assumption of the Virgin (El Greco)
|
Focus on this artwork and explain the abstract.
|
The Assumption of the Virgin is an oil on canvas painting by Greek artist Doménikos Theotokópoulos, known as El Greco, in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. It was the first of nine paintings that El Greco was commissioned to paint for this church. The Assumption of the Virgin was El Greco's first work in Toledo and started his 37-year career there. Under the influence of Michelangelo, El Greco created a painting that in essence was Italian, with a naturalistic style, monumental figures, and a Roman school palette. The composition of El Greco's depiction of the Assumption of the Virgin resembles Titian's Assumption in the Basilica dei Frari in Venice with Virgin Mary and angels above and the apostles below. On the painting Virgin Mary floats upward which symbolizes her purity, while apostles gathered around her empty tomb express amazement and concern.
|
[
"El Greco",
"Santo Domingo el Antiguo",
"Michelangelo",
"the Assumption of the Virgin",
"Titian's Assumption",
"Basilica dei Frari",
"altarpiece"
] |
|
14461_T
|
Assumption of the Virgin (El Greco)
|
Explore the Virgin Mary in art of this artwork, Assumption of the Virgin (El Greco).
|
The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux (d. 1153).Literary accounts with more detail, such as the presence of the Apostles, appeared in late medieval works such as the Golden Legend, and were followed by artists. By the end of the Middle Ages, large and crowded altarpieces gave the artist the opportunity to show his virtuosity in composition, coloring and figure poses. After the Reformation, it was used to assert the Catholic position, rejected by Protestants.
|
[
"until 1950",
"Reformation",
"Western Church",
"Apostles",
"Golden Legend",
"New Testament",
"Bernard of Clairvaux",
"Cistercian Order",
"Life of the Virgin",
"apocryphal literature",
"Coronation of the Virgin",
"altarpiece"
] |
|
14461_NT
|
Assumption of the Virgin (El Greco)
|
Explore the Virgin Mary in art of this artwork.
|
The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux (d. 1153).Literary accounts with more detail, such as the presence of the Apostles, appeared in late medieval works such as the Golden Legend, and were followed by artists. By the end of the Middle Ages, large and crowded altarpieces gave the artist the opportunity to show his virtuosity in composition, coloring and figure poses. After the Reformation, it was used to assert the Catholic position, rejected by Protestants.
|
[
"until 1950",
"Reformation",
"Western Church",
"Apostles",
"Golden Legend",
"New Testament",
"Bernard of Clairvaux",
"Cistercian Order",
"Life of the Virgin",
"apocryphal literature",
"Coronation of the Virgin",
"altarpiece"
] |
|
14462_T
|
Assumption of the Virgin (El Greco)
|
Focus on Assumption of the Virgin (El Greco) and discuss the Provenance.
|
The painting was commissioned for the convent church of Santo Domingo el Antiguo in Toledo by Don Diego de Castilla in 1577. The Assumption remained in the church for over 200 years.
Around 1830 the painting was sold to the Infante Don Sebastián Gabriel de Borbón y Braganza in Madrid. In 1835 Spanish government confiscated the painting from him and installed in the Museo Nacional de Trinidad in Madrid, however in 1861 the painting was returned to Don Sebastián. After Don Sebastián's death in 1875, his heirs began to sell works from his collections. The painting was owned by his widow, the Infanta María Cristina de Borbón until her death in 1902, and then was lent by the Infanta's heirs to the Museo del Prado in Madrid in 1902–1904.
In 1904, the American painter Mary Cassatt persuaded the renowned Parisian art dealer Paul Durand–Ruel to purchase the painting, with the financing provided by H. O. Havemeyer. In 1906, the painting was sold to the Art Institute of Chicago.
|
[
"Art Institute of Chicago",
"Santo Domingo el Antiguo",
"Infante Don Sebastián Gabriel de Borbón y Braganza",
"Infanta María Cristina de Borbón",
"Paul Durand–Ruel",
"Mary Cassatt",
"Museo del Prado",
"Chicago",
"H. O. Havemeyer."
] |
|
14462_NT
|
Assumption of the Virgin (El Greco)
|
Focus on this artwork and discuss the Provenance.
|
The painting was commissioned for the convent church of Santo Domingo el Antiguo in Toledo by Don Diego de Castilla in 1577. The Assumption remained in the church for over 200 years.
Around 1830 the painting was sold to the Infante Don Sebastián Gabriel de Borbón y Braganza in Madrid. In 1835 Spanish government confiscated the painting from him and installed in the Museo Nacional de Trinidad in Madrid, however in 1861 the painting was returned to Don Sebastián. After Don Sebastián's death in 1875, his heirs began to sell works from his collections. The painting was owned by his widow, the Infanta María Cristina de Borbón until her death in 1902, and then was lent by the Infanta's heirs to the Museo del Prado in Madrid in 1902–1904.
In 1904, the American painter Mary Cassatt persuaded the renowned Parisian art dealer Paul Durand–Ruel to purchase the painting, with the financing provided by H. O. Havemeyer. In 1906, the painting was sold to the Art Institute of Chicago.
|
[
"Art Institute of Chicago",
"Santo Domingo el Antiguo",
"Infante Don Sebastián Gabriel de Borbón y Braganza",
"Infanta María Cristina de Borbón",
"Paul Durand–Ruel",
"Mary Cassatt",
"Museo del Prado",
"Chicago",
"H. O. Havemeyer."
] |
|
14463_T
|
Assumption of the Virgin (El Greco)
|
How does Assumption of the Virgin (El Greco) elucidate its Exhibitions?
|
Pau, Salons of the former Asile de Pau, Paintings belonging to the heirs of the late Msg. the Child don Sébastien de Bourbon and Braganza, September 1876, cat. 668.
Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras by Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. 6.
Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1933, cat. 169, pl. 25.
Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1934, cat. 70.
Paris, Grand Palais, Greco, October 14, 2019 – February 10, 2020, cat. 73.
Art Institute of Chicago, El Greco: Ambition and Defiance, March 7 – June 21, 2020, cat. 14.
|
[
"Art Institute of Chicago",
"El Greco",
"Chicago",
"Grand Palais"
] |
|
14463_NT
|
Assumption of the Virgin (El Greco)
|
How does this artwork elucidate its Exhibitions?
|
Pau, Salons of the former Asile de Pau, Paintings belonging to the heirs of the late Msg. the Child don Sébastien de Bourbon and Braganza, September 1876, cat. 668.
Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras by Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. 6.
Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1933, cat. 169, pl. 25.
Art Institute of Chicago, A Century of Progress, June 1 – November 1, 1934, cat. 70.
Paris, Grand Palais, Greco, October 14, 2019 – February 10, 2020, cat. 73.
Art Institute of Chicago, El Greco: Ambition and Defiance, March 7 – June 21, 2020, cat. 14.
|
[
"Art Institute of Chicago",
"El Greco",
"Chicago",
"Grand Palais"
] |
|
14464_T
|
Manhattan (Josef Albers mural)
|
Focus on Manhattan (Josef Albers mural) and analyze the History.
|
In 1929 Albers, then at The Bauhaus in Germany, created a work called "City". Years later in the early 1960s after having emigrated to the United States and settling in New York City the architect and founder of the Bauhaus Walter Gropius commissioned him to do a mural for the then new Pan Am Building (now MetLife building) at 200 Park Avenue. Subsequently, he worked his original design into the formidably sized "Manhattan". As Nicholas Fox Weber, Executive Director of the Josef and Anni Albers Foundation, explained: "In making the mural, he took a concept he had developed at the Bauhaus in sandblasted glass, and gave it new life on a vastly large scale to serve the purposes of his friend and colleague, Walter Gropius, who designed the original building and asked him to make the mural."In 2001 the mural was taken down while the MetLife lobby was under renovation. Therein some years earlier ownership of the structure had changed hands and moniker to MetLife and the new owner's citing repurposing of the lobby to allow for more light to enter doubled with the fact the mural had been found to be laden with asbestos took the work down without notice. This then led to somewhat of an uproar.In 2019 the new owners of the structure Tishman Speyer decided to reinstall the work in its original position. However, as the murals was disassembled into panels which were laden with asbestos, the work had to be recreated. Albers had left behind precise specifications that allowed for the work to be recreated. The installation was completed in September 2019.
|
[
"Tishman Speyer",
"New York City",
"The Bauhaus",
"Bauhaus",
"asbestos",
"MetLife",
"Pan Am Building",
"Walter Gropius",
"Anni Albers"
] |
|
14464_NT
|
Manhattan (Josef Albers mural)
|
Focus on this artwork and analyze the History.
|
In 1929 Albers, then at The Bauhaus in Germany, created a work called "City". Years later in the early 1960s after having emigrated to the United States and settling in New York City the architect and founder of the Bauhaus Walter Gropius commissioned him to do a mural for the then new Pan Am Building (now MetLife building) at 200 Park Avenue. Subsequently, he worked his original design into the formidably sized "Manhattan". As Nicholas Fox Weber, Executive Director of the Josef and Anni Albers Foundation, explained: "In making the mural, he took a concept he had developed at the Bauhaus in sandblasted glass, and gave it new life on a vastly large scale to serve the purposes of his friend and colleague, Walter Gropius, who designed the original building and asked him to make the mural."In 2001 the mural was taken down while the MetLife lobby was under renovation. Therein some years earlier ownership of the structure had changed hands and moniker to MetLife and the new owner's citing repurposing of the lobby to allow for more light to enter doubled with the fact the mural had been found to be laden with asbestos took the work down without notice. This then led to somewhat of an uproar.In 2019 the new owners of the structure Tishman Speyer decided to reinstall the work in its original position. However, as the murals was disassembled into panels which were laden with asbestos, the work had to be recreated. Albers had left behind precise specifications that allowed for the work to be recreated. The installation was completed in September 2019.
|
[
"Tishman Speyer",
"New York City",
"The Bauhaus",
"Bauhaus",
"asbestos",
"MetLife",
"Pan Am Building",
"Walter Gropius",
"Anni Albers"
] |
|
14465_T
|
Sherbrooke War Memorial
|
In Sherbrooke War Memorial, how is the abstract discussed?
|
The Sherbrooke War Memorial is a cenotaph erected in 1926, on King Street, in Sherbrooke, Quebec, to commemorate Sherbrooke residents who fought in World War I. This piece of cultural heritage has become emblematic of the city of Sherbrooke, which counts it among its ten main "points of interest". The monument was designed by George William Hill, one of the foremost Canadian sculptors of the first half of the 20th century.
|
[
"World War I",
"cultural heritage",
"George William Hill",
"Sherbrooke",
"cenotaph",
"monument",
"Quebec"
] |
|
14465_NT
|
Sherbrooke War Memorial
|
In this artwork, how is the abstract discussed?
|
The Sherbrooke War Memorial is a cenotaph erected in 1926, on King Street, in Sherbrooke, Quebec, to commemorate Sherbrooke residents who fought in World War I. This piece of cultural heritage has become emblematic of the city of Sherbrooke, which counts it among its ten main "points of interest". The monument was designed by George William Hill, one of the foremost Canadian sculptors of the first half of the 20th century.
|
[
"World War I",
"cultural heritage",
"George William Hill",
"Sherbrooke",
"cenotaph",
"monument",
"Quebec"
] |
|
14466_T
|
Equestrian Portrait of Margarita of Austria
|
Focus on Equestrian Portrait of Margarita of Austria and explore the abstract.
|
The Equestrian Portrait of Margarita of Austria is a 1634 portrait of Margaret of Austria, Queen of Spain on horseback by Velázquez, originally shown at the Hall of Realms of the Buen Retiro Palace in Madrid and now in the Prado Museum.
|
[
"Prado Museum",
"Margarita of Austria",
"Velázquez",
"Buen Retiro Palace",
"Margaret of Austria, Queen of Spain",
"Hall of Realms",
"Madrid"
] |
|
14466_NT
|
Equestrian Portrait of Margarita of Austria
|
Focus on this artwork and explore the abstract.
|
The Equestrian Portrait of Margarita of Austria is a 1634 portrait of Margaret of Austria, Queen of Spain on horseback by Velázquez, originally shown at the Hall of Realms of the Buen Retiro Palace in Madrid and now in the Prado Museum.
|
[
"Prado Museum",
"Margarita of Austria",
"Velázquez",
"Buen Retiro Palace",
"Margaret of Austria, Queen of Spain",
"Hall of Realms",
"Madrid"
] |
|
14467_T
|
Equestrian Portrait of Margarita of Austria
|
Focus on Equestrian Portrait of Margarita of Austria and explain the History of the work.
|
Velázquez had been commissioned to paint a series of five equestrian portraits of the royal family, Felipe III, his wife Queen Margaret of Austria, Felipe IV, his wife Elizabeth of France and their son Baltazar Carlos. This last was smaller than those of the other family members, as it was intended to be hung on a door and therefore viewed from a lower perspective.
As with the portrait of her husband, this portrait of Margarita evidences input from Velázquez' workshop. Velázquez retouched the work which his workshop produced, retouching the horse's harness in particular; this was originally very detailed. The same stroke fluidity can be observed in the redone head of the queen, but this process was reversed in the horse's mane and some portions of the landscape in the background, albeit hidden in the underlying technique of the painting. This may be Velázquez' work.
|
[
"Felipe IV",
"Felipe III",
"Velázquez",
"Baltazar Carlos",
"Elizabeth of France"
] |
|
14467_NT
|
Equestrian Portrait of Margarita of Austria
|
Focus on this artwork and explain the History of the work.
|
Velázquez had been commissioned to paint a series of five equestrian portraits of the royal family, Felipe III, his wife Queen Margaret of Austria, Felipe IV, his wife Elizabeth of France and their son Baltazar Carlos. This last was smaller than those of the other family members, as it was intended to be hung on a door and therefore viewed from a lower perspective.
As with the portrait of her husband, this portrait of Margarita evidences input from Velázquez' workshop. Velázquez retouched the work which his workshop produced, retouching the horse's harness in particular; this was originally very detailed. The same stroke fluidity can be observed in the redone head of the queen, but this process was reversed in the horse's mane and some portions of the landscape in the background, albeit hidden in the underlying technique of the painting. This may be Velázquez' work.
|
[
"Felipe IV",
"Felipe III",
"Velázquez",
"Baltazar Carlos",
"Elizabeth of France"
] |
|
14468_T
|
Equestrian Portrait of Margarita of Austria
|
Explore the Description of the work of this artwork, Equestrian Portrait of Margarita of Austria.
|
The figure of the queen appears in an ornate dress, adorned with two pieces of jewelry known to belong to the Austrians, the pearl known as "La Peregrina" and the square-cut diamond called "El Estanque". The horse, posed in the 'passage' gait, is facing left, in order to mirror the horse posed in Margarita's husband's portrait, which faces to the right.
|
[
"right",
"La Peregrina"
] |
|
14468_NT
|
Equestrian Portrait of Margarita of Austria
|
Explore the Description of the work of this artwork.
|
The figure of the queen appears in an ornate dress, adorned with two pieces of jewelry known to belong to the Austrians, the pearl known as "La Peregrina" and the square-cut diamond called "El Estanque". The horse, posed in the 'passage' gait, is facing left, in order to mirror the horse posed in Margarita's husband's portrait, which faces to the right.
|
[
"right",
"La Peregrina"
] |
|
14469_T
|
Colonna Madonna
|
Focus on Colonna Madonna and discuss the abstract.
|
The Madonna Colonna is an oil on poplar painting by the Italian Renaissance artist Raphael. It was painted c. 1507–1508, near the end of Raphael's Florentine period.This painting should not be confused with the Colonna Altarpiece by the same artist which is at the Metropolitan Museum of Art in New York.
|
[
"Raphael",
"Florentine",
"Renaissance",
"New York",
"Italian",
"painting",
"Colonna Altarpiece",
"Metropolitan Museum of Art"
] |
|
14469_NT
|
Colonna Madonna
|
Focus on this artwork and discuss the abstract.
|
The Madonna Colonna is an oil on poplar painting by the Italian Renaissance artist Raphael. It was painted c. 1507–1508, near the end of Raphael's Florentine period.This painting should not be confused with the Colonna Altarpiece by the same artist which is at the Metropolitan Museum of Art in New York.
|
[
"Raphael",
"Florentine",
"Renaissance",
"New York",
"Italian",
"painting",
"Colonna Altarpiece",
"Metropolitan Museum of Art"
] |
|
14470_T
|
Statue of Umashimadenomikoto
|
How does Statue of Umashimadenomikoto elucidate its abstract?
|
A statue of Umashimadenomikoto (可美真手命) by Akira Sano is installed in Tokyo's Hamarikyu Gardens, in Japan.
|
[
"Hamarikyu Gardens",
"Tokyo"
] |
|
14470_NT
|
Statue of Umashimadenomikoto
|
How does this artwork elucidate its abstract?
|
A statue of Umashimadenomikoto (可美真手命) by Akira Sano is installed in Tokyo's Hamarikyu Gardens, in Japan.
|
[
"Hamarikyu Gardens",
"Tokyo"
] |
|
14471_T
|
The Burial of the Sardine
|
Focus on The Burial of the Sardine and analyze the abstract.
|
The Burial of the Sardine (Spanish: El entierro de la sardina) is an oil-on-panel painting by Spanish artist Francisco Goya, usually dated to the 1810s. The title is posthumous, referring to the culminating event, Entierro de la Sardina, of a three-day carnival in Madrid ending on Ash Wednesday. Masked and disguised revellers are seen dancing their way to the banks of the Manzanares, where a ceremonial sardine will be buried. Goya does not illustrate the fish in the painting, nor the large doll made of straw, called a pelele, from which it hung; the centrepiece is the darkly grinning "King of the Carnival".
The painting has been dated between 1793 and 1819, but most accounts place it toward the end of this range on account of the painting's style and its place within the shifting themes of Goya's art as he aged. The Burial appears to fit within a progression beginning with the artist's bright, youthful works—in which he painted commissions of popular entertainments and colourful cartoon tapestries—and his much later, psychologically darker Black Paintings. The painting is certainly a tribute to the common people, depicting an exuberant crowd carousing on the first day of Lent while other Spanish Catholics worship at church. Yet the celebration takes on a sinister aspect due to the many masked and blank faces (see the detail in "Gallery") surrounding the gaily dancing women in white; the grey, distorted trees and encroaching dark colours; and the eye-catching black banner that parades an unsettling mascot. Such festivals as the "Burial of the Sardine" originated with themes of mortality: masks were worn to ward off the spirits of criminals and those who had died violently. The word "mortus" ("death") is barely visible on the banner though in a preparatory ink sketch by Goya (in the gallery below) it features prominently over an indistinct shape which may be a representation of the sardine itself. The painting forms a loose thematic set with other paintings of religious ceremony that Goya produced around the same time, among which are A Procession of Flagellants (Procesión de disciplinantes) and Inquisition Scene (Auto de fe de la Inquisición).
Goya scholar Fred Licht writes:[The Burial of the Sardine] is also one of the most astonishing virtuoso performances to come down to us from Goya's brush. Rarely did Goya again reach such decisiveness of touch. Every brushstroke is a calligraphic marvel at the same time that it describes with consummate precision the expression of faces and the emotional charge of each stance or gesture. We have arrived here at the perfect balancing point between the early tapestry cartoons and the later Black Paintings. All the riotous gaiety of the former appeals to the eye from the surface of the painting. But in the darkening of the colors, in the masklike ambiguity of the faces... and especially in the overwrought gestures and expressions, one begins to feel the obscurely disturbing undertones of mass hysteria underlying the fiesta.
|
[
"Black Paintings",
"Francisco Goya",
"Spanish Catholics",
"Entierro de la Sardina",
"carnival",
"panel painting",
"A Procession of Flagellants",
"Spanish",
"Ash Wednesday",
"Carnival",
"Inquisition Scene",
"Manzanares",
"cartoon tapestries",
"Lent",
"Madrid"
] |
|
14471_NT
|
The Burial of the Sardine
|
Focus on this artwork and analyze the abstract.
|
The Burial of the Sardine (Spanish: El entierro de la sardina) is an oil-on-panel painting by Spanish artist Francisco Goya, usually dated to the 1810s. The title is posthumous, referring to the culminating event, Entierro de la Sardina, of a three-day carnival in Madrid ending on Ash Wednesday. Masked and disguised revellers are seen dancing their way to the banks of the Manzanares, where a ceremonial sardine will be buried. Goya does not illustrate the fish in the painting, nor the large doll made of straw, called a pelele, from which it hung; the centrepiece is the darkly grinning "King of the Carnival".
The painting has been dated between 1793 and 1819, but most accounts place it toward the end of this range on account of the painting's style and its place within the shifting themes of Goya's art as he aged. The Burial appears to fit within a progression beginning with the artist's bright, youthful works—in which he painted commissions of popular entertainments and colourful cartoon tapestries—and his much later, psychologically darker Black Paintings. The painting is certainly a tribute to the common people, depicting an exuberant crowd carousing on the first day of Lent while other Spanish Catholics worship at church. Yet the celebration takes on a sinister aspect due to the many masked and blank faces (see the detail in "Gallery") surrounding the gaily dancing women in white; the grey, distorted trees and encroaching dark colours; and the eye-catching black banner that parades an unsettling mascot. Such festivals as the "Burial of the Sardine" originated with themes of mortality: masks were worn to ward off the spirits of criminals and those who had died violently. The word "mortus" ("death") is barely visible on the banner though in a preparatory ink sketch by Goya (in the gallery below) it features prominently over an indistinct shape which may be a representation of the sardine itself. The painting forms a loose thematic set with other paintings of religious ceremony that Goya produced around the same time, among which are A Procession of Flagellants (Procesión de disciplinantes) and Inquisition Scene (Auto de fe de la Inquisición).
Goya scholar Fred Licht writes:[The Burial of the Sardine] is also one of the most astonishing virtuoso performances to come down to us from Goya's brush. Rarely did Goya again reach such decisiveness of touch. Every brushstroke is a calligraphic marvel at the same time that it describes with consummate precision the expression of faces and the emotional charge of each stance or gesture. We have arrived here at the perfect balancing point between the early tapestry cartoons and the later Black Paintings. All the riotous gaiety of the former appeals to the eye from the surface of the painting. But in the darkening of the colors, in the masklike ambiguity of the faces... and especially in the overwrought gestures and expressions, one begins to feel the obscurely disturbing undertones of mass hysteria underlying the fiesta.
|
[
"Black Paintings",
"Francisco Goya",
"Spanish Catholics",
"Entierro de la Sardina",
"carnival",
"panel painting",
"A Procession of Flagellants",
"Spanish",
"Ash Wednesday",
"Carnival",
"Inquisition Scene",
"Manzanares",
"cartoon tapestries",
"Lent",
"Madrid"
] |
|
14472_T
|
Statue of William H. Seward (Seattle)
|
In Statue of William H. Seward (Seattle), how is the abstract discussed?
|
William Henry Seward, also known as Let Us Make the Treaty Tonight, the Monument to William H. Seward, and William H. Seward, is an outdoor bronze sculpture of William H. Seward by Richard Brooks, located in Volunteer Park in Seattle, Washington, United States. The statue was unveiled at the Alaska–Yukon–Pacific Exposition in 1909 and relocated to the park the following year. It cost $15,000 and was funded by private donors.
|
[
"William H. Seward",
"Seattle",
"bronze sculpture",
"Washington",
"Alaska–Yukon–Pacific Exposition",
"Volunteer Park"
] |
|
14472_NT
|
Statue of William H. Seward (Seattle)
|
In this artwork, how is the abstract discussed?
|
William Henry Seward, also known as Let Us Make the Treaty Tonight, the Monument to William H. Seward, and William H. Seward, is an outdoor bronze sculpture of William H. Seward by Richard Brooks, located in Volunteer Park in Seattle, Washington, United States. The statue was unveiled at the Alaska–Yukon–Pacific Exposition in 1909 and relocated to the park the following year. It cost $15,000 and was funded by private donors.
|
[
"William H. Seward",
"Seattle",
"bronze sculpture",
"Washington",
"Alaska–Yukon–Pacific Exposition",
"Volunteer Park"
] |
|
14473_T
|
The Savior of Painting
|
Focus on The Savior of Painting and explore the Reception.
|
Reviewing a 1999 exhibition of Nerdrum's self-portraits in New York City, Ken Johnson of The New York Times wrote that the paintings overall only succeeded to "envelop the artist in a stale aura of quasi-Rembrandtian soulfulness". One exception was "Self-Portrait as the Prophet of Painting, in which the artist appears life-size in a floor-length, pearl-studded golden robe, brush and palette in his hands, against a romantically barren rocky shore and a twilit sky. In this goofy, over-the-top image, Mr. Nerdrum seems to be having some fun with his own self-glorifying predilections."In 2012, it was selected by the magazine American Artist as one of "7 important paintings of our time". The magazine described it as "boldly presumptuous" and "one of few paintings in Nerdrum's oeuvre devoid of tension, angst, or torment. That is because the artist portrayed here is triumphant—he has overcome the accusations and criticism of his public and stands confidently poised to save art from its so-called imminent doom."
|
[
"Ken Johnson",
"The New York Times",
"Rembrandt"
] |
|
14473_NT
|
The Savior of Painting
|
Focus on this artwork and explore the Reception.
|
Reviewing a 1999 exhibition of Nerdrum's self-portraits in New York City, Ken Johnson of The New York Times wrote that the paintings overall only succeeded to "envelop the artist in a stale aura of quasi-Rembrandtian soulfulness". One exception was "Self-Portrait as the Prophet of Painting, in which the artist appears life-size in a floor-length, pearl-studded golden robe, brush and palette in his hands, against a romantically barren rocky shore and a twilit sky. In this goofy, over-the-top image, Mr. Nerdrum seems to be having some fun with his own self-glorifying predilections."In 2012, it was selected by the magazine American Artist as one of "7 important paintings of our time". The magazine described it as "boldly presumptuous" and "one of few paintings in Nerdrum's oeuvre devoid of tension, angst, or torment. That is because the artist portrayed here is triumphant—he has overcome the accusations and criticism of his public and stands confidently poised to save art from its so-called imminent doom."
|
[
"Ken Johnson",
"The New York Times",
"Rembrandt"
] |
|
14474_T
|
Dancing with Dandelions
|
Focus on Dancing with Dandelions and explain the abstract.
|
Dancing with Dandelions or One O'clock Wish is a sculpture depicting a fairy who appears to be fighting the wind while holding a dandelion. It was created by Robin Wight, an artist from Staffordshire. The artist now produces a series of wire sculptures featuring fairies and dandelions.
|
[
"fairy",
"Staffordshire",
"dandelion",
"Robin Wight"
] |
|
14474_NT
|
Dancing with Dandelions
|
Focus on this artwork and explain the abstract.
|
Dancing with Dandelions or One O'clock Wish is a sculpture depicting a fairy who appears to be fighting the wind while holding a dandelion. It was created by Robin Wight, an artist from Staffordshire. The artist now produces a series of wire sculptures featuring fairies and dandelions.
|
[
"fairy",
"Staffordshire",
"dandelion",
"Robin Wight"
] |
|
14475_T
|
Dancing with Dandelions
|
Explore the Design of fairy series of this artwork, Dancing with Dandelions.
|
The fairies Wight builds are winged creatures, and they are posed in positions that contort their bodies. The dandelions appear to be blowing in a brisk wind. They are made with stainless steel wire. The design begins with a skeleton of thicker steel, and then different sizes of wires are used to create a lifelike appearance. Each fairy has "realistic anatomy and musculature", which is created from the stainless steel wire. The artist puts a stone inside the sculptures to represent a heart. Occasionally Wight engraves a message on the stone hearts inside the fairies.
|
[
"fairy",
"dandelion",
"stainless steel wire"
] |
|
14475_NT
|
Dancing with Dandelions
|
Explore the Design of fairy series of this artwork.
|
The fairies Wight builds are winged creatures, and they are posed in positions that contort their bodies. The dandelions appear to be blowing in a brisk wind. They are made with stainless steel wire. The design begins with a skeleton of thicker steel, and then different sizes of wires are used to create a lifelike appearance. Each fairy has "realistic anatomy and musculature", which is created from the stainless steel wire. The artist puts a stone inside the sculptures to represent a heart. Occasionally Wight engraves a message on the stone hearts inside the fairies.
|
[
"fairy",
"dandelion",
"stainless steel wire"
] |
|
14476_T
|
Dancing with Dandelions
|
Focus on Dancing with Dandelions and discuss the Reception.
|
In 2016 Pulse Nigeria published a list of "10 amazing sculptures from around the world". They put the Dancing with Dandelions sculpture as number 9. In 2017 Bored Panda put the sculpture at number 2 on their list of "42 of the Most Amazing Sculptures in the World".
|
[
"Bored Panda"
] |
|
14476_NT
|
Dancing with Dandelions
|
Focus on this artwork and discuss the Reception.
|
In 2016 Pulse Nigeria published a list of "10 amazing sculptures from around the world". They put the Dancing with Dandelions sculpture as number 9. In 2017 Bored Panda put the sculpture at number 2 on their list of "42 of the Most Amazing Sculptures in the World".
|
[
"Bored Panda"
] |
|
14477_T
|
Olmec Head, Number 8
|
How does Olmec Head, Number 8 elucidate its abstract?
|
Olmec Head, Number 8 is a 7-foot (2.1-meter) tall outdoor colossal head sculpture on the east side of the north entrance to the Field Museum of Natural History in Chicago, Illinois, that was created by Mexican sculptor Ignacio Pérez Solano (b. 1931) and installed in 2000. It is one of several reproductions of San Lorenzo Colossal Head 8, which is currently located at the Museum of Anthropology in Xalapa, Veracruz.
|
[
"Veracruz",
"Museum of Anthropology",
"Illinois",
"Chicago",
"Field Museum of Natural History",
"Ignacio Pérez Solano",
"Xalapa"
] |
|
14477_NT
|
Olmec Head, Number 8
|
How does this artwork elucidate its abstract?
|
Olmec Head, Number 8 is a 7-foot (2.1-meter) tall outdoor colossal head sculpture on the east side of the north entrance to the Field Museum of Natural History in Chicago, Illinois, that was created by Mexican sculptor Ignacio Pérez Solano (b. 1931) and installed in 2000. It is one of several reproductions of San Lorenzo Colossal Head 8, which is currently located at the Museum of Anthropology in Xalapa, Veracruz.
|
[
"Veracruz",
"Museum of Anthropology",
"Illinois",
"Chicago",
"Field Museum of Natural History",
"Ignacio Pérez Solano",
"Xalapa"
] |
|
14478_T
|
Self-Portrait with Palette (Manet)
|
Focus on Self-Portrait with Palette (Manet) and analyze the abstract.
|
Self-Portrait with Palette (French: Autoportrait à la palette) is an 1878–79 oil-on-canvas painting by the French artist Édouard Manet. This late impressionistic work is one of his two self-portraits. Velasquez's self-portrait in Las Meninas was a particular inspiration for Manet's painting which despite its allusion to the previous artist's work is very modern in its focus upon the personality of the artist and loose paint handling.
A long series of prominent collectors have owned this painting. Most recently, it sold for $29.48 million at Sotheby's on 22 June 2010.
|
[
"impressionistic",
"Las Meninas",
"Sotheby's",
"Édouard Manet",
"Velasquez"
] |
|
14478_NT
|
Self-Portrait with Palette (Manet)
|
Focus on this artwork and analyze the abstract.
|
Self-Portrait with Palette (French: Autoportrait à la palette) is an 1878–79 oil-on-canvas painting by the French artist Édouard Manet. This late impressionistic work is one of his two self-portraits. Velasquez's self-portrait in Las Meninas was a particular inspiration for Manet's painting which despite its allusion to the previous artist's work is very modern in its focus upon the personality of the artist and loose paint handling.
A long series of prominent collectors have owned this painting. Most recently, it sold for $29.48 million at Sotheby's on 22 June 2010.
|
[
"impressionistic",
"Las Meninas",
"Sotheby's",
"Édouard Manet",
"Velasquez"
] |
|
14479_T
|
Self-Portrait with Palette (Manet)
|
In Self-Portrait with Palette (Manet), how is the Description discussed?
|
The 83 × 67 cm (33 × 26 in) painting shows a half-length portrait of the painter Édouard Manet. In this self-portrait as painter he depicted himself as a stylish Boulevardier in front of a dark background. The depicted wears a black top hat and a brown jacket, under which is a white shirt, of which only the collar can be seen. The neckline of the suit jacket covers a black silk tie which is affixed by a tie pin. In the right, only vaguely depicted hand he holds a long wooden brush with red paint on the tip; the left hand holds a painting palette with about three more brushes. No further accessories are shown. The figure is lit from the left by which the shadows beneath the left arm and the right half of the face are created. His pose is slightly turned to the right, so that the right half of the body is darker than the forward, left half. The painter's gaze is directed forwards at the viewer.
|
[
"left",
"Édouard Manet"
] |
|
14479_NT
|
Self-Portrait with Palette (Manet)
|
In this artwork, how is the Description discussed?
|
The 83 × 67 cm (33 × 26 in) painting shows a half-length portrait of the painter Édouard Manet. In this self-portrait as painter he depicted himself as a stylish Boulevardier in front of a dark background. The depicted wears a black top hat and a brown jacket, under which is a white shirt, of which only the collar can be seen. The neckline of the suit jacket covers a black silk tie which is affixed by a tie pin. In the right, only vaguely depicted hand he holds a long wooden brush with red paint on the tip; the left hand holds a painting palette with about three more brushes. No further accessories are shown. The figure is lit from the left by which the shadows beneath the left arm and the right half of the face are created. His pose is slightly turned to the right, so that the right half of the body is darker than the forward, left half. The painter's gaze is directed forwards at the viewer.
|
[
"left",
"Édouard Manet"
] |
|
14480_T
|
Self-Portrait with Palette (Manet)
|
Focus on Self-Portrait with Palette (Manet) and explore the Origin and meaning.
|
As has been established by X-ray analysis, Manet painted his Self-Portrait with Palette over a portrait in profile of his wife Suzanne Manet. In this picture she was depicted in a pose similar to that in the painting Madame Manet at the Piano (1868, Musée d'Orsay).
The dating of the painting goes back to Manet's friend Théodore Duret, who asked Léon Leenhof, the son of Manet's wife, about it after the painter's death. Moreover, Manet had used the same suit jacket that he wore in Self-Portrait with Palette in the painting At "Père Lathuille" (also from 1879), for the depiction of the son of the restaurant's owner.
Las Meninas, in which Diego Velázquez depicted himself in a similar pose with brush and palette, is considered an important precedent for the Self-Portrait with Palette. There the painter stands almost in the background of his studio, while his models, the five-year-old Margarita Teresa of Spain and her servants, occupy the foreground. From here Manet appropriated the pose of the painter and his equipment, but as opposed to Velázquez, he makes himself the thematic center of the image. At the same time, however, he is working on a painting, but leaves its subject matter, as well as his surroundings, to the imagination of the viewer. Manet himself between 1865 and 1870 portrayed Velázquez in a studio scene in which the Spanish painter is posed similarly to his self-portrait.
As a practical matter painters did not and do not wear formal dress while working, as it could far too easily be ruined by oil paint. Manet's depiction of himself as a painter in stylish city-going clothes has various precedents. Already Velázquez had shown himself in costly garb that would be appropriate for a courtier. In 1870 Manet had sat for the painter Henri Fantin-Latour in the painting Un atelier aux Batignolles while similarly well-dressed. His wearing of a hat indoors also has a direct precedent. Renoir had depicted Monet in 1875, with suit, hat and all. Just as Velázquez had used his clothes to underscore his proximity to the Spanish court, Manet's clothing shows his role as a stylish and successful Parisian artist, "who not only in his artistic posture, but also in his appearance is quintessentially the painter of modern life, of Baudelaire's description."The unfinished right hand with the paintbrush is conspicuous in the painting. Victor Stoichiţă perceives this as Manet's intention and interprets it thusly: "because it is an act of painting that is depicted here, it turns painting around itself like a whirlwind" Françoise Cachin explains it as a way of concentrating the light and the attention of the viewer upon the more important aspects of the painting. Manet's wife Suzanne, however, described this painting and the Self-Portrait with Cap (1878–79) as sketches.
|
[
"Suzanne Manet",
"Françoise Cachin",
"Henri Fantin-Latour",
"whirlwind",
"Monet",
"Théodore Duret",
"Margarita Teresa of Spain",
"Las Meninas",
"Renoir",
"Velázquez",
"Madame Manet at the Piano",
"Diego Velázquez",
"Un atelier aux Batignolles",
"painter of modern life"
] |
|
14480_NT
|
Self-Portrait with Palette (Manet)
|
Focus on this artwork and explore the Origin and meaning.
|
As has been established by X-ray analysis, Manet painted his Self-Portrait with Palette over a portrait in profile of his wife Suzanne Manet. In this picture she was depicted in a pose similar to that in the painting Madame Manet at the Piano (1868, Musée d'Orsay).
The dating of the painting goes back to Manet's friend Théodore Duret, who asked Léon Leenhof, the son of Manet's wife, about it after the painter's death. Moreover, Manet had used the same suit jacket that he wore in Self-Portrait with Palette in the painting At "Père Lathuille" (also from 1879), for the depiction of the son of the restaurant's owner.
Las Meninas, in which Diego Velázquez depicted himself in a similar pose with brush and palette, is considered an important precedent for the Self-Portrait with Palette. There the painter stands almost in the background of his studio, while his models, the five-year-old Margarita Teresa of Spain and her servants, occupy the foreground. From here Manet appropriated the pose of the painter and his equipment, but as opposed to Velázquez, he makes himself the thematic center of the image. At the same time, however, he is working on a painting, but leaves its subject matter, as well as his surroundings, to the imagination of the viewer. Manet himself between 1865 and 1870 portrayed Velázquez in a studio scene in which the Spanish painter is posed similarly to his self-portrait.
As a practical matter painters did not and do not wear formal dress while working, as it could far too easily be ruined by oil paint. Manet's depiction of himself as a painter in stylish city-going clothes has various precedents. Already Velázquez had shown himself in costly garb that would be appropriate for a courtier. In 1870 Manet had sat for the painter Henri Fantin-Latour in the painting Un atelier aux Batignolles while similarly well-dressed. His wearing of a hat indoors also has a direct precedent. Renoir had depicted Monet in 1875, with suit, hat and all. Just as Velázquez had used his clothes to underscore his proximity to the Spanish court, Manet's clothing shows his role as a stylish and successful Parisian artist, "who not only in his artistic posture, but also in his appearance is quintessentially the painter of modern life, of Baudelaire's description."The unfinished right hand with the paintbrush is conspicuous in the painting. Victor Stoichiţă perceives this as Manet's intention and interprets it thusly: "because it is an act of painting that is depicted here, it turns painting around itself like a whirlwind" Françoise Cachin explains it as a way of concentrating the light and the attention of the viewer upon the more important aspects of the painting. Manet's wife Suzanne, however, described this painting and the Self-Portrait with Cap (1878–79) as sketches.
|
[
"Suzanne Manet",
"Françoise Cachin",
"Henri Fantin-Latour",
"whirlwind",
"Monet",
"Théodore Duret",
"Margarita Teresa of Spain",
"Las Meninas",
"Renoir",
"Velázquez",
"Madame Manet at the Piano",
"Diego Velázquez",
"Un atelier aux Batignolles",
"painter of modern life"
] |
|
14481_T
|
Self-Portrait with Palette (Manet)
|
Focus on Self-Portrait with Palette (Manet) and explain the Position in the Oeuvre.
|
The Self-Portrait with Palette is the only self-portrait by Manet in which he depicted himself as an artist. He depicted himself in several other paintings, but almost always as one of many figures in a large composition. These works include Fishing (1860/61), Music in the Tuileries (1862), and The Ball of the Opera (1873).
The full-length Self-Portrait with Cap (1878–79) is the only other pure self-portrait by Manet. The chronological proximity of the two paintings implies a direct connection between them; accordingly, they have been considered as two stages of a work in progress. In the first painting, Self-Portrait with Palette, the act of painting itself is depicted by the blurred gestures of the painter. In the latter work, the painter is shown with the clear detachment of a viewer, rather than a creator. To Éric Darragon it appears that the painter has "stepped back, to evaluate his painting."After Manet's death the two pictures hung on either side of the 1877 painting Jean-Baptiste Faure in the Role of Hamlet. From this arrangement Stoichiţă concludes that the choice of this Spanish influenced painting was meant to evoke a renewed parallel to Velázquez. Another message derived from the juxtaposition is that the self-portraits could almost be read as Manet in the Role of Manet. Juliet Wilson-Bareau, however, points out that Manet probably did not intend the pictures to be so displayed, as it was Léon Leenhoff who had the pictures framed and hung them on either side of the Faure portrait.
|
[
"Hamlet",
"Music in the Tuileries",
"Jean-Baptiste Faure",
"Juliet Wilson-Bareau",
"Velázquez"
] |
|
14481_NT
|
Self-Portrait with Palette (Manet)
|
Focus on this artwork and explain the Position in the Oeuvre.
|
The Self-Portrait with Palette is the only self-portrait by Manet in which he depicted himself as an artist. He depicted himself in several other paintings, but almost always as one of many figures in a large composition. These works include Fishing (1860/61), Music in the Tuileries (1862), and The Ball of the Opera (1873).
The full-length Self-Portrait with Cap (1878–79) is the only other pure self-portrait by Manet. The chronological proximity of the two paintings implies a direct connection between them; accordingly, they have been considered as two stages of a work in progress. In the first painting, Self-Portrait with Palette, the act of painting itself is depicted by the blurred gestures of the painter. In the latter work, the painter is shown with the clear detachment of a viewer, rather than a creator. To Éric Darragon it appears that the painter has "stepped back, to evaluate his painting."After Manet's death the two pictures hung on either side of the 1877 painting Jean-Baptiste Faure in the Role of Hamlet. From this arrangement Stoichiţă concludes that the choice of this Spanish influenced painting was meant to evoke a renewed parallel to Velázquez. Another message derived from the juxtaposition is that the self-portraits could almost be read as Manet in the Role of Manet. Juliet Wilson-Bareau, however, points out that Manet probably did not intend the pictures to be so displayed, as it was Léon Leenhoff who had the pictures framed and hung them on either side of the Faure portrait.
|
[
"Hamlet",
"Music in the Tuileries",
"Jean-Baptiste Faure",
"Juliet Wilson-Bareau",
"Velázquez"
] |
|
14482_T
|
Self-Portrait with Palette (Manet)
|
Explore the Reception of this artwork, Self-Portrait with Palette (Manet).
|
The painting was often considered to be of lesser artistic value than Manet's other works. In 1926 the critic Étienne Moreau-Nélaton wrote: "This work, like the other efforts of the artist, are spoiled by a certain coldness. The artist's hand moves with too much fire, painting so freely here, that it is impossible for the painter to seriously focus upon himself as an object." On the other hand, Theodore Reff in 1982 emphasized the meaning of Manet's decision to approach self-portraiture, which he had never before attempted, at the high point of his career. The chosen clothes, in both case stylish suits, give the impression that Manet considered himself not only a successful artist but a successful figure in society: the paintings are a record of this success.
Wilson-Bareau proposes an alternate explanation for the origin of the self-portraits. When the art historian and Manet biographer Adolphe Tabarant asked Manet's stepson Léon Leenhoff about the point in time at which Manet had been stricken with Syphilis, Leenhoff gave 1879 as an answer, which would explain why Manet, who had never before in his life painted a self-portrait, had painted two within that year. It would seem that with the reality of death right before his eyes, he felt a need to come to terms with himself.The nephew of the artist, Edouard Vibert (1867–1899) finished shortly before his death a series of copies of various Manet paintings for Madame Manet as mementos of the paintings that had had to be sold after the death of the artist. Around the turn of the 20th century a copy of the Self-Portrait with Palette was attested that was ascribed to Vibert.
|
[
"Étienne Moreau-Nélaton"
] |
|
14482_NT
|
Self-Portrait with Palette (Manet)
|
Explore the Reception of this artwork.
|
The painting was often considered to be of lesser artistic value than Manet's other works. In 1926 the critic Étienne Moreau-Nélaton wrote: "This work, like the other efforts of the artist, are spoiled by a certain coldness. The artist's hand moves with too much fire, painting so freely here, that it is impossible for the painter to seriously focus upon himself as an object." On the other hand, Theodore Reff in 1982 emphasized the meaning of Manet's decision to approach self-portraiture, which he had never before attempted, at the high point of his career. The chosen clothes, in both case stylish suits, give the impression that Manet considered himself not only a successful artist but a successful figure in society: the paintings are a record of this success.
Wilson-Bareau proposes an alternate explanation for the origin of the self-portraits. When the art historian and Manet biographer Adolphe Tabarant asked Manet's stepson Léon Leenhoff about the point in time at which Manet had been stricken with Syphilis, Leenhoff gave 1879 as an answer, which would explain why Manet, who had never before in his life painted a self-portrait, had painted two within that year. It would seem that with the reality of death right before his eyes, he felt a need to come to terms with himself.The nephew of the artist, Edouard Vibert (1867–1899) finished shortly before his death a series of copies of various Manet paintings for Madame Manet as mementos of the paintings that had had to be sold after the death of the artist. Around the turn of the 20th century a copy of the Self-Portrait with Palette was attested that was ascribed to Vibert.
|
[
"Étienne Moreau-Nélaton"
] |
|
14483_T
|
Self-Portrait with Palette (Manet)
|
Focus on Self-Portrait with Palette (Manet) and discuss the Provenance.
|
The Self-Portrait with Palette was not sold during Manet's lifetime and after his death was held by his widow. Nor were either of the self-portraits sold in the 1884 estate sale. Manet's widow does not appear to have wanted to sell them until 1897, as Antonin Proust in a letter from May 10 of that year stated that neither Jean-Baptiste Faure nor Auguste Pellerin were interested in the paintings.
On 2 February 1899, Suzanne Manet bequeathed the pictures to her sister Martina Leenhoff, probably with the intention of aiding her during financial difficulties. That year, Madame Manet and Proust renewed their efforts to sell the paintings. This time the art dealers Hermann Paechter and Ambroise Vollard expressed interest. Later that year Paechter obtained the paintings at the price of 6,000 Francs for the Self-Portrait with Cap and only 1,000 for Self-Portrait with Palette. In Théodore Duret's 1902 exhibit catalog the picture is listed as the property of Pellerin.
Shortly after, the Self-Portrait with Cap went to the collection of Max Linde in Lübeck. In addition to being an art collector Linde was also an ophthalmologist, with Edvard Munch among his patients. Eventually the Norwegian artist was inspired by the Manet to paint various other full length portraits, including a 1909 portrait of his psychiatrist Daniel Jacobson, which came close to the Manet in style and feeling.In May 1910, the Self-Portrait with Palette appeared in an exhibit at the gallery of Georges Petit in Paris, where it was labeled as on loan from the widow of the Marquis Etienne de Ganay. Just a month later it was shown in an exhibit by the gallery owners Paul Durand-Ruel, Bernheim-Jeune and Paul Cassirer together with all other Manet paintings that had previously been owned by Pellerin. Pellerin had sold his collection to the dealers, with the exception of the Self-Portrait with Palette, which he had sold to Madame de Ganay immediately beforehand. Ganay owned the painting through the 1920s; by 1931 it was in the collection of the Berlin bank president Jakob Goldschmidt. Goldschmidt immigrated to New York City in 1936, taking his collection with him, and died there in 1955. In 1958 the painting was bought by J. Summers for 65,000.Later the collector couple John and Frances L. Loeb from New York acquired the painting for $176,800. At the auction of the Loeb collection on 12 May 1997 the painting was sold for $18.7 million to an anonymous bidder. At that time it was the second highest price ever paid for a work by Manet. Shortly thereafter the new owner was revealed to be the Casino developer Steve Wynn, as he displayed the picture in his hotel in the Hotel Bellagio and Wynn Las Vegas. In March 2005, it was privately sold to Steven A. Cohen. The price is estimated to have been between $35 million to $40 million.On 7 May 2010, it was announced that Cohen had decided to auction the painting at Sotheby's on 22 June 2010. The price was expected to be between $30.1 and $45.2 million. These expectations were not met, however, and the painting sold for £22,441,250 ($29.48 million) to the New York collector Franck Giraud. The price was nevertheless a record for a Manet painting.
|
[
"Max Linde",
"Suzanne Manet",
"Edvard Munch",
"Paul Cassirer",
"Bernheim-Jeune",
"Georges Petit",
"Jean-Baptiste Faure",
"John and Frances L. Loeb",
"Steven A. Cohen",
"Théodore Duret",
"Antonin Proust",
"Paul Durand-Ruel",
"Auguste Pellerin",
"Sotheby's",
"Jakob Goldschmidt",
"ophthalmologist",
"Ambroise Vollard",
"Steve Wynn",
"Hotel Bellagio",
"Wynn Las Vegas"
] |
|
14483_NT
|
Self-Portrait with Palette (Manet)
|
Focus on this artwork and discuss the Provenance.
|
The Self-Portrait with Palette was not sold during Manet's lifetime and after his death was held by his widow. Nor were either of the self-portraits sold in the 1884 estate sale. Manet's widow does not appear to have wanted to sell them until 1897, as Antonin Proust in a letter from May 10 of that year stated that neither Jean-Baptiste Faure nor Auguste Pellerin were interested in the paintings.
On 2 February 1899, Suzanne Manet bequeathed the pictures to her sister Martina Leenhoff, probably with the intention of aiding her during financial difficulties. That year, Madame Manet and Proust renewed their efforts to sell the paintings. This time the art dealers Hermann Paechter and Ambroise Vollard expressed interest. Later that year Paechter obtained the paintings at the price of 6,000 Francs for the Self-Portrait with Cap and only 1,000 for Self-Portrait with Palette. In Théodore Duret's 1902 exhibit catalog the picture is listed as the property of Pellerin.
Shortly after, the Self-Portrait with Cap went to the collection of Max Linde in Lübeck. In addition to being an art collector Linde was also an ophthalmologist, with Edvard Munch among his patients. Eventually the Norwegian artist was inspired by the Manet to paint various other full length portraits, including a 1909 portrait of his psychiatrist Daniel Jacobson, which came close to the Manet in style and feeling.In May 1910, the Self-Portrait with Palette appeared in an exhibit at the gallery of Georges Petit in Paris, where it was labeled as on loan from the widow of the Marquis Etienne de Ganay. Just a month later it was shown in an exhibit by the gallery owners Paul Durand-Ruel, Bernheim-Jeune and Paul Cassirer together with all other Manet paintings that had previously been owned by Pellerin. Pellerin had sold his collection to the dealers, with the exception of the Self-Portrait with Palette, which he had sold to Madame de Ganay immediately beforehand. Ganay owned the painting through the 1920s; by 1931 it was in the collection of the Berlin bank president Jakob Goldschmidt. Goldschmidt immigrated to New York City in 1936, taking his collection with him, and died there in 1955. In 1958 the painting was bought by J. Summers for 65,000.Later the collector couple John and Frances L. Loeb from New York acquired the painting for $176,800. At the auction of the Loeb collection on 12 May 1997 the painting was sold for $18.7 million to an anonymous bidder. At that time it was the second highest price ever paid for a work by Manet. Shortly thereafter the new owner was revealed to be the Casino developer Steve Wynn, as he displayed the picture in his hotel in the Hotel Bellagio and Wynn Las Vegas. In March 2005, it was privately sold to Steven A. Cohen. The price is estimated to have been between $35 million to $40 million.On 7 May 2010, it was announced that Cohen had decided to auction the painting at Sotheby's on 22 June 2010. The price was expected to be between $30.1 and $45.2 million. These expectations were not met, however, and the painting sold for £22,441,250 ($29.48 million) to the New York collector Franck Giraud. The price was nevertheless a record for a Manet painting.
|
[
"Max Linde",
"Suzanne Manet",
"Edvard Munch",
"Paul Cassirer",
"Bernheim-Jeune",
"Georges Petit",
"Jean-Baptiste Faure",
"John and Frances L. Loeb",
"Steven A. Cohen",
"Théodore Duret",
"Antonin Proust",
"Paul Durand-Ruel",
"Auguste Pellerin",
"Sotheby's",
"Jakob Goldschmidt",
"ophthalmologist",
"Ambroise Vollard",
"Steve Wynn",
"Hotel Bellagio",
"Wynn Las Vegas"
] |
|
14484_T
|
Monkey Before Skeleton
|
Focus on Monkey Before Skeleton and analyze the abstract.
|
Monkey Before Skeleton (German:Affe vor Skelett) is the title of a painting by the Bohemian painter Gabriel von Max from around 1900. The 61 cm × 44.5 cm large work of art, painted with oil paints on canvas, shows a monkey facing a skeleton against the backdrop of a darkened interior. As part of Max's late work, the motif of the monkey can be found in a number of other depictions, which were created from 1871 until the artist's death in 1915. The painting is now in private ownership in Hamburg.
|
[
"Gabriel von Max"
] |
|
14484_NT
|
Monkey Before Skeleton
|
Focus on this artwork and analyze the abstract.
|
Monkey Before Skeleton (German:Affe vor Skelett) is the title of a painting by the Bohemian painter Gabriel von Max from around 1900. The 61 cm × 44.5 cm large work of art, painted with oil paints on canvas, shows a monkey facing a skeleton against the backdrop of a darkened interior. As part of Max's late work, the motif of the monkey can be found in a number of other depictions, which were created from 1871 until the artist's death in 1915. The painting is now in private ownership in Hamburg.
|
[
"Gabriel von Max"
] |
|
14485_T
|
Monkey Before Skeleton
|
In Monkey Before Skeleton, how is the Image description discussed?
|
The standing rhesus monkey is positioned frontally and in close proximity to the skeleton, which the viewer in front of the painting can only see from the rear. The monkey tied to the lower body is held in the moment of movement with economical but curious gestures. With his left hand he supports himself on the written notes and papers on the table in front of him. His right, on the other hand, appears less active and, in its angled and curled position, flatters more of the monkey's characteristic nature. A black quill pen is placed on the inscribed booklet, close to hand.
The skeleton is that of a juvenile chimpanzee. It is bent slightly forward in a similar posture, but is stabilized by a rod at the end of the spine. An inkwell and written leaves are shown in the center of the picture, which is framed by the primate and skeleton on the side. A striking red book can be seen through the skeleton. This motif is continued with two further books bound in red, ascending towards the back.
In the background, there are also a multitude of bound writings and loose sheets of paper on the table and shelves, which end in shadowy outlines with increasing distance and darkness of the room.
|
[] |
|
14485_NT
|
Monkey Before Skeleton
|
In this artwork, how is the Image description discussed?
|
The standing rhesus monkey is positioned frontally and in close proximity to the skeleton, which the viewer in front of the painting can only see from the rear. The monkey tied to the lower body is held in the moment of movement with economical but curious gestures. With his left hand he supports himself on the written notes and papers on the table in front of him. His right, on the other hand, appears less active and, in its angled and curled position, flatters more of the monkey's characteristic nature. A black quill pen is placed on the inscribed booklet, close to hand.
The skeleton is that of a juvenile chimpanzee. It is bent slightly forward in a similar posture, but is stabilized by a rod at the end of the spine. An inkwell and written leaves are shown in the center of the picture, which is framed by the primate and skeleton on the side. A striking red book can be seen through the skeleton. This motif is continued with two further books bound in red, ascending towards the back.
In the background, there are also a multitude of bound writings and loose sheets of paper on the table and shelves, which end in shadowy outlines with increasing distance and darkness of the room.
|
[] |
|
14486_T
|
Monkey Before Skeleton
|
Focus on Monkey Before Skeleton and explore the Image interpretation.
|
Differentiating from the medieval use of the monkey motif to indicate rascality or instinctuality, the primacy is shown here as a thinker who explores a skeleton. Lost in thought, the monkey's gaze turns slightly cross-eyed on the skeleton, which as a vanitas symbol indicates its own transience. It can be recognized as the object and result of research that is now next to the labeled sheet of evolution. The author of the documents shown remains uncertain.
Comparable to a monkey in front of a skeleton, color fidelity and attention to detail are decisive elements in most of his monkey paintings, which suggest naturalness and testify to the artist's recourse to living as well as prepared animals as study models. From 1870 the painter kept a group of monkeys in his own household, which he observed and studied. Detailed descriptions of their behavior, their cognitive progress and illnesses emerged. Many animals died due to the weather conditions in Munich, with the artist nailing some of the dead animals to wood to use as models for his paintings. Dissections too were carried out by him and then recorded in drawings. Some of the monkeys were given names such as his favorites Paly and Puk, who at times also wore clothes and ate at the same table. However, the artist did not travel to non-European countries, as he noted in his notebook from 1908: "I never got beyond Europe's cultural savages."Despite the artist's concern to reproduce the nature of the monkeys realistically, as evidenced by the fine color transitions and accents of light, the painting Monkey in front of a skeleton looks a bit glossed over. This suggests the high rank and influence of history painting at the time . However, the monkey was no longer portrayed as an actor in the role of man, as was the case with the clothed monkeys of the Singerien, for example was common, but perceived as living beings with abilities that are hardly or not at all preserved in the human disposition. The boundaries between humans and animals are explored in more detail, whereby it is now also important to grasp the essence and thus the truthfulness of the monkey. Nevertheless, the reality shown is constructed in the painting, whereby the symbolic content of the primate persists in a modified form.
As a collector and intellectual, Gabriel von Max combined art with science in order to address issues of human ancestry and further development. Shortly before, the German sculptor Hugo Rheinhold followed a similar approach, who set similar thematic priorities (bronze sculpture of a monkey with a skull, 1892).
|
[
"Gabriel von Max"
] |
|
14486_NT
|
Monkey Before Skeleton
|
Focus on this artwork and explore the Image interpretation.
|
Differentiating from the medieval use of the monkey motif to indicate rascality or instinctuality, the primacy is shown here as a thinker who explores a skeleton. Lost in thought, the monkey's gaze turns slightly cross-eyed on the skeleton, which as a vanitas symbol indicates its own transience. It can be recognized as the object and result of research that is now next to the labeled sheet of evolution. The author of the documents shown remains uncertain.
Comparable to a monkey in front of a skeleton, color fidelity and attention to detail are decisive elements in most of his monkey paintings, which suggest naturalness and testify to the artist's recourse to living as well as prepared animals as study models. From 1870 the painter kept a group of monkeys in his own household, which he observed and studied. Detailed descriptions of their behavior, their cognitive progress and illnesses emerged. Many animals died due to the weather conditions in Munich, with the artist nailing some of the dead animals to wood to use as models for his paintings. Dissections too were carried out by him and then recorded in drawings. Some of the monkeys were given names such as his favorites Paly and Puk, who at times also wore clothes and ate at the same table. However, the artist did not travel to non-European countries, as he noted in his notebook from 1908: "I never got beyond Europe's cultural savages."Despite the artist's concern to reproduce the nature of the monkeys realistically, as evidenced by the fine color transitions and accents of light, the painting Monkey in front of a skeleton looks a bit glossed over. This suggests the high rank and influence of history painting at the time . However, the monkey was no longer portrayed as an actor in the role of man, as was the case with the clothed monkeys of the Singerien, for example was common, but perceived as living beings with abilities that are hardly or not at all preserved in the human disposition. The boundaries between humans and animals are explored in more detail, whereby it is now also important to grasp the essence and thus the truthfulness of the monkey. Nevertheless, the reality shown is constructed in the painting, whereby the symbolic content of the primate persists in a modified form.
As a collector and intellectual, Gabriel von Max combined art with science in order to address issues of human ancestry and further development. Shortly before, the German sculptor Hugo Rheinhold followed a similar approach, who set similar thematic priorities (bronze sculpture of a monkey with a skull, 1892).
|
[
"Gabriel von Max"
] |
|
14487_T
|
Monkey Before Skeleton
|
Focus on Monkey Before Skeleton and explain the Classification and literary models.
|
Exploring the origins of man is a crucial component in Gabriel von Max's oeuvre. However, this backward-looking search is associated with a belief in the future that is based on technical innovation, such as the discovery of X-rays in 1895, and Darwinian theories. Various publications by Jean-Baptiste de Lamarck, Charles Darwin, Thomas Henry Huxley and the German zoologist Ernst Haeckels serve as literary sources . The latter creates a lively exchange of letters to discuss current studies, which also expresses mutual respect and admiration. Ernst Haeckel received the painting on his 60th birthday Pithecanthropus alalus, which finds its place in its private rooms.
As far as visions and visions of the future are concerned, however, the artist's interest in occultism and spiritualism should also be pointed out, which particularly determines the artist's first creative phase. As a strict opponent of vivisection, he continued to write down his observations and studies on the basis of notes throughout his life. The artist wrote in a letter to his youngest son Corneille Max on September 5, 1899 : "Now the natural scientists and vivisectors are meeting in Munich - these materialists all have a lot to answer for: the miserableness of Christianity is the result." The artist's aversion to epistemological materialism is clear here and expressing pure rationality. The monkey paintings are therefore on the one hand to be understood as documentation of his scientific work, which serves the continuation of the research topics, but on the other hand also illustrate psychological and spiritual ideas.
The relationship between humans and the environment is characterized by great advances in the area of zoology and the keeping and protection of animals in the 19th century . Gabriel von Max therefore proclaims, among other things, a closer relationship to nature and the animal world, which puts the existing hierarchical thinking of people behind, but does not inhibit scientific progress. Arthur Schopenhauer's writings are therefore also groundbreaking. In 1841, in his essay On the Basics of Morality, he formulated a new compassionate understanding of values towards other living beings.
|
[
"Gabriel von Max"
] |
|
14487_NT
|
Monkey Before Skeleton
|
Focus on this artwork and explain the Classification and literary models.
|
Exploring the origins of man is a crucial component in Gabriel von Max's oeuvre. However, this backward-looking search is associated with a belief in the future that is based on technical innovation, such as the discovery of X-rays in 1895, and Darwinian theories. Various publications by Jean-Baptiste de Lamarck, Charles Darwin, Thomas Henry Huxley and the German zoologist Ernst Haeckels serve as literary sources . The latter creates a lively exchange of letters to discuss current studies, which also expresses mutual respect and admiration. Ernst Haeckel received the painting on his 60th birthday Pithecanthropus alalus, which finds its place in its private rooms.
As far as visions and visions of the future are concerned, however, the artist's interest in occultism and spiritualism should also be pointed out, which particularly determines the artist's first creative phase. As a strict opponent of vivisection, he continued to write down his observations and studies on the basis of notes throughout his life. The artist wrote in a letter to his youngest son Corneille Max on September 5, 1899 : "Now the natural scientists and vivisectors are meeting in Munich - these materialists all have a lot to answer for: the miserableness of Christianity is the result." The artist's aversion to epistemological materialism is clear here and expressing pure rationality. The monkey paintings are therefore on the one hand to be understood as documentation of his scientific work, which serves the continuation of the research topics, but on the other hand also illustrate psychological and spiritual ideas.
The relationship between humans and the environment is characterized by great advances in the area of zoology and the keeping and protection of animals in the 19th century . Gabriel von Max therefore proclaims, among other things, a closer relationship to nature and the animal world, which puts the existing hierarchical thinking of people behind, but does not inhibit scientific progress. Arthur Schopenhauer's writings are therefore also groundbreaking. In 1841, in his essay On the Basics of Morality, he formulated a new compassionate understanding of values towards other living beings.
|
[
"Gabriel von Max"
] |
|
14488_T
|
Monkey Before Skeleton
|
Explore the Literature of this artwork, Monkey Before Skeleton.
|
Solly Zuckerman: The Ape in Myth & Art. Verdigris Press, London 1998, ISBN 978-1-902335-00-1 .
Louise Lippincott, Andreas Blühm (eds.): Fierce friends. Artists and animals, 1750–1900. Exhibition catalog Van Gogh Museum Amsterdam / Carnegie Museum of Art Pittsburgh 2005–2006. Merrell Publishers, London a. a. 2005, ISBN 978-1-85894-300-8 .
Louise Lippincott, Andreas Blühm (Ed.): Tierschau. How our picture of the animal came about. Exhibition catalog Wallraf-Richartz-Museum & Fondation Corboud, Cologne 2007, ISBN 978-3-930054-55-8 .
Franziska Uhlig: Counter-magic. Gabriel von Max's interest in monkeys. In: Karin Althaus and Helmut Friedel (eds.): Gabriel von Max. Malerstar, Darwinist. Exhibition catalog in the Lenbachhaus and Kunstbau Munich 2010–2011. Hirmer Verlag, Munich 2010, pp. 316–329, ISBN 978-3-7774-3031-7 .
Filip Aleš, Roman Musil: A true homunculus in the animal world. Gabriel von Max 'Affenbilder, in: Umění, 4 (2010), pp. 294–311.
Jo-Anne Birnie Danzker (Ed.): Gabriel von Max. Exhibition catalog Frye Art Museum Seattle 2011. Frye Art Museum: In association with University of Washington Press, Seattle (Washington) 2011, ISBN 978-0-295-99146-7 .
Francesca Kaes: The monkey in the picture. Monkey painting between observation and imagination in the work of Gabriel von Max. Unv. Bachelor thesis, Ruprecht-Karls-Universität Heidelberg 2011.
Francesca Kaes: The Soul of the Monkey. Unv. Lecture, Geneva 2011.
Angela Schürzinger: Gabriel von Max 'monkey pictures. On the influence of the theory of evolution conveyed by Charles Darwin and Ernst Haeckel. Master's thesis, LMU Munich: History and Art Studies, 39, 2012.
Vernon Reynolds: Hugo's Philosophical Ape. IPPL [International Primate Protection League] News. 35 (2), Sept. 2008: 16–18, (as of February 23, 2012).
Thomas Bach: Object of the Month November 2010. From the Ernst-Haeckel-Haus Jena (EHH). (As of February 23, 2012).
|
[
"Gabriel von Max"
] |
|
14488_NT
|
Monkey Before Skeleton
|
Explore the Literature of this artwork.
|
Solly Zuckerman: The Ape in Myth & Art. Verdigris Press, London 1998, ISBN 978-1-902335-00-1 .
Louise Lippincott, Andreas Blühm (eds.): Fierce friends. Artists and animals, 1750–1900. Exhibition catalog Van Gogh Museum Amsterdam / Carnegie Museum of Art Pittsburgh 2005–2006. Merrell Publishers, London a. a. 2005, ISBN 978-1-85894-300-8 .
Louise Lippincott, Andreas Blühm (Ed.): Tierschau. How our picture of the animal came about. Exhibition catalog Wallraf-Richartz-Museum & Fondation Corboud, Cologne 2007, ISBN 978-3-930054-55-8 .
Franziska Uhlig: Counter-magic. Gabriel von Max's interest in monkeys. In: Karin Althaus and Helmut Friedel (eds.): Gabriel von Max. Malerstar, Darwinist. Exhibition catalog in the Lenbachhaus and Kunstbau Munich 2010–2011. Hirmer Verlag, Munich 2010, pp. 316–329, ISBN 978-3-7774-3031-7 .
Filip Aleš, Roman Musil: A true homunculus in the animal world. Gabriel von Max 'Affenbilder, in: Umění, 4 (2010), pp. 294–311.
Jo-Anne Birnie Danzker (Ed.): Gabriel von Max. Exhibition catalog Frye Art Museum Seattle 2011. Frye Art Museum: In association with University of Washington Press, Seattle (Washington) 2011, ISBN 978-0-295-99146-7 .
Francesca Kaes: The monkey in the picture. Monkey painting between observation and imagination in the work of Gabriel von Max. Unv. Bachelor thesis, Ruprecht-Karls-Universität Heidelberg 2011.
Francesca Kaes: The Soul of the Monkey. Unv. Lecture, Geneva 2011.
Angela Schürzinger: Gabriel von Max 'monkey pictures. On the influence of the theory of evolution conveyed by Charles Darwin and Ernst Haeckel. Master's thesis, LMU Munich: History and Art Studies, 39, 2012.
Vernon Reynolds: Hugo's Philosophical Ape. IPPL [International Primate Protection League] News. 35 (2), Sept. 2008: 16–18, (as of February 23, 2012).
Thomas Bach: Object of the Month November 2010. From the Ernst-Haeckel-Haus Jena (EHH). (As of February 23, 2012).
|
[
"Gabriel von Max"
] |
|
14489_T
|
A Dutch Courtyard
|
Focus on A Dutch Courtyard and discuss the abstract.
|
A Dutch Courtyard (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch. The original resides in the collection of the National Gallery of Art in Washington, D.C. A later, altered replica also exists, part of the collection of the Mauritshuis Museum in The Hague.
|
[
"National Gallery of Art",
"replica",
"Courtyard",
"oil-on-canvas",
"Washington, D.C.",
"Pieter de Hooch",
"Mauritshuis",
"The Hague",
"Mauritshuis Museum"
] |
|
14489_NT
|
A Dutch Courtyard
|
Focus on this artwork and discuss the abstract.
|
A Dutch Courtyard (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch. The original resides in the collection of the National Gallery of Art in Washington, D.C. A later, altered replica also exists, part of the collection of the Mauritshuis Museum in The Hague.
|
[
"National Gallery of Art",
"replica",
"Courtyard",
"oil-on-canvas",
"Washington, D.C.",
"Pieter de Hooch",
"Mauritshuis",
"The Hague",
"Mauritshuis Museum"
] |
|
14490_T
|
A Dutch Courtyard
|
How does A Dutch Courtyard elucidate its Repainting?
|
To achieve the sense of order, De Hooch carefully manipulated elements of the composition, strengthening the figural group. Thorough visual examination and infrared reflectography conducted at 1.2 to 2.5 microns reveal several modifications made by the artist. The little girl seems to have been elevated slightly and shifted approximately one inch to the right from her initial position thus, adjusted to overlap with the intersection of the house and the rear wall of the courtyard. This placement, along with the presence of the vibrant orange-red window shutter directly above her, works to diminish the pronounced sense of recession induced by the building's receding perspective. The standing woman's head might have been more upright as she raised her glass to a slightly higher level, and an earlier position of her foot was painted over. The original fence extended between the two seated men, but this was altered. The arm and beer stein positions of the central seated figure were adjusted, with a noticeable pentimento indicating that the stein was initially positioned farther back, covering the view of the elbow. In the background, the courtyard visible through the open door initially featured a second, somewhat thinner tree trunk. The arch in the doorway is painted over both tree trunks, suggesting that it was likely added late in the creative process. Lastly, the top of the building on the right initially terminated at a lower point, not extending vertically to the top of the picture space.The paint remains in good condition, displaying minimal loss and only slight abrasion, with notable exceptions being the background trees and a one-inch strip along the top of the sky, which exhibit more severe abrasion. Additional areas affected by abrasion encompass the little girl's face, the woman's blue apron, and the cloak of the foreground-seated man. A restoration effort in 2002 addressed these abrasions, involving inpainting to seamlessly integrate them with the overall composition. Historical records indicate a previous treatment in Holland during the 1930s before the most recent restoration.
|
[
"infrared reflectography",
"courtyard",
"Holland"
] |
|
14490_NT
|
A Dutch Courtyard
|
How does this artwork elucidate its Repainting?
|
To achieve the sense of order, De Hooch carefully manipulated elements of the composition, strengthening the figural group. Thorough visual examination and infrared reflectography conducted at 1.2 to 2.5 microns reveal several modifications made by the artist. The little girl seems to have been elevated slightly and shifted approximately one inch to the right from her initial position thus, adjusted to overlap with the intersection of the house and the rear wall of the courtyard. This placement, along with the presence of the vibrant orange-red window shutter directly above her, works to diminish the pronounced sense of recession induced by the building's receding perspective. The standing woman's head might have been more upright as she raised her glass to a slightly higher level, and an earlier position of her foot was painted over. The original fence extended between the two seated men, but this was altered. The arm and beer stein positions of the central seated figure were adjusted, with a noticeable pentimento indicating that the stein was initially positioned farther back, covering the view of the elbow. In the background, the courtyard visible through the open door initially featured a second, somewhat thinner tree trunk. The arch in the doorway is painted over both tree trunks, suggesting that it was likely added late in the creative process. Lastly, the top of the building on the right initially terminated at a lower point, not extending vertically to the top of the picture space.The paint remains in good condition, displaying minimal loss and only slight abrasion, with notable exceptions being the background trees and a one-inch strip along the top of the sky, which exhibit more severe abrasion. Additional areas affected by abrasion encompass the little girl's face, the woman's blue apron, and the cloak of the foreground-seated man. A restoration effort in 2002 addressed these abrasions, involving inpainting to seamlessly integrate them with the overall composition. Historical records indicate a previous treatment in Holland during the 1930s before the most recent restoration.
|
[
"infrared reflectography",
"courtyard",
"Holland"
] |
|
14491_T
|
A Dutch Courtyard
|
Focus on A Dutch Courtyard and analyze the Mauritshuis replica.
|
An autograph replica, said to be of lower quality, is present in the Mauritshuis, The Hague. The primary difference in composition between the two works lies in the absence of the seated soldier. However, X-rays reveal the soldier's initial presence, indicating that it was later painted over by another hand. The cuirass worn by this soldier corresponds to those found in other De Hooch paintings from the same period, including 'A Soldier Paying a Hostess', dated 1658.The provenance of the replica is also unknown before the 1820's, with this painting titled differently as 'A Man Smoking and a Woman Drinking in a Courtyard', and its first noted appearance as a sale by the John Smith Gallery, in London for 300 pounds in 1822, ending up in the Mauritshuis' collection by 1947.Multiple copies of this painting existed, including an old copy in a Dutch dealer's possession in 1903.
|
[
"replica",
"Courtyard",
"Mauritshuis",
"A Soldier Paying a Hostess",
"The Hague",
"A Man Smoking and a Woman Drinking in a Courtyard",
"London",
"cuirass",
"X-rays",
"X-ray"
] |
|
14491_NT
|
A Dutch Courtyard
|
Focus on this artwork and analyze the Mauritshuis replica.
|
An autograph replica, said to be of lower quality, is present in the Mauritshuis, The Hague. The primary difference in composition between the two works lies in the absence of the seated soldier. However, X-rays reveal the soldier's initial presence, indicating that it was later painted over by another hand. The cuirass worn by this soldier corresponds to those found in other De Hooch paintings from the same period, including 'A Soldier Paying a Hostess', dated 1658.The provenance of the replica is also unknown before the 1820's, with this painting titled differently as 'A Man Smoking and a Woman Drinking in a Courtyard', and its first noted appearance as a sale by the John Smith Gallery, in London for 300 pounds in 1822, ending up in the Mauritshuis' collection by 1947.Multiple copies of this painting existed, including an old copy in a Dutch dealer's possession in 1903.
|
[
"replica",
"Courtyard",
"Mauritshuis",
"A Soldier Paying a Hostess",
"The Hague",
"A Man Smoking and a Woman Drinking in a Courtyard",
"London",
"cuirass",
"X-rays",
"X-ray"
] |
|
14492_T
|
A Dutch Courtyard
|
In A Dutch Courtyard, how is the Provenance discussed?
|
In a watercolour portrayal of a Dutch interior dated 1783 by W. J. Laquy, a German artist active in Amsterdam, the Washington painting is shown hanging on the rear wall. This illustration suggests that, at the time, the painting was housed in a Dutch-style gold frame. The painting's provenance before 1820 remains unknown, leaving uncertainty about the residence in which Laquy encountered it, and how it ended up in the possession of C.S Roos by 1820.
|
[
"watercolour",
"C.S Roos"
] |
|
14492_NT
|
A Dutch Courtyard
|
In this artwork, how is the Provenance discussed?
|
In a watercolour portrayal of a Dutch interior dated 1783 by W. J. Laquy, a German artist active in Amsterdam, the Washington painting is shown hanging on the rear wall. This illustration suggests that, at the time, the painting was housed in a Dutch-style gold frame. The painting's provenance before 1820 remains unknown, leaving uncertainty about the residence in which Laquy encountered it, and how it ended up in the possession of C.S Roos by 1820.
|
[
"watercolour",
"C.S Roos"
] |
|
14493_T
|
A Dutch Courtyard
|
In the context of A Dutch Courtyard, explore the Sales of the Provenance.
|
The first sale of the painting occurred in August 1820, where, from the ownership of C.S Roos, through the art dealer R.W.P de Vries, the painting was purchased by Isaac Van Eyck for either 600 or 750 florins. The next sale is listed as ownership transferring to a Mr. Mason after a sale in Paris. Following this, the painting belonged to various members of the Rothschild banking family, starting with Baron Lionel de Rothschild who acquired the painting after an 1842 or earlier sale. Through inheritance, the piece passed to his son, Nathan Mayer Rothschild, 1st baron Rothschild, who through exchange or sale passed ownership to his brother, baron Alfred Charles de Rothschild, for Halton House, near Wendover, Buckinghamshire. Upon Alfred de Rothchild's death in 1918, the painting was bequeathed to his illegitimate daughter, Almina Victoria, Countess of Carnarvon, who sold the piece to Duveen Brothers, Inc., in 1924 who flipped the painting in November of that year to Andrew W. Mellon, a prominent politician and later philanthropist. In December 1934 'A Dutch Courtyard' was deeded to The A.W. Mellon Educational and Charitable Trust, who gifted the painting to the National Gallery of Art in 1937.
|
[
"Duveen Brothers",
"National Gallery of Art",
"Courtyard",
"Halton House",
"art dealer",
"C.S Roos",
"Rothschild banking family",
"Baron",
"Lionel de Rothschild",
"politician",
"florins",
"Countess of Carnarvon",
"Buckinghamshire",
"philanthropist",
"Alfred Charles de Rothschild",
"Andrew W. Mellon",
"Nathan Mayer Rothschild, 1st baron Rothschild",
"inheritance",
"Wendover"
] |
|
14493_NT
|
A Dutch Courtyard
|
In the context of this artwork, explore the Sales of the Provenance.
|
The first sale of the painting occurred in August 1820, where, from the ownership of C.S Roos, through the art dealer R.W.P de Vries, the painting was purchased by Isaac Van Eyck for either 600 or 750 florins. The next sale is listed as ownership transferring to a Mr. Mason after a sale in Paris. Following this, the painting belonged to various members of the Rothschild banking family, starting with Baron Lionel de Rothschild who acquired the painting after an 1842 or earlier sale. Through inheritance, the piece passed to his son, Nathan Mayer Rothschild, 1st baron Rothschild, who through exchange or sale passed ownership to his brother, baron Alfred Charles de Rothschild, for Halton House, near Wendover, Buckinghamshire. Upon Alfred de Rothchild's death in 1918, the painting was bequeathed to his illegitimate daughter, Almina Victoria, Countess of Carnarvon, who sold the piece to Duveen Brothers, Inc., in 1924 who flipped the painting in November of that year to Andrew W. Mellon, a prominent politician and later philanthropist. In December 1934 'A Dutch Courtyard' was deeded to The A.W. Mellon Educational and Charitable Trust, who gifted the painting to the National Gallery of Art in 1937.
|
[
"Duveen Brothers",
"National Gallery of Art",
"Courtyard",
"Halton House",
"art dealer",
"C.S Roos",
"Rothschild banking family",
"Baron",
"Lionel de Rothschild",
"politician",
"florins",
"Countess of Carnarvon",
"Buckinghamshire",
"philanthropist",
"Alfred Charles de Rothschild",
"Andrew W. Mellon",
"Nathan Mayer Rothschild, 1st baron Rothschild",
"inheritance",
"Wendover"
] |
|
14494_T
|
The Burial of the Count of Orgaz
|
Focus on The Burial of the Count of Orgaz and explain the abstract.
|
The Burial of the Count of Orgaz (Spanish: El Entierro del Conde de Orgaz) is a 1586 painting by El Greco, a prominent Renaissance painter, sculptor, and architect of Greek origin. Widely considered among his finest works, it illustrates a popular local legend of his time. An exceptionally large painting, it is divided into two sections, heavenly above and terrestrial below, but it gives little impression of duality, since the upper and lower sections are brought together compositionally.
The painting has been lauded by art scholars, characterized, inter alia, as "one of the most truthful pages in the history of Spain", as a masterpiece of Western art and of late Mannerism, and as the epitome of Greco's artistic style.
|
[
"Renaissance",
"sculptor",
"painting",
"El Greco",
"architect",
"Greek",
"Spanish",
"painter",
"Western art",
"Orgaz",
"Mannerism"
] |
|
14494_NT
|
The Burial of the Count of Orgaz
|
Focus on this artwork and explain the abstract.
|
The Burial of the Count of Orgaz (Spanish: El Entierro del Conde de Orgaz) is a 1586 painting by El Greco, a prominent Renaissance painter, sculptor, and architect of Greek origin. Widely considered among his finest works, it illustrates a popular local legend of his time. An exceptionally large painting, it is divided into two sections, heavenly above and terrestrial below, but it gives little impression of duality, since the upper and lower sections are brought together compositionally.
The painting has been lauded by art scholars, characterized, inter alia, as "one of the most truthful pages in the history of Spain", as a masterpiece of Western art and of late Mannerism, and as the epitome of Greco's artistic style.
|
[
"Renaissance",
"sculptor",
"painting",
"El Greco",
"architect",
"Greek",
"Spanish",
"painter",
"Western art",
"Orgaz",
"Mannerism"
] |
|
14495_T
|
The Burial of the Count of Orgaz
|
Explore the Theme of this artwork, The Burial of the Count of Orgaz.
|
The theme of the painting is inspired by a legend of the early 14th century. In 1323 (or in 1312), a certain Don Gonzalo Ruiz de Toledo, mayor of the town of Orgaz, died (his family later received the title of Count, by which he is generally and posthumously known). Don Gonzalo Ruiz de Toledo was a descendant of the noble Palaiologos family, which produced the last ruling dynasty of the Byzantine Empire. A pious Caballero, the Count of Orgaz was also a philanthropist, who, among other charitable acts, left a sum of money for the enlargement and adornment of the church of Santo Tomé (El Greco's parish church), where he wanted to be buried.According to the legend, at the time the Count was buried, Saint Stephen and Saint Augustine descended in person from the heavens and buried him with their own hands in front of the dazzled eyes of those present. The event is depicted in the painting, with every detail of the work's subject described in the contract signed between Greco and the Church. The miracle is also mentioned in the Latin epitaphian inscription, set into the wall below the painting. Although Greco abided by the terms of the contract, he introduced some elements which "modernized" the legend, such as a series of features attributed to a 16th-century customary funeral procession, the vestments of the two saints, as well as the depiction of eminent Toledan figures of his time. The "modernization" of the legend serves the didactic purpose of the painting, which, in accord with the Counter-Reformation doctrines, stresses the importance of both the veneration of saints and of good deeds for the salvation of the soul.
|
[
"Gonzalo Ruiz de Toledo",
"Saint Augustine",
"painting",
"church of Santo Tomé",
"Toledo",
"El Greco",
"Caballero",
"Saint Stephen",
"philanthropist",
"Counter-Reformation",
"Palaiologos",
"left",
"Byzantine Empire",
"Orgaz"
] |
|
14495_NT
|
The Burial of the Count of Orgaz
|
Explore the Theme of this artwork.
|
The theme of the painting is inspired by a legend of the early 14th century. In 1323 (or in 1312), a certain Don Gonzalo Ruiz de Toledo, mayor of the town of Orgaz, died (his family later received the title of Count, by which he is generally and posthumously known). Don Gonzalo Ruiz de Toledo was a descendant of the noble Palaiologos family, which produced the last ruling dynasty of the Byzantine Empire. A pious Caballero, the Count of Orgaz was also a philanthropist, who, among other charitable acts, left a sum of money for the enlargement and adornment of the church of Santo Tomé (El Greco's parish church), where he wanted to be buried.According to the legend, at the time the Count was buried, Saint Stephen and Saint Augustine descended in person from the heavens and buried him with their own hands in front of the dazzled eyes of those present. The event is depicted in the painting, with every detail of the work's subject described in the contract signed between Greco and the Church. The miracle is also mentioned in the Latin epitaphian inscription, set into the wall below the painting. Although Greco abided by the terms of the contract, he introduced some elements which "modernized" the legend, such as a series of features attributed to a 16th-century customary funeral procession, the vestments of the two saints, as well as the depiction of eminent Toledan figures of his time. The "modernization" of the legend serves the didactic purpose of the painting, which, in accord with the Counter-Reformation doctrines, stresses the importance of both the veneration of saints and of good deeds for the salvation of the soul.
|
[
"Gonzalo Ruiz de Toledo",
"Saint Augustine",
"painting",
"church of Santo Tomé",
"Toledo",
"El Greco",
"Caballero",
"Saint Stephen",
"philanthropist",
"Counter-Reformation",
"Palaiologos",
"left",
"Byzantine Empire",
"Orgaz"
] |
|
14496_T
|
The Burial of the Count of Orgaz
|
Focus on The Burial of the Count of Orgaz and discuss the History.
|
The painting was commissioned by Andrés Núñez, the parish priest of Santo Tomé, for the side-chapel of the Virgin of the church of Santo Tomé. Núñez, who had initiated a project to refurbish the Count's burial chapel, is portrayed in the painting reading (on the right of the lower part of the composition). The painting's commission was the last step in the priest's plan to glorify the parish.Signed on 18 March 1586, the contract between Núñez and El Greco laid down specific iconographic demands, stipulated that the artist would pay for the materials, and provided for the delivery of the work until Christmas 1587. Greco must have worked at a frantic pace, and finished the painting between late 1587 and the spring of 1588. A long debate between the priests and the painter followed in relation to the value of the latter's work, for which the contract stipulated that it would be determined by appraisal. Initially intransigent, Greco eventually compromised and settled for the lower first "expert estimate", agreeing to receive 13,200 reales.Already in 1588, people were flocking to Santo Tomé to see the painting. This immediate popular reception was mainly due to the realistic portrayal of the notable men of Toledo of the time. It was the custom for the eminent and noble men of the town to assist the burial of the noble-born, and it was stipulated in the contract that the scene should be represented in this manner.El Greco would pay homage to the aristocracy of the spirit, the clergy, the jurists, the poets and the scholars, who honored him and his art with their esteem, by immortalizing them in the painting. The Burial of the Count of Orgaz has been admired not only for its art, but also because it is a gallery of portraits of some of the most important personalities of that time in Toledo. In 1612, Francisco de Pisa wrote: "The people of our city never grow tired, because [...] there are realistic portraits of many notable men of our times."
|
[
"Francisco de Pisa",
"Christ",
"painting",
"church of Santo Tomé",
"Toledo",
"El Greco",
"painter",
"parish priest",
"portrait",
"Orgaz",
"reales"
] |
|
14496_NT
|
The Burial of the Count of Orgaz
|
Focus on this artwork and discuss the History.
|
The painting was commissioned by Andrés Núñez, the parish priest of Santo Tomé, for the side-chapel of the Virgin of the church of Santo Tomé. Núñez, who had initiated a project to refurbish the Count's burial chapel, is portrayed in the painting reading (on the right of the lower part of the composition). The painting's commission was the last step in the priest's plan to glorify the parish.Signed on 18 March 1586, the contract between Núñez and El Greco laid down specific iconographic demands, stipulated that the artist would pay for the materials, and provided for the delivery of the work until Christmas 1587. Greco must have worked at a frantic pace, and finished the painting between late 1587 and the spring of 1588. A long debate between the priests and the painter followed in relation to the value of the latter's work, for which the contract stipulated that it would be determined by appraisal. Initially intransigent, Greco eventually compromised and settled for the lower first "expert estimate", agreeing to receive 13,200 reales.Already in 1588, people were flocking to Santo Tomé to see the painting. This immediate popular reception was mainly due to the realistic portrayal of the notable men of Toledo of the time. It was the custom for the eminent and noble men of the town to assist the burial of the noble-born, and it was stipulated in the contract that the scene should be represented in this manner.El Greco would pay homage to the aristocracy of the spirit, the clergy, the jurists, the poets and the scholars, who honored him and his art with their esteem, by immortalizing them in the painting. The Burial of the Count of Orgaz has been admired not only for its art, but also because it is a gallery of portraits of some of the most important personalities of that time in Toledo. In 1612, Francisco de Pisa wrote: "The people of our city never grow tired, because [...] there are realistic portraits of many notable men of our times."
|
[
"Francisco de Pisa",
"Christ",
"painting",
"church of Santo Tomé",
"Toledo",
"El Greco",
"painter",
"parish priest",
"portrait",
"Orgaz",
"reales"
] |
|
14497_T
|
The Burial of the Count of Orgaz
|
How does The Burial of the Count of Orgaz elucidate its Analysis of the painting?
|
According to the terms stipulated in the contract and the prevailing scholarly approach, the painting is divided into two zones, juxtaposing the earthly with the heavenly world, which are brought together compositionally (e.g., by the standing figures, by their varied participation in the earthly and heavenly event, by the torches, cross etc.). Franz Philipp emphasizes the element of the assumption of the soul (assumptio animae), and argues that the work should be considered as tripartite: the central division of the painting is occupied by the assumptio animae, in the form of a newborn, "ethereal" baby. Augustine's perception of the soul and its ascent, which evolved from a Neoplatonic basis, is a possible inspiration for the painter's imagery of assumptio animae. Greco's way of thematically and artistically linking the upper with the lower zone of the painting has been characterized by art scholars as ingenious, and as further accomplishing the main message of the painting, that veneration and good works lead to
salvation.In the upper part, the heavenly one, the clouds have parted to receive the "righteous man" in Paradise. Heaven is evoked by swirling icy clouds, semiabstract in their shape, and the saints are tall and phantomlike. Christ, clad in white and in glory, is a radiance of light, and the crowning point of the triangle formed by the figures of the Madonna and Saint John the Baptist in the traditional Orthodox composition of the Deesis. These three central figures of heavenly glory are surrounded by apostles, martyrs, Biblical figures (including Moses, Noah and David) as well as Philip II of Spain, though he was still alive. The "righteous" Philip II is spiritually united with Christ and the heavenly creatures in a City of God as conceived by Augustine. The heavenly and terrestrial land both blend together in an amazing fashion, but there is little sense of duality. In the central part of the composition, an angel powerfully pushes the nascent soul upwards, a movement interpreted once again as a visualization of the Counter-Reformation teaching of salvation.The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section, where all is normal as regards the scale and proportions of the figures. Saint Augustine, bearing the characteristics of Gaspar de Quiroga y Vela, the Archbishop of Toledo, and Saint Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armor that reflects the yellow and reds of the other figures. The armor is contemporary with Greco's time, and inspired by the ceremonial military dress of the Spanish royals as depicted in Titian's portraits. The noblemen contemplate the event in a detached and restrained manner. Their subdued composure has been interpreted either as another visual element of the didactic purpose of the painting under the Counter-Reformation influence or as an expression of the Byzantine origins of Greco's art. The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth. Jorge Manuel's inclusion emphasizes the didactic purpose of the painting: the boy occupies a prominent position close to the spectator's view, directing the latter with his pointing finger. The artist himself can be recognised directly above the raised hand of a knight of the Order of Santiago.The painting has a chromatic harmony that is very rich, expressive and radiant. On the black mourning garments of the nobles are projected the gold-embroidered vestments, thus creating an intense ceremonial character. In the heavenly space there is a predominance of transparent harmonies of iridescence and ivoried greys, which harmonize with the gilded ochres, while in the Madonna's maphorion (mantle) deep blue is closely combined with bright red. The rhetoric of the expressions, the glances and the gestural translation make the scene very moving.
|
[
"Madonna",
"Neoplatonic basis",
"Saint Augustine",
"Titian",
"Christ",
"Orthodox",
"Archbishop of Toledo",
"Paradise",
"painting",
"Toledo",
"El Greco",
"John the Baptist",
"Philip II of Spain",
"Deesis",
"Gaspar de Quiroga y Vela",
"City of God",
"Moses",
"Spanish",
"David",
"Order of Santiago",
"Saint Stephen",
"painter",
"Counter-Reformation",
"maphorion",
"Saint John the Baptist",
"left",
"Byzantine origins",
"portrait",
"Noah"
] |
|
14497_NT
|
The Burial of the Count of Orgaz
|
How does this artwork elucidate its Analysis of the painting?
|
According to the terms stipulated in the contract and the prevailing scholarly approach, the painting is divided into two zones, juxtaposing the earthly with the heavenly world, which are brought together compositionally (e.g., by the standing figures, by their varied participation in the earthly and heavenly event, by the torches, cross etc.). Franz Philipp emphasizes the element of the assumption of the soul (assumptio animae), and argues that the work should be considered as tripartite: the central division of the painting is occupied by the assumptio animae, in the form of a newborn, "ethereal" baby. Augustine's perception of the soul and its ascent, which evolved from a Neoplatonic basis, is a possible inspiration for the painter's imagery of assumptio animae. Greco's way of thematically and artistically linking the upper with the lower zone of the painting has been characterized by art scholars as ingenious, and as further accomplishing the main message of the painting, that veneration and good works lead to
salvation.In the upper part, the heavenly one, the clouds have parted to receive the "righteous man" in Paradise. Heaven is evoked by swirling icy clouds, semiabstract in their shape, and the saints are tall and phantomlike. Christ, clad in white and in glory, is a radiance of light, and the crowning point of the triangle formed by the figures of the Madonna and Saint John the Baptist in the traditional Orthodox composition of the Deesis. These three central figures of heavenly glory are surrounded by apostles, martyrs, Biblical figures (including Moses, Noah and David) as well as Philip II of Spain, though he was still alive. The "righteous" Philip II is spiritually united with Christ and the heavenly creatures in a City of God as conceived by Augustine. The heavenly and terrestrial land both blend together in an amazing fashion, but there is little sense of duality. In the central part of the composition, an angel powerfully pushes the nascent soul upwards, a movement interpreted once again as a visualization of the Counter-Reformation teaching of salvation.The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section, where all is normal as regards the scale and proportions of the figures. Saint Augustine, bearing the characteristics of Gaspar de Quiroga y Vela, the Archbishop of Toledo, and Saint Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armor that reflects the yellow and reds of the other figures. The armor is contemporary with Greco's time, and inspired by the ceremonial military dress of the Spanish royals as depicted in Titian's portraits. The noblemen contemplate the event in a detached and restrained manner. Their subdued composure has been interpreted either as another visual element of the didactic purpose of the painting under the Counter-Reformation influence or as an expression of the Byzantine origins of Greco's art. The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth. Jorge Manuel's inclusion emphasizes the didactic purpose of the painting: the boy occupies a prominent position close to the spectator's view, directing the latter with his pointing finger. The artist himself can be recognised directly above the raised hand of a knight of the Order of Santiago.The painting has a chromatic harmony that is very rich, expressive and radiant. On the black mourning garments of the nobles are projected the gold-embroidered vestments, thus creating an intense ceremonial character. In the heavenly space there is a predominance of transparent harmonies of iridescence and ivoried greys, which harmonize with the gilded ochres, while in the Madonna's maphorion (mantle) deep blue is closely combined with bright red. The rhetoric of the expressions, the glances and the gestural translation make the scene very moving.
|
[
"Madonna",
"Neoplatonic basis",
"Saint Augustine",
"Titian",
"Christ",
"Orthodox",
"Archbishop of Toledo",
"Paradise",
"painting",
"Toledo",
"El Greco",
"John the Baptist",
"Philip II of Spain",
"Deesis",
"Gaspar de Quiroga y Vela",
"City of God",
"Moses",
"Spanish",
"David",
"Order of Santiago",
"Saint Stephen",
"painter",
"Counter-Reformation",
"maphorion",
"Saint John the Baptist",
"left",
"Byzantine origins",
"portrait",
"Noah"
] |
|
14498_T
|
The Burial of the Count of Orgaz
|
Focus on The Burial of the Count of Orgaz and analyze the Influences.
|
The composition of the painting has been closely related to the Byzantine iconography of the Dormition of the Mother of God. The argumentation supporting this point of view focuses on the icon of the Dormition by El Greco that was discovered in 1983 in the church of the same name in Syros. Robert Byron, according to whom the iconographic type of the Dormition was the compositional model for The Burial of the Count of Orgaz, asserts that El Greco as a genuine Byzantine painter worked throughout his life with a repertoire of components and motifs at will, depending on the narrative and expressive requirements of the art.On the other hand, Harold Wethey rejects as "unconvincing" the view that the composition of the Burial is derived from the Dormition, "since the work is more immediately related to Italian Renaissance prototypes". In connection with its elimination of spatial depth by compressing figures into the foreground, the early Florentine Mannerists—Rosso Fiorentino, Pontormo and Parmigianino—are mentioned, as well two paintings by Tintoretto: the Crucifixion and the Resurrection of Lazarus, the latter because of the horizontal row of spectators behind the miracle. The elliptical grouping of the two saints, as they lower the dead body, is said to be closer to Titian's early Entombment than to any other work. Wethey asserts that "El Greco's Mannerist method of composition is nowhere more clearly expressed than here, where all of the action takes place in the frontal plane".Philipp argues that the painting is heavily influenced by the contemporary Spanish funerary art, and that Greco adhered to this sepulchral artistic tradition while adapting a popular religious subject, the Entombment of Christ, to the needs of his assignment. Sarah Schroth believes that Titian's Entombment is used by Greco as a model to subtly pass his didactic message for the value of good works, and she mentions Albrecht Dürer's Adoration of the Trinity as an inspiration for the painting's bi-partite composition and the depiction of contemporary laymen in the lower, earthly zone. However, Scroth departs from Wethey's absolute rejection of the presence of Byzantine elements in the painting, and accepts Dormition as an influence for the Burial's depiction of the assumptio animae. A third work of Tintoretto, The Last Judgment, is mentioned by Schroth as a possible influence for the Burial's depiction of Gloria, since Greco wanted to incorporate elements of the funeral liturgy in the upper part of the painting.
|
[
"Dormition",
"Parmigianino",
"Renaissance",
"Titian",
"Christ",
"Rosso Fiorentino",
"Entombment of Christ",
"Adoration of the Trinity",
"painting",
"El Greco",
"Tintoretto",
"Syros",
"Dormition of the Mother of God",
"Spanish",
"painter",
"Harold Wethey",
"iconography",
"funerary art",
"Entombment",
"Pontormo",
"Orgaz",
"Albrecht Dürer"
] |
|
14498_NT
|
The Burial of the Count of Orgaz
|
Focus on this artwork and analyze the Influences.
|
The composition of the painting has been closely related to the Byzantine iconography of the Dormition of the Mother of God. The argumentation supporting this point of view focuses on the icon of the Dormition by El Greco that was discovered in 1983 in the church of the same name in Syros. Robert Byron, according to whom the iconographic type of the Dormition was the compositional model for The Burial of the Count of Orgaz, asserts that El Greco as a genuine Byzantine painter worked throughout his life with a repertoire of components and motifs at will, depending on the narrative and expressive requirements of the art.On the other hand, Harold Wethey rejects as "unconvincing" the view that the composition of the Burial is derived from the Dormition, "since the work is more immediately related to Italian Renaissance prototypes". In connection with its elimination of spatial depth by compressing figures into the foreground, the early Florentine Mannerists—Rosso Fiorentino, Pontormo and Parmigianino—are mentioned, as well two paintings by Tintoretto: the Crucifixion and the Resurrection of Lazarus, the latter because of the horizontal row of spectators behind the miracle. The elliptical grouping of the two saints, as they lower the dead body, is said to be closer to Titian's early Entombment than to any other work. Wethey asserts that "El Greco's Mannerist method of composition is nowhere more clearly expressed than here, where all of the action takes place in the frontal plane".Philipp argues that the painting is heavily influenced by the contemporary Spanish funerary art, and that Greco adhered to this sepulchral artistic tradition while adapting a popular religious subject, the Entombment of Christ, to the needs of his assignment. Sarah Schroth believes that Titian's Entombment is used by Greco as a model to subtly pass his didactic message for the value of good works, and she mentions Albrecht Dürer's Adoration of the Trinity as an inspiration for the painting's bi-partite composition and the depiction of contemporary laymen in the lower, earthly zone. However, Scroth departs from Wethey's absolute rejection of the presence of Byzantine elements in the painting, and accepts Dormition as an influence for the Burial's depiction of the assumptio animae. A third work of Tintoretto, The Last Judgment, is mentioned by Schroth as a possible influence for the Burial's depiction of Gloria, since Greco wanted to incorporate elements of the funeral liturgy in the upper part of the painting.
|
[
"Dormition",
"Parmigianino",
"Renaissance",
"Titian",
"Christ",
"Rosso Fiorentino",
"Entombment of Christ",
"Adoration of the Trinity",
"painting",
"El Greco",
"Tintoretto",
"Syros",
"Dormition of the Mother of God",
"Spanish",
"painter",
"Harold Wethey",
"iconography",
"funerary art",
"Entombment",
"Pontormo",
"Orgaz",
"Albrecht Dürer"
] |
|
14499_T
|
The Burial of the Count of Orgaz
|
In The Burial of the Count of Orgaz, how is the Assessments discussed?
|
Regardless of their different approaches in relation to the painting's influences, the Burial is unanimously celebrated by art scholars as a masterpiece. It is also regarded as the first completely personal work of the artist, the culmination of his first ten years of creativity in Toledo, initiating his mature artistic period, as well as the processes of spiritualization and dematerialization, which will continue in his later works. According to Lambraki-Plaka, the Burial is a landmark in the artist's career: "This is where El Greco sets before us, in a highly compressed form the wisdom he has brought to his art, his knowledge, his expertise, his composite imagination and his expressive power. It is the living encyclopedia of his art without ceasing to be a masterpiece with organic continuity and entelechy".The impressive depiction of prominent members of the Toledan society in the lower zone establishes Greco as an accomplished portraitist, with a profound knowledge of physiognomy and gestures. The chromatic harmony and the use of incredibly rich, expressive and radiant colors confirm his talent as a colorist, while the scenes depicted on the embroidered vestments reveal a gifted miniaturist. The overall composition with the innovative elements already mentioned—the peculiar synthesis of the real with the surreal, the negation of spatial depth and the impressive array of portraits—unveil all aspects of Greco's extraordinary art. Interpreting the remark of Francisco de Pisa in relation to the painting, that "there are always new things to contemplate in it", Schroth characterizes the Burial as an "inexhaustible source of instruction as well as pleasure".In his travel diaries of the Far East, Palestine and Spain, Albert Einstein characterizes the Burial as "a magnificent painting" and "among the profoundest images I have ever seen."
|
[
"Palestine",
"Francisco de Pisa",
"painting",
"Toledo",
"El Greco",
"miniaturist",
"Albert Einstein",
"portrait"
] |
|
14499_NT
|
The Burial of the Count of Orgaz
|
In this artwork, how is the Assessments discussed?
|
Regardless of their different approaches in relation to the painting's influences, the Burial is unanimously celebrated by art scholars as a masterpiece. It is also regarded as the first completely personal work of the artist, the culmination of his first ten years of creativity in Toledo, initiating his mature artistic period, as well as the processes of spiritualization and dematerialization, which will continue in his later works. According to Lambraki-Plaka, the Burial is a landmark in the artist's career: "This is where El Greco sets before us, in a highly compressed form the wisdom he has brought to his art, his knowledge, his expertise, his composite imagination and his expressive power. It is the living encyclopedia of his art without ceasing to be a masterpiece with organic continuity and entelechy".The impressive depiction of prominent members of the Toledan society in the lower zone establishes Greco as an accomplished portraitist, with a profound knowledge of physiognomy and gestures. The chromatic harmony and the use of incredibly rich, expressive and radiant colors confirm his talent as a colorist, while the scenes depicted on the embroidered vestments reveal a gifted miniaturist. The overall composition with the innovative elements already mentioned—the peculiar synthesis of the real with the surreal, the negation of spatial depth and the impressive array of portraits—unveil all aspects of Greco's extraordinary art. Interpreting the remark of Francisco de Pisa in relation to the painting, that "there are always new things to contemplate in it", Schroth characterizes the Burial as an "inexhaustible source of instruction as well as pleasure".In his travel diaries of the Far East, Palestine and Spain, Albert Einstein characterizes the Burial as "a magnificent painting" and "among the profoundest images I have ever seen."
|
[
"Palestine",
"Francisco de Pisa",
"painting",
"Toledo",
"El Greco",
"miniaturist",
"Albert Einstein",
"portrait"
] |
|
14500_T
|
Virgin and Child Enthroned
|
Focus on Virgin and Child Enthroned and explore the Description.
|
The panel is the smallest extant work by van der Weyden and follows the tradition of a Madonna Lactans, with significant differences. Christ is dressed in a red garment, as opposed to the swaddling he usually wears in 15th-century Virgin and Child portrayals. This is one of two exceptions where he is fully clothed; the other is Robert Campin's Madonna in Frankfurt, where he is shown in blue clothing. Mary's unbound blond hair falls across her shoulders and down across her arms. Showing the influence of Campin, it is brushed behind the ears. She wears a crown as Queen of Heaven and a ring on a finger as the Bride of Christ. Reinforcing this, the blue colour of her robe alludes to her devotion and fidelity to her son. The folds of her dress are reminiscent of the lengthy, crisp, curved intertwined gowns of Gothic sculpture.The pictorial space is bathed in soft light, probably an influence from Jan van Eyck. The light falls from the right, throwing shadows of both Mary and the Child's heads on the left wall of the niche. The Virgin and Child are shown seated in a small Gothic chapel or oratory projecting from a wall and opening onto a lawn. The painting pays very close attention to small realistic detail; for example, there are four small holes above each arch, likely to hold scaffolding.As with other early van der Weyden depictions of the Madonna, her head is slightly too large for her body. Her dress is creased and almost paper-like. However, the description of her lap contains inconsistencies also in Campin's Virgin and Child before a Firescreen; it appears to lack volume and is if she had only one leg. This seems to reflect an early difficulty both with foreshortening and in the depiction of a body under clothing.The chapel is unrealistically small compared to the Virgin; van der Weyden's intention was to emphasise the Virgin's presence while also symbolically representing the Church and the entire doctrine of the Redemption. The panel is one of three surviving of van der Weyden's in which both Madonna and Child are enclosed in this way. However it is unusual in that the niche exists as a separate feature within the picture, compared to the two other works where the enclosure is coterminous with the edge of the painting, almost as part of the frame, a reason why it is thought to predate The Madonna Standing.There are symmetrical differences between the left- and right-hand sides of the painting. This is most noticeable with the buttress, where the receding edges are over half again the size of those on the front sides. In addition, the breadth of the buttress contradicts the spatial depth of the much tighter space inhabited by the Virgin and Child. This is a technical issue with foreshortening Campin also struggled with, but which van der Weyden resolves in his mature work.
|
[
"blue colour",
"Gothic sculpture",
"Bride of Christ",
"Queen of Heaven",
"Virgin and Child",
"Robert Campin",
"niche",
"Madonna Lactans",
"Jan van Eyck",
"swaddling",
"buttress",
"Madonna Standing",
"left",
"Mary's",
"Redemption",
"The Madonna Standing",
"foreshortening",
"Gothic"
] |
|
14500_NT
|
Virgin and Child Enthroned
|
Focus on this artwork and explore the Description.
|
The panel is the smallest extant work by van der Weyden and follows the tradition of a Madonna Lactans, with significant differences. Christ is dressed in a red garment, as opposed to the swaddling he usually wears in 15th-century Virgin and Child portrayals. This is one of two exceptions where he is fully clothed; the other is Robert Campin's Madonna in Frankfurt, where he is shown in blue clothing. Mary's unbound blond hair falls across her shoulders and down across her arms. Showing the influence of Campin, it is brushed behind the ears. She wears a crown as Queen of Heaven and a ring on a finger as the Bride of Christ. Reinforcing this, the blue colour of her robe alludes to her devotion and fidelity to her son. The folds of her dress are reminiscent of the lengthy, crisp, curved intertwined gowns of Gothic sculpture.The pictorial space is bathed in soft light, probably an influence from Jan van Eyck. The light falls from the right, throwing shadows of both Mary and the Child's heads on the left wall of the niche. The Virgin and Child are shown seated in a small Gothic chapel or oratory projecting from a wall and opening onto a lawn. The painting pays very close attention to small realistic detail; for example, there are four small holes above each arch, likely to hold scaffolding.As with other early van der Weyden depictions of the Madonna, her head is slightly too large for her body. Her dress is creased and almost paper-like. However, the description of her lap contains inconsistencies also in Campin's Virgin and Child before a Firescreen; it appears to lack volume and is if she had only one leg. This seems to reflect an early difficulty both with foreshortening and in the depiction of a body under clothing.The chapel is unrealistically small compared to the Virgin; van der Weyden's intention was to emphasise the Virgin's presence while also symbolically representing the Church and the entire doctrine of the Redemption. The panel is one of three surviving of van der Weyden's in which both Madonna and Child are enclosed in this way. However it is unusual in that the niche exists as a separate feature within the picture, compared to the two other works where the enclosure is coterminous with the edge of the painting, almost as part of the frame, a reason why it is thought to predate The Madonna Standing.There are symmetrical differences between the left- and right-hand sides of the painting. This is most noticeable with the buttress, where the receding edges are over half again the size of those on the front sides. In addition, the breadth of the buttress contradicts the spatial depth of the much tighter space inhabited by the Virgin and Child. This is a technical issue with foreshortening Campin also struggled with, but which van der Weyden resolves in his mature work.
|
[
"blue colour",
"Gothic sculpture",
"Bride of Christ",
"Queen of Heaven",
"Virgin and Child",
"Robert Campin",
"niche",
"Madonna Lactans",
"Jan van Eyck",
"swaddling",
"buttress",
"Madonna Standing",
"left",
"Mary's",
"Redemption",
"The Madonna Standing",
"foreshortening",
"Gothic"
] |
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