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|---|---|---|---|---|---|
14501_T
|
Virgin and Child Enthroned
|
Focus on Virgin and Child Enthroned and explain the Iconography.
|
The work is rich in symbolism and iconographic elements, to an extent far more pronounced than that in The Madonna Standing. An iris grows to the side of the aedicula, representing the Virgin's sorrow at the Passion, and on the other side a columbine, recalling the Sorrows of the Virgin. This symbolic use of flowers is again a van Eyckian motif. While they may appear incongruous with the architectural setting, this was probably the effect that van der Weyden was seeking.
The lintel contains six reliefs from the New Testament of scenes from the Life of the Virgin. The first four, the Annunciation, Visitation, Nativity and Adoration of the Magi, are associated with motherhood and infancy. They are followed by the Resurrection and Pentecost. Above them, surmounting a "cross flower", is the Coronation of the Virgin. The jambs on either side of the Virgin are adorned with statues, most likely of Old Testament prophets. Of these only David, second to the left, has been identified. The bearded man to David's left is probably Moses, the man in the cap to the right is most likely the "weeping prophet" Jeremiah. On the opposite side, the outer figures may be Zechariah and Isaiah.In his usage of grisaille, van der Weyden distinguishes between the earthly realm of flesh and blood, and the divine, represented by ancient sculptural figures, who appear frozen in time. Art historian Shirley Blum believes these figures were relegated to the architectural elements so as not to crowd the central devotional image.The arrangement of the sculptural elements may have been influenced by Claus Sluter's Well of Moses (c. 1395–1403), which has a similar alignment. In the Chartreuse de Champmol, the prophets represent the judges of Christ (Secundum legem debet mori, "according to that law he ought to
die") and are thus tied to the crucifixion. In the van der Weyden they are associated with the Virgin. Although portraying figures in niches has a long tradition in Northern art, rendering the figures as sculpture was unique to the 1430s, and first appears in van Eyck's Ghent Altarpiece.
|
[
"Well of Moses",
"Zechariah",
"Iconography",
"aedicula",
"Pentecost",
"Passion",
"Annunciation",
"Northern art",
"Jeremiah",
"prophets",
"jamb",
"niche",
"Old Testament",
"\"cross flower\"",
"Claus Sluter",
"Resurrection",
"Moses",
"relief",
"David",
"lintel",
"columbine",
"Coronation",
"grisaille",
"iris",
"Adoration of the Magi",
"Ghent Altarpiece",
"Chartreuse de Champmol",
"Sorrows of the Virgin",
"Madonna Standing",
"Champmol",
"Isaiah",
"left",
"Nativity",
"The Madonna Standing",
"New Testament",
"Life of the Virgin",
"Coronation of the Virgin",
"Visitation"
] |
|
14501_NT
|
Virgin and Child Enthroned
|
Focus on this artwork and explain the Iconography.
|
The work is rich in symbolism and iconographic elements, to an extent far more pronounced than that in The Madonna Standing. An iris grows to the side of the aedicula, representing the Virgin's sorrow at the Passion, and on the other side a columbine, recalling the Sorrows of the Virgin. This symbolic use of flowers is again a van Eyckian motif. While they may appear incongruous with the architectural setting, this was probably the effect that van der Weyden was seeking.
The lintel contains six reliefs from the New Testament of scenes from the Life of the Virgin. The first four, the Annunciation, Visitation, Nativity and Adoration of the Magi, are associated with motherhood and infancy. They are followed by the Resurrection and Pentecost. Above them, surmounting a "cross flower", is the Coronation of the Virgin. The jambs on either side of the Virgin are adorned with statues, most likely of Old Testament prophets. Of these only David, second to the left, has been identified. The bearded man to David's left is probably Moses, the man in the cap to the right is most likely the "weeping prophet" Jeremiah. On the opposite side, the outer figures may be Zechariah and Isaiah.In his usage of grisaille, van der Weyden distinguishes between the earthly realm of flesh and blood, and the divine, represented by ancient sculptural figures, who appear frozen in time. Art historian Shirley Blum believes these figures were relegated to the architectural elements so as not to crowd the central devotional image.The arrangement of the sculptural elements may have been influenced by Claus Sluter's Well of Moses (c. 1395–1403), which has a similar alignment. In the Chartreuse de Champmol, the prophets represent the judges of Christ (Secundum legem debet mori, "according to that law he ought to
die") and are thus tied to the crucifixion. In the van der Weyden they are associated with the Virgin. Although portraying figures in niches has a long tradition in Northern art, rendering the figures as sculpture was unique to the 1430s, and first appears in van Eyck's Ghent Altarpiece.
|
[
"Well of Moses",
"Zechariah",
"Iconography",
"aedicula",
"Pentecost",
"Passion",
"Annunciation",
"Northern art",
"Jeremiah",
"prophets",
"jamb",
"niche",
"Old Testament",
"\"cross flower\"",
"Claus Sluter",
"Resurrection",
"Moses",
"relief",
"David",
"lintel",
"columbine",
"Coronation",
"grisaille",
"iris",
"Adoration of the Magi",
"Ghent Altarpiece",
"Chartreuse de Champmol",
"Sorrows of the Virgin",
"Madonna Standing",
"Champmol",
"Isaiah",
"left",
"Nativity",
"The Madonna Standing",
"New Testament",
"Life of the Virgin",
"Coronation of the Virgin",
"Visitation"
] |
|
14502_T
|
Virgin and Child Enthroned
|
Explore the Diptych of this artwork, Virgin and Child Enthroned.
|
The panel may have been conceived as either the left-hand wing of a since dismantled diptych, or as the front piece of a double-sided panel. Art historian Erwin Panofsky suggests that the Washington Saint George and the Dragon of 1432–35 is the most likely opposite wing. In that work, St. George, facing inwards and to the right, slays the dragon before a Libyan princess. Although the pairing might seem incongruous, his Madonna Standing is widely thought to have been attached with the St. Catherine of Alexandria in Vienna. In both panels, the saints face inwards and are within fully realised landscapes. In contrast, in both left-hand panels, the Madonna and Child are positioned frontally (although eye contact is avoided) and isolated within cold grisaille architectural spaces.Blum suggests that van der Weyden sought to juxtapose the otherworldly realm of the Madonna and Child with the earthly setting and contemporary dress of the saints. She describes the couplings as serving to position each saint "as a 'living witness' to the static, eternal presence of the Virgin and Child". She writes that "Only in such early works do we find this kind of obvious solution. By the time of the Descent from the Cross and Durán Madonna, van der Weyden has already worked out a far more complex and effective means of mixing temporal and non-temporal effects".
|
[
"St. George",
"Virgin and Child",
"Erwin Panofsky",
"Saint George and the Dragon",
"diptych",
"Diptych",
"Descent from the Cross",
"grisaille",
"Madonna Standing",
"Durán Madonna",
"left"
] |
|
14502_NT
|
Virgin and Child Enthroned
|
Explore the Diptych of this artwork.
|
The panel may have been conceived as either the left-hand wing of a since dismantled diptych, or as the front piece of a double-sided panel. Art historian Erwin Panofsky suggests that the Washington Saint George and the Dragon of 1432–35 is the most likely opposite wing. In that work, St. George, facing inwards and to the right, slays the dragon before a Libyan princess. Although the pairing might seem incongruous, his Madonna Standing is widely thought to have been attached with the St. Catherine of Alexandria in Vienna. In both panels, the saints face inwards and are within fully realised landscapes. In contrast, in both left-hand panels, the Madonna and Child are positioned frontally (although eye contact is avoided) and isolated within cold grisaille architectural spaces.Blum suggests that van der Weyden sought to juxtapose the otherworldly realm of the Madonna and Child with the earthly setting and contemporary dress of the saints. She describes the couplings as serving to position each saint "as a 'living witness' to the static, eternal presence of the Virgin and Child". She writes that "Only in such early works do we find this kind of obvious solution. By the time of the Descent from the Cross and Durán Madonna, van der Weyden has already worked out a far more complex and effective means of mixing temporal and non-temporal effects".
|
[
"St. George",
"Virgin and Child",
"Erwin Panofsky",
"Saint George and the Dragon",
"diptych",
"Diptych",
"Descent from the Cross",
"grisaille",
"Madonna Standing",
"Durán Madonna",
"left"
] |
|
14503_T
|
Virgin and Child Enthroned
|
Focus on Virgin and Child Enthroned and discuss the Dating and attribution.
|
The panel closely resembles van der Weyden's c. 1430–1432 Madonna Standing, and seems influenced by the work of Robert Campin, under whom he served his apprenticeship. It is especially close to Campin's 1430 Virgin and Child before a Firescreen, now in London; one of the last works Campin completed before van der Weyden left his studio on 1 August 1432. In both, the Virgin has large, full, breasts, her fingers pressing as she nurses the Child. There are further similarities in her facial features and expression; the colour, style, and position of her hair; as well her pose. Lorne Campbell attributes the work to van der Weyden's workshop, while art historian John Ward credits it to Campin and gives a date of c. 1435.
Ward's thesis is based on the fact that the Thyssen panel, so named after its home at the Thyssen-Bornemisza Museum, is overwhelmingly influenced by Campin, while the contemporaneous and more sophisticated Madonna Standing draws heavily from van Eyck. He finds such a sudden shift unlikely, while also pointing out that this work evidences some technical difficulties that Campin was never to resolve, especially in respect to foreshortening and the rendering of the body beneath the robes. He also points to the architectural similarities in Campin's Marriage of Mary, although this may be a matter of influence.The painting was completed early in van der Weyden's career, probably just after his apprenticeship with Robert Campin ended. Although highly accomplished, it is filled with symbolism of a kind absent from his more mature works. It is one of three attributed paintings, all early works, that show the Virgin and Child set within an architectural setting, surrounded with painted sculptural figures, the others being The Madonna Standing and the Durán Madonna.Sculptural figuration was to become a hallmark of van der Weyden's mature work, and is best typified by the Madrid Descent, where the mourning figures are shaped and take on poses more usually seen in sculpture. Erwin Panofsky identified this work and The Madonna Standing as van der Weyden's earliest extant work; they are also his smallest panels. Panofsky dated both panels as 1432–34, and believed them to be early works based on stylistic reasons, their near miniature scale, and because of the evident influences of both Campin and van Eyck.
|
[
"Virgin and Child",
"Erwin Panofsky",
"Robert Campin",
"Thyssen-Bornemisza Museum",
"Madrid",
"Madonna Standing",
"Lorne Campbell",
"Durán Madonna",
"left",
"The Madonna Standing",
"foreshortening"
] |
|
14503_NT
|
Virgin and Child Enthroned
|
Focus on this artwork and discuss the Dating and attribution.
|
The panel closely resembles van der Weyden's c. 1430–1432 Madonna Standing, and seems influenced by the work of Robert Campin, under whom he served his apprenticeship. It is especially close to Campin's 1430 Virgin and Child before a Firescreen, now in London; one of the last works Campin completed before van der Weyden left his studio on 1 August 1432. In both, the Virgin has large, full, breasts, her fingers pressing as she nurses the Child. There are further similarities in her facial features and expression; the colour, style, and position of her hair; as well her pose. Lorne Campbell attributes the work to van der Weyden's workshop, while art historian John Ward credits it to Campin and gives a date of c. 1435.
Ward's thesis is based on the fact that the Thyssen panel, so named after its home at the Thyssen-Bornemisza Museum, is overwhelmingly influenced by Campin, while the contemporaneous and more sophisticated Madonna Standing draws heavily from van Eyck. He finds such a sudden shift unlikely, while also pointing out that this work evidences some technical difficulties that Campin was never to resolve, especially in respect to foreshortening and the rendering of the body beneath the robes. He also points to the architectural similarities in Campin's Marriage of Mary, although this may be a matter of influence.The painting was completed early in van der Weyden's career, probably just after his apprenticeship with Robert Campin ended. Although highly accomplished, it is filled with symbolism of a kind absent from his more mature works. It is one of three attributed paintings, all early works, that show the Virgin and Child set within an architectural setting, surrounded with painted sculptural figures, the others being The Madonna Standing and the Durán Madonna.Sculptural figuration was to become a hallmark of van der Weyden's mature work, and is best typified by the Madrid Descent, where the mourning figures are shaped and take on poses more usually seen in sculpture. Erwin Panofsky identified this work and The Madonna Standing as van der Weyden's earliest extant work; they are also his smallest panels. Panofsky dated both panels as 1432–34, and believed them to be early works based on stylistic reasons, their near miniature scale, and because of the evident influences of both Campin and van Eyck.
|
[
"Virgin and Child",
"Erwin Panofsky",
"Robert Campin",
"Thyssen-Bornemisza Museum",
"Madrid",
"Madonna Standing",
"Lorne Campbell",
"Durán Madonna",
"left",
"The Madonna Standing",
"foreshortening"
] |
|
14504_T
|
Death of the Reprobate
|
How does Death of the Reprobate elucidate its abstract?
|
Death of the Reprobate (33.4 x 19.6 cm) is an oil on panel painting by a follower of Hieronymus Bosch which depicts the deathbed struggle for the human soul between an angel and a demon. It is held in a private collection in New York City, United States.The painting is likely a copy of detail from a larger hell panel. It dates from the second half of the 16th century.
The style is somewhat similar to his Death of the Miser.
|
[
"Reprobate",
"New York City",
"Hieronymus Bosch",
"Death of the Miser"
] |
|
14504_NT
|
Death of the Reprobate
|
How does this artwork elucidate its abstract?
|
Death of the Reprobate (33.4 x 19.6 cm) is an oil on panel painting by a follower of Hieronymus Bosch which depicts the deathbed struggle for the human soul between an angel and a demon. It is held in a private collection in New York City, United States.The painting is likely a copy of detail from a larger hell panel. It dates from the second half of the 16th century.
The style is somewhat similar to his Death of the Miser.
|
[
"Reprobate",
"New York City",
"Hieronymus Bosch",
"Death of the Miser"
] |
|
14505_T
|
Fearless Girl
|
Focus on Fearless Girl and analyze the abstract.
|
Fearless Girl is a bronze sculpture by Kristen Visbal, on Broad Street across from the New York Stock Exchange Building in the Financial District of Manhattan in New York City. The statue was installed on March 7, 2017, in anticipation of International Women's Day the following day. It depicts a 4-foot high (1.2 m) girl promoting female empowerment.Fearless Girl was commissioned by State Street Global Advisors (SSGA), a large asset management company, to advertise for an index fund that comprises gender-diverse companies that have a relatively high percentage of women among their senior leadership. A plaque originally placed below the statue stated: "Know the power of women in leadership. SHE makes a difference," with "SHE" being both a descriptive pronoun and the fund's NASDAQ ticker symbol.The statue was first installed at the northern tip of Bowling Green on Broadway, facing down the Charging Bull statue. Following complaints from that statue's sculptor, Arturo Di Modica, it was removed in November 2018 and relocated to its current location the following month. A plaque with footprints was placed on the original site of Fearless Girl.
|
[
"State Street Global Advisors",
"Manhattan",
"bronze sculpture",
"ticker symbol",
"NASDAQ",
"Arturo Di Modica",
"Financial District",
"New York Stock Exchange Building",
"Kristen Visbal",
"Broadway",
"New York City",
"Broad Street",
"Charging Bull",
"Bowling Green",
"index fund",
"International Women's Day"
] |
|
14505_NT
|
Fearless Girl
|
Focus on this artwork and analyze the abstract.
|
Fearless Girl is a bronze sculpture by Kristen Visbal, on Broad Street across from the New York Stock Exchange Building in the Financial District of Manhattan in New York City. The statue was installed on March 7, 2017, in anticipation of International Women's Day the following day. It depicts a 4-foot high (1.2 m) girl promoting female empowerment.Fearless Girl was commissioned by State Street Global Advisors (SSGA), a large asset management company, to advertise for an index fund that comprises gender-diverse companies that have a relatively high percentage of women among their senior leadership. A plaque originally placed below the statue stated: "Know the power of women in leadership. SHE makes a difference," with "SHE" being both a descriptive pronoun and the fund's NASDAQ ticker symbol.The statue was first installed at the northern tip of Bowling Green on Broadway, facing down the Charging Bull statue. Following complaints from that statue's sculptor, Arturo Di Modica, it was removed in November 2018 and relocated to its current location the following month. A plaque with footprints was placed on the original site of Fearless Girl.
|
[
"State Street Global Advisors",
"Manhattan",
"bronze sculpture",
"ticker symbol",
"NASDAQ",
"Arturo Di Modica",
"Financial District",
"New York Stock Exchange Building",
"Kristen Visbal",
"Broadway",
"New York City",
"Broad Street",
"Charging Bull",
"Bowling Green",
"index fund",
"International Women's Day"
] |
|
14506_T
|
Fearless Girl
|
In Fearless Girl, how is the Description discussed?
|
Fearless Girl measures approximately 50 inches (130 cm) tall and weighs about 250 pounds (110 kg). As first placed, it faced Charging Bull, a much larger and heavier bronze statue that is 11 feet (3.4 m) tall and weighs 7,100 pounds (3,200 kg).Fearless Girl is meant to "send a message" about workplace gender diversity and encourage companies to recruit women to their boards. The plaque below the statue stated: "Know the power of women in leadership. SHE makes a difference," with SHE referring to both the gender of the subject and the NASDAQ ticker symbol of a SSGA supported and gender diverse index fund.The commission by State Street Global Advisors specified that the statue should depict a girl with hands on her hips and chin up, with a height of 36 inches, which Kristen Visbal and her collaborators then increased to 50 inches, to better match the size of Charging Bull. Still, Visbal commented that "I made sure to keep her features soft; she's not defiant, she's brave, proud, and strong, not belligerent". She modeled the sculpture on two children from Delaware "so everyone could relate to the Fearless Girl."
|
[
"State Street Global Advisors",
"gender diversity",
"companies to recruit women to their boards",
"ticker symbol",
"NASDAQ",
"Kristen Visbal",
"Charging Bull",
"index fund"
] |
|
14506_NT
|
Fearless Girl
|
In this artwork, how is the Description discussed?
|
Fearless Girl measures approximately 50 inches (130 cm) tall and weighs about 250 pounds (110 kg). As first placed, it faced Charging Bull, a much larger and heavier bronze statue that is 11 feet (3.4 m) tall and weighs 7,100 pounds (3,200 kg).Fearless Girl is meant to "send a message" about workplace gender diversity and encourage companies to recruit women to their boards. The plaque below the statue stated: "Know the power of women in leadership. SHE makes a difference," with SHE referring to both the gender of the subject and the NASDAQ ticker symbol of a SSGA supported and gender diverse index fund.The commission by State Street Global Advisors specified that the statue should depict a girl with hands on her hips and chin up, with a height of 36 inches, which Kristen Visbal and her collaborators then increased to 50 inches, to better match the size of Charging Bull. Still, Visbal commented that "I made sure to keep her features soft; she's not defiant, she's brave, proud, and strong, not belligerent". She modeled the sculpture on two children from Delaware "so everyone could relate to the Fearless Girl."
|
[
"State Street Global Advisors",
"gender diversity",
"companies to recruit women to their boards",
"ticker symbol",
"NASDAQ",
"Kristen Visbal",
"Charging Bull",
"index fund"
] |
|
14507_T
|
Fearless Girl
|
Focus on Fearless Girl and explore the History.
|
The statue was installed on March 7, 2017—the day before International Women's Day—by State Street Global Advisors, in a campaign developed by advertising agency McCann New York. SSGA was celebrating the first anniversary of its "Gender Diversity Index" fund that "invests in U.S. large-capitalization companies that rank among the highest in their sector in achieving gender diversity across senior leadership". The concept for the statue was developed by Senior Art Director Lizzie Wilson and Senior Copywriter Tali Gumbiner. Wilson and Gumbiner established both the idea for the statue as well as the overall look of the girl using countless moodboards and imagery, which Visbal referenced.Fearless Girl was originally given a one-week City Hall permit that was later extended to 30 days. Later, it was announced that the statue would remain in place through February 2018. Among those advocating for the statue to stay longer was U.S. Representative Carolyn Maloney of New York's 12th congressional district, who stated, "This statue has touched hearts across the world with its symbolism of the resiliency of women." New York City Public Advocate Letitia James wrote a letter that supported keeping the statue, "Fearless Girl stands as a powerful beacon, showing women—young and old—that no dream is too big and no ceiling is too high".A petition on Change.org asking for the statue to be made permanent gathered 2,500 signatures in its first 48 hours. Efforts to make the statue permanent continued after the statue was granted a one-year permit. In April 2018, after Fearless Girl had been in place for thirteen months, New York City Mayor Bill de Blasio announced that both Charging Bull and Fearless Girl would be moved to a location facing the New York Stock Exchange. The move would occur before the end of 2018.The statue was removed from its original location at Bowling Green on November 28, 2018. On the spot where the statue stood was placed a marker which read, "Fearless Girl is on the move to the New York Stock Exchange. Until she's there, stand for her." The plaque has footprints where people can stand. The statue was unveiled on December 10 at its new site facing the New York Stock Exchange Building.
|
[
"State Street Global Advisors",
"City Hall",
"gender diversity",
"Letitia James",
"New York City Public Advocate",
"New York's 12th congressional district",
"New York Stock Exchange Building",
"Carolyn Maloney",
"New York City",
"McCann New York",
"Charging Bull",
"Bowling Green",
"Bill de Blasio",
"Change.org",
"International Women's Day"
] |
|
14507_NT
|
Fearless Girl
|
Focus on this artwork and explore the History.
|
The statue was installed on March 7, 2017—the day before International Women's Day—by State Street Global Advisors, in a campaign developed by advertising agency McCann New York. SSGA was celebrating the first anniversary of its "Gender Diversity Index" fund that "invests in U.S. large-capitalization companies that rank among the highest in their sector in achieving gender diversity across senior leadership". The concept for the statue was developed by Senior Art Director Lizzie Wilson and Senior Copywriter Tali Gumbiner. Wilson and Gumbiner established both the idea for the statue as well as the overall look of the girl using countless moodboards and imagery, which Visbal referenced.Fearless Girl was originally given a one-week City Hall permit that was later extended to 30 days. Later, it was announced that the statue would remain in place through February 2018. Among those advocating for the statue to stay longer was U.S. Representative Carolyn Maloney of New York's 12th congressional district, who stated, "This statue has touched hearts across the world with its symbolism of the resiliency of women." New York City Public Advocate Letitia James wrote a letter that supported keeping the statue, "Fearless Girl stands as a powerful beacon, showing women—young and old—that no dream is too big and no ceiling is too high".A petition on Change.org asking for the statue to be made permanent gathered 2,500 signatures in its first 48 hours. Efforts to make the statue permanent continued after the statue was granted a one-year permit. In April 2018, after Fearless Girl had been in place for thirteen months, New York City Mayor Bill de Blasio announced that both Charging Bull and Fearless Girl would be moved to a location facing the New York Stock Exchange. The move would occur before the end of 2018.The statue was removed from its original location at Bowling Green on November 28, 2018. On the spot where the statue stood was placed a marker which read, "Fearless Girl is on the move to the New York Stock Exchange. Until she's there, stand for her." The plaque has footprints where people can stand. The statue was unveiled on December 10 at its new site facing the New York Stock Exchange Building.
|
[
"State Street Global Advisors",
"City Hall",
"gender diversity",
"Letitia James",
"New York City Public Advocate",
"New York's 12th congressional district",
"New York Stock Exchange Building",
"Carolyn Maloney",
"New York City",
"McCann New York",
"Charging Bull",
"Bowling Green",
"Bill de Blasio",
"Change.org",
"International Women's Day"
] |
|
14508_T
|
Fearless Girl
|
In the context of Fearless Girl, explain the Status of the History.
|
As of 2022 the statue's presence still relies on a temporary permit, the dispute over the rights to the figure is ongoing and the statue's future is not permanently decided. The Landmarks Preservation Commission met on December 14, 2021, and decided to renew its permit, but then handed over the decision to the Public Design Commission. In turn, the PDC granted an 11-month permit extension, but also charged SSGA and Visbal to reach an agreement on a permanent location. On June 20, 2023, the NYC Department of Transportation applied for another 11-month extension.
|
[
"Landmarks Preservation Commission",
"Public Design Commission",
"NYC Department of Transportation"
] |
|
14508_NT
|
Fearless Girl
|
In the context of this artwork, explain the Status of the History.
|
As of 2022 the statue's presence still relies on a temporary permit, the dispute over the rights to the figure is ongoing and the statue's future is not permanently decided. The Landmarks Preservation Commission met on December 14, 2021, and decided to renew its permit, but then handed over the decision to the Public Design Commission. In turn, the PDC granted an 11-month permit extension, but also charged SSGA and Visbal to reach an agreement on a permanent location. On June 20, 2023, the NYC Department of Transportation applied for another 11-month extension.
|
[
"Landmarks Preservation Commission",
"Public Design Commission",
"NYC Department of Transportation"
] |
|
14509_T
|
Fearless Girl
|
Explore the Awards of this artwork, Fearless Girl.
|
The Most Next Award, 2018 Association of Independent Commercial Producers (AICP) Next Awards
Grand Effie – best in show, North American Effie Awards
Fearless Girl won 18 Cannes Lions at the 2017 Cannes Lions International Festival of Creativity:Titanium: Grand Prix
Outdoor: Grand Prix, one gold
PR: Grand Prix, one gold, one silver
Glass: Grand Prix
Promo and Activation: Two golds, one silver
Media: Two golds
Direct: Two golds, one silver, one bronze
Design: Two goldsFearless Girl is one of only two campaigns that have ever won four Grand Prix at Cannes. It won in the Glass (which deals with marketing addressing gender inequality) and PR categories, and tying for first in the Outdoor category alongside a campaign by Twitter.
|
[
"Twitter",
"Cannes Lions International Festival of Creativity",
"Association of Independent Commercial Producers",
"Effie Award"
] |
|
14509_NT
|
Fearless Girl
|
Explore the Awards of this artwork.
|
The Most Next Award, 2018 Association of Independent Commercial Producers (AICP) Next Awards
Grand Effie – best in show, North American Effie Awards
Fearless Girl won 18 Cannes Lions at the 2017 Cannes Lions International Festival of Creativity:Titanium: Grand Prix
Outdoor: Grand Prix, one gold
PR: Grand Prix, one gold, one silver
Glass: Grand Prix
Promo and Activation: Two golds, one silver
Media: Two golds
Direct: Two golds, one silver, one bronze
Design: Two goldsFearless Girl is one of only two campaigns that have ever won four Grand Prix at Cannes. It won in the Glass (which deals with marketing addressing gender inequality) and PR categories, and tying for first in the Outdoor category alongside a campaign by Twitter.
|
[
"Twitter",
"Cannes Lions International Festival of Creativity",
"Association of Independent Commercial Producers",
"Effie Award"
] |
|
14510_T
|
Fearless Girl
|
Focus on Fearless Girl and discuss the Reproductions.
|
A reproduction of the sculpture was unveiled outside the Grand Hotel in the Norwegian city of Oslo on March 8, 2018, as a permanent addition. It faces the Norwegian parliament Stortinget.Reports indicate another reproduction being installed in Johannesburg, South Africa in 2018, later moved to Cape Town. This is not a replica of Fearless Girl, but instead a piece inspired by Visbal's work called Fearless Thinker, created by local artist Marieke Prinsloo-Rowe.A reproduction was revealed by Kristen Visbal at Federation Square in Melbourne, Australia, before Women's Day at March 8, 2019. It is planned to stand there for four years. This replica became the subject of a federal lawsuit, when SSGA, the company that originally commissioned Visbal, sued for its removal in an attempt to stop the spread of replicas around the world. In 2021, Australia's Federal Court threw out the lawsuit.A reproduction was placed in Paternoster Square, near the London Stock Exchange between March and June 2019.In March 2019, a private boarding school for girls in Stevensville, MD (St. Timothy's School), displayed a reproduction permanently placed on its campus.
|
[
"parliament",
"replica",
"Federation Square",
"Paternoster Square",
"St. Timothy's School",
"Kristen Visbal",
"Oslo",
"Storting",
"Melbourne",
"London Stock Exchange",
"Grand Hotel"
] |
|
14510_NT
|
Fearless Girl
|
Focus on this artwork and discuss the Reproductions.
|
A reproduction of the sculpture was unveiled outside the Grand Hotel in the Norwegian city of Oslo on March 8, 2018, as a permanent addition. It faces the Norwegian parliament Stortinget.Reports indicate another reproduction being installed in Johannesburg, South Africa in 2018, later moved to Cape Town. This is not a replica of Fearless Girl, but instead a piece inspired by Visbal's work called Fearless Thinker, created by local artist Marieke Prinsloo-Rowe.A reproduction was revealed by Kristen Visbal at Federation Square in Melbourne, Australia, before Women's Day at March 8, 2019. It is planned to stand there for four years. This replica became the subject of a federal lawsuit, when SSGA, the company that originally commissioned Visbal, sued for its removal in an attempt to stop the spread of replicas around the world. In 2021, Australia's Federal Court threw out the lawsuit.A reproduction was placed in Paternoster Square, near the London Stock Exchange between March and June 2019.In March 2019, a private boarding school for girls in Stevensville, MD (St. Timothy's School), displayed a reproduction permanently placed on its campus.
|
[
"parliament",
"replica",
"Federation Square",
"Paternoster Square",
"St. Timothy's School",
"Kristen Visbal",
"Oslo",
"Storting",
"Melbourne",
"London Stock Exchange",
"Grand Hotel"
] |
|
14511_T
|
Proudhon and His Children
|
How does Proudhon and His Children elucidate its abstract?
|
Proudhon and His Children is an oil-on-canvas group portrait by the French painter Gustave Courbet, created in 1865, now held in the Petit Palais in Paris. The main figure is a posthumously produced image of French philosopher Pierre-Joseph Proudhon, who appears with his two children reading and playing.
|
[
"Gustave Courbet",
"Petit Palais",
"Proudhon",
"Pierre-Joseph Proudhon",
"Paris"
] |
|
14511_NT
|
Proudhon and His Children
|
How does this artwork elucidate its abstract?
|
Proudhon and His Children is an oil-on-canvas group portrait by the French painter Gustave Courbet, created in 1865, now held in the Petit Palais in Paris. The main figure is a posthumously produced image of French philosopher Pierre-Joseph Proudhon, who appears with his two children reading and playing.
|
[
"Gustave Courbet",
"Petit Palais",
"Proudhon",
"Pierre-Joseph Proudhon",
"Paris"
] |
|
14512_T
|
Proudhon and His Children
|
Focus on Proudhon and His Children and analyze the History.
|
Two other titles were given by Courbet to this painting, namely Proudhon and His Family and Pierre Joseph Proudhon and his children in 1853. A letter from the painter to Jules-Antoine Castagnary, from July 14, 1867, suggests that Euphrasia, the philosopher's wife, appeared instead of the basket and the wicker armchair covered with fabrics. The canvas was therefore repainted, shortly before the artist's major personal exhibition in 1867. The painting seems a priori to be a posthumous tribute to Pierre-Joseph Proudhon, who died on January 20, 1865, but in reality, the painter, knowing that his friend was sick, had the idea, shortly before his death, to execute a series of portraits depicting him. He also created two bust portraits, one showing Proudhon, and the other his wife.
Seized with other paintings by Courbet at Durand-Ruel in June 1873, it was sold on November 26, 1877, to Jean-Hubert Debrousse, who acquired it for 1,500 francs, when the asking price was 5,000 francs. After Debrousse's death, his collection was auctioned at April 1900. The painting was then bought for 6,150 francs by the city of Paris, and is now exhibited at the Petit Palais.
|
[
"Petit Palais",
"Proudhon",
"Pierre-Joseph Proudhon",
"Paris"
] |
|
14512_NT
|
Proudhon and His Children
|
Focus on this artwork and analyze the History.
|
Two other titles were given by Courbet to this painting, namely Proudhon and His Family and Pierre Joseph Proudhon and his children in 1853. A letter from the painter to Jules-Antoine Castagnary, from July 14, 1867, suggests that Euphrasia, the philosopher's wife, appeared instead of the basket and the wicker armchair covered with fabrics. The canvas was therefore repainted, shortly before the artist's major personal exhibition in 1867. The painting seems a priori to be a posthumous tribute to Pierre-Joseph Proudhon, who died on January 20, 1865, but in reality, the painter, knowing that his friend was sick, had the idea, shortly before his death, to execute a series of portraits depicting him. He also created two bust portraits, one showing Proudhon, and the other his wife.
Seized with other paintings by Courbet at Durand-Ruel in June 1873, it was sold on November 26, 1877, to Jean-Hubert Debrousse, who acquired it for 1,500 francs, when the asking price was 5,000 francs. After Debrousse's death, his collection was auctioned at April 1900. The painting was then bought for 6,150 francs by the city of Paris, and is now exhibited at the Petit Palais.
|
[
"Petit Palais",
"Proudhon",
"Pierre-Joseph Proudhon",
"Paris"
] |
|
14513_T
|
Proudhon and His Children
|
In Proudhon and His Children, how is the Description discussed?
|
The philosopher, dressed in a blouse and trousers in toile de Nîmes, is shown seated, posing with his left hand on his face and the right hand on his leg, with his two daughters, one who reads, while the other engage in playful activity, to his left. Proudhon is seated on the steps in front of the entrance of the Parisian apartment where he lived at the intersection of the old Rue d'Hell and 146, Rue Notre-Dame-des-Champs. There are four books, a pencil case, and a manuscript, under which, traced in the stone of the last step, one can read "PJP 1853".
|
[
"Proudhon",
"Paris"
] |
|
14513_NT
|
Proudhon and His Children
|
In this artwork, how is the Description discussed?
|
The philosopher, dressed in a blouse and trousers in toile de Nîmes, is shown seated, posing with his left hand on his face and the right hand on his leg, with his two daughters, one who reads, while the other engage in playful activity, to his left. Proudhon is seated on the steps in front of the entrance of the Parisian apartment where he lived at the intersection of the old Rue d'Hell and 146, Rue Notre-Dame-des-Champs. There are four books, a pencil case, and a manuscript, under which, traced in the stone of the last step, one can read "PJP 1853".
|
[
"Proudhon",
"Paris"
] |
|
14514_T
|
Ulysses and the Sirens (Waterhouse)
|
Focus on Ulysses and the Sirens (Waterhouse) and explore the abstract.
|
Ulysses and the Sirens is an 1891 painting by the Pre-Raphaelite artist John William Waterhouse. It is currently held in the National Gallery of Victoria, Melbourne, Australia.
|
[
"John William Waterhouse",
"Melbourne",
"National Gallery of Victoria",
"Sirens",
"Melbourne, Australia",
"Pre-Raphaelite"
] |
|
14514_NT
|
Ulysses and the Sirens (Waterhouse)
|
Focus on this artwork and explore the abstract.
|
Ulysses and the Sirens is an 1891 painting by the Pre-Raphaelite artist John William Waterhouse. It is currently held in the National Gallery of Victoria, Melbourne, Australia.
|
[
"John William Waterhouse",
"Melbourne",
"National Gallery of Victoria",
"Sirens",
"Melbourne, Australia",
"Pre-Raphaelite"
] |
|
14515_T
|
Ulysses and the Sirens (Waterhouse)
|
Focus on Ulysses and the Sirens (Waterhouse) and explain the Description.
|
The work depicts a scene from the ancient Greek epic the Odyssey, in which the Sirens attempt to use their enchanting song to lure the titular hero Odysseus and his crew towards deadly waters. As per the Odyssey, Odysseus' crew had already blocked their ears to protect themselves from the Sirens' singing, but Odysseus, wanting to hear the Sirens, had ordered his crew to tie him to the mast so that he may have the pleasure of listening without risking himself or his ship.The most controversial aspect of Waterhouse's painting was his depiction of the Sirens, as it differed greatly from contemporary Victorian era conceptions. While many of the original audience had expected to see the Sirens as mermaid-like nymphs, they were surprised to find them as bird-like creatures with women's heads. However, at the time of initial exhibition, The Magazine of Art critic Marion H. Spielmann noted that the idea of half-bird, half-woman Sirens is supported by depictions of Sirens similar to Waterhouse's on classical Greek vases.
|
[
"ancient Greek",
"The Magazine of Art",
"Marion H. Spielmann",
"epic",
"nymph",
"Sirens",
"Victorian era",
"Odysseus",
"Odyssey",
"mermaid"
] |
|
14515_NT
|
Ulysses and the Sirens (Waterhouse)
|
Focus on this artwork and explain the Description.
|
The work depicts a scene from the ancient Greek epic the Odyssey, in which the Sirens attempt to use their enchanting song to lure the titular hero Odysseus and his crew towards deadly waters. As per the Odyssey, Odysseus' crew had already blocked their ears to protect themselves from the Sirens' singing, but Odysseus, wanting to hear the Sirens, had ordered his crew to tie him to the mast so that he may have the pleasure of listening without risking himself or his ship.The most controversial aspect of Waterhouse's painting was his depiction of the Sirens, as it differed greatly from contemporary Victorian era conceptions. While many of the original audience had expected to see the Sirens as mermaid-like nymphs, they were surprised to find them as bird-like creatures with women's heads. However, at the time of initial exhibition, The Magazine of Art critic Marion H. Spielmann noted that the idea of half-bird, half-woman Sirens is supported by depictions of Sirens similar to Waterhouse's on classical Greek vases.
|
[
"ancient Greek",
"The Magazine of Art",
"Marion H. Spielmann",
"epic",
"nymph",
"Sirens",
"Victorian era",
"Odysseus",
"Odyssey",
"mermaid"
] |
|
14516_T
|
Ulysses and the Sirens (Waterhouse)
|
Explore the Exhibition of this artwork, Ulysses and the Sirens (Waterhouse).
|
The painting was first exhibited in 1891 at the Royal Academy, London to critical acclaim for the imaginative and romantic representation of its subject. In June of that year, Sir Hubert von Herkomer purchased the work for the National Gallery of Victoria, and it has since remained in the museum's collection.
|
[
"Hubert von Herkomer",
"romantic",
"National Gallery of Victoria",
"Royal Academy, London"
] |
|
14516_NT
|
Ulysses and the Sirens (Waterhouse)
|
Explore the Exhibition of this artwork.
|
The painting was first exhibited in 1891 at the Royal Academy, London to critical acclaim for the imaginative and romantic representation of its subject. In June of that year, Sir Hubert von Herkomer purchased the work for the National Gallery of Victoria, and it has since remained in the museum's collection.
|
[
"Hubert von Herkomer",
"romantic",
"National Gallery of Victoria",
"Royal Academy, London"
] |
|
14517_T
|
Tiger in a Tropical Storm
|
Focus on Tiger in a Tropical Storm and discuss the abstract.
|
Tiger in a Tropical Storm or Surprised! is an 1891 oil-on-canvas painting by Henri Rousseau. It was the first of the jungle paintings for which the artist is chiefly known. It shows a tiger, illuminated by a flash of lightning, preparing to pounce on its prey in the midst of a raging gale.
Unable to have a painting accepted by the jury of the Académie de peinture et de sculpture, or the Academy of Painting and Sculpture, Rousseau exhibited Tiger in a Tropical Storm in 1891 under the title Surpris!, at the Salon des Indépendants, which was unjuried and open to all artists. The painting received mixed reviews. Rousseau had been a late developer: his first known work, Landscape with a Windmill, was not produced until he was 35, and his work is marked by a naïveté of composition that belies its technical complexity. Most critics mocked Rousseau's work as childish, but Félix Vallotton, a young Swiss painter who was later to be an important figure in the development of the modern woodcut, said of it:His tiger surprising its prey is a 'must-see'; it's the alpha and omega of painting and so disconcerting that, before so much competency and childish naïveté, the most deeply rooted convictions are held up and questioned.
He (Rousseau's tiger) is derived from a motif found in the drawings and paintings of Eugène Delacroix. It was claimed, either by Rousseau himself or by his friends and admirers, that he had experienced life in the jungle during his time in Mexico in 1860, where he had served as a regimental bandsman. In fact he never left France, and it is thought that his inspiration came from the botanical gardens of Paris, such as the Jardin des Plantes (which included zoological galleries with taxidermy specimens of exotic animals), and from prints and books. The fin de siècle French populace was captivated by exotic and dangerous subjects, such as the perceived savagery of animals and peoples of distant lands. Tigers on the prowl had been the subject of an exhibition at the 1885 École des Beaux-Arts. Emmanuel Frémiet's famous sculpture of 1887 depicting a gorilla carrying a woman exuded more savagery than anything in Rousseau's canvases, yet was found acceptable as art; Rosseau's poor immediate reception therefore seems the result of his style and not his subject matter.The tiger's prey is beyond the edge of the canvas, so it is left to the imagination of the viewer to decide what the outcome will be, although Rousseau's original title Surprised! suggests the tiger has the upper hand. Rousseau later stated that the tiger was about to pounce on a group of explorers. Despite their apparent simplicity, Rousseau's jungle paintings were built up meticulously in layers, using a large number of green shades to capture the lush exuberance of the jungle. He also devised his own method for depicting the lashing rain by trailing strands of silver paint diagonally across the canvas, a technique inspired by the satin-like finishes of the paintings of William-Adolphe Bouguereau.
Although Tiger in a Tropical Storm brought him his first recognition, and he continued to exhibit his work annually at the Salon des Indépendants, Rousseau did not return to the jungle theme for another seven years, with the exhibition of Struggle for Life (now lost) at the 1898 Salon. Responses to his work were little changed; following this exhibition, one critic wrote, "Rousseau continued to express his visions on canvas in implausible jungles... grown from the depths of a lake of absinthe, he shows us the bloody battles of animals escaped from the wooden-horse-maker". Another five years passed before the next jungle scene, Scouts Attacked by a Tiger (1904). The tiger appears in at least three more of his paintings: Tiger Hunt (c. 1895), in which humans are the predators; Jungle with Buffalo Attacked by a Tiger (1908); and Fight Between a Tiger and a Buffalo (1908).
His work continued to be derided by the critics up to and after his death in 1910, but he won a following among his contemporaries: Picasso, Matisse, and Toulouse-Lautrec were all admirers of his work. Around 1908, the art dealer Ambroise Vollard purchased Surprised! and two other works from Rousseau, who had offered them at a rate considerably higher than the 190 francs he finally received. The painting was later purchased by the National Gallery, London in 1972 with a contribution from the billionaire philanthropist Walter H. Annenberg.
|
[
"Toulouse-Lautrec",
"tiger",
"Jardin des Plantes",
"Félix Vallotton",
"National Gallery, London",
"taxidermy",
"Mexico",
"École des Beaux-Arts",
"famous sculpture",
"Walter H. Annenberg",
"Matisse",
"William-Adolphe Bouguereau",
"Tiger",
"Picasso",
"Emmanuel Frémiet",
"woodcut",
"Eugène Delacroix",
"Henri Rousseau",
"National Gallery",
"London",
"Ambroise Vollard",
"Salon des Indépendants",
"fin de siècle",
"oil-on-canvas",
"Académie de peinture et de sculpture"
] |
|
14517_NT
|
Tiger in a Tropical Storm
|
Focus on this artwork and discuss the abstract.
|
Tiger in a Tropical Storm or Surprised! is an 1891 oil-on-canvas painting by Henri Rousseau. It was the first of the jungle paintings for which the artist is chiefly known. It shows a tiger, illuminated by a flash of lightning, preparing to pounce on its prey in the midst of a raging gale.
Unable to have a painting accepted by the jury of the Académie de peinture et de sculpture, or the Academy of Painting and Sculpture, Rousseau exhibited Tiger in a Tropical Storm in 1891 under the title Surpris!, at the Salon des Indépendants, which was unjuried and open to all artists. The painting received mixed reviews. Rousseau had been a late developer: his first known work, Landscape with a Windmill, was not produced until he was 35, and his work is marked by a naïveté of composition that belies its technical complexity. Most critics mocked Rousseau's work as childish, but Félix Vallotton, a young Swiss painter who was later to be an important figure in the development of the modern woodcut, said of it:His tiger surprising its prey is a 'must-see'; it's the alpha and omega of painting and so disconcerting that, before so much competency and childish naïveté, the most deeply rooted convictions are held up and questioned.
He (Rousseau's tiger) is derived from a motif found in the drawings and paintings of Eugène Delacroix. It was claimed, either by Rousseau himself or by his friends and admirers, that he had experienced life in the jungle during his time in Mexico in 1860, where he had served as a regimental bandsman. In fact he never left France, and it is thought that his inspiration came from the botanical gardens of Paris, such as the Jardin des Plantes (which included zoological galleries with taxidermy specimens of exotic animals), and from prints and books. The fin de siècle French populace was captivated by exotic and dangerous subjects, such as the perceived savagery of animals and peoples of distant lands. Tigers on the prowl had been the subject of an exhibition at the 1885 École des Beaux-Arts. Emmanuel Frémiet's famous sculpture of 1887 depicting a gorilla carrying a woman exuded more savagery than anything in Rousseau's canvases, yet was found acceptable as art; Rosseau's poor immediate reception therefore seems the result of his style and not his subject matter.The tiger's prey is beyond the edge of the canvas, so it is left to the imagination of the viewer to decide what the outcome will be, although Rousseau's original title Surprised! suggests the tiger has the upper hand. Rousseau later stated that the tiger was about to pounce on a group of explorers. Despite their apparent simplicity, Rousseau's jungle paintings were built up meticulously in layers, using a large number of green shades to capture the lush exuberance of the jungle. He also devised his own method for depicting the lashing rain by trailing strands of silver paint diagonally across the canvas, a technique inspired by the satin-like finishes of the paintings of William-Adolphe Bouguereau.
Although Tiger in a Tropical Storm brought him his first recognition, and he continued to exhibit his work annually at the Salon des Indépendants, Rousseau did not return to the jungle theme for another seven years, with the exhibition of Struggle for Life (now lost) at the 1898 Salon. Responses to his work were little changed; following this exhibition, one critic wrote, "Rousseau continued to express his visions on canvas in implausible jungles... grown from the depths of a lake of absinthe, he shows us the bloody battles of animals escaped from the wooden-horse-maker". Another five years passed before the next jungle scene, Scouts Attacked by a Tiger (1904). The tiger appears in at least three more of his paintings: Tiger Hunt (c. 1895), in which humans are the predators; Jungle with Buffalo Attacked by a Tiger (1908); and Fight Between a Tiger and a Buffalo (1908).
His work continued to be derided by the critics up to and after his death in 1910, but he won a following among his contemporaries: Picasso, Matisse, and Toulouse-Lautrec were all admirers of his work. Around 1908, the art dealer Ambroise Vollard purchased Surprised! and two other works from Rousseau, who had offered them at a rate considerably higher than the 190 francs he finally received. The painting was later purchased by the National Gallery, London in 1972 with a contribution from the billionaire philanthropist Walter H. Annenberg.
|
[
"Toulouse-Lautrec",
"tiger",
"Jardin des Plantes",
"Félix Vallotton",
"National Gallery, London",
"taxidermy",
"Mexico",
"École des Beaux-Arts",
"famous sculpture",
"Walter H. Annenberg",
"Matisse",
"William-Adolphe Bouguereau",
"Tiger",
"Picasso",
"Emmanuel Frémiet",
"woodcut",
"Eugène Delacroix",
"Henri Rousseau",
"National Gallery",
"London",
"Ambroise Vollard",
"Salon des Indépendants",
"fin de siècle",
"oil-on-canvas",
"Académie de peinture et de sculpture"
] |
|
14518_T
|
The Three Ages of Man (Giorgione)
|
Focus on The Three Ages of Man (Giorgione) and analyze the abstract.
|
The Three Ages of Man or Reading a Song is a 1500-1501 painting by Giorgione, now displayed at the Galleria Palatina within the Palazzo Pitti in Florence.
|
[
"Florence",
"Palazzo Pitti",
"Giorgione"
] |
|
14518_NT
|
The Three Ages of Man (Giorgione)
|
Focus on this artwork and analyze the abstract.
|
The Three Ages of Man or Reading a Song is a 1500-1501 painting by Giorgione, now displayed at the Galleria Palatina within the Palazzo Pitti in Florence.
|
[
"Florence",
"Palazzo Pitti",
"Giorgione"
] |
|
14519_T
|
The Three Ages of Man (Giorgione)
|
In The Three Ages of Man (Giorgione), how is the History discussed?
|
The opera was first identified in a description by Marcantonio Michiel of the antique dressing room of Gabriele Vendramin, cited in a 1569 inventory. In 1657, the painting passed into the collection of painter Nicolas Régnier and from there it was bought by the Medici family between 1666 and 1675, where it entered the collection of Ferdinando de' Medici. This panel with a triple portrait was initially attributed to Jacopo Palma il Vecchio and then to a "Lombardic style." In 1880, Morelli was the first to re-attribute to work to Giorgione, a hypothesis mostly shared by critics.
|
[
"Gabriele Vendramin",
"Ferdinando de' Medici",
"Marcantonio Michiel",
"Jacopo Palma il Vecchio",
"Medici family",
"Nicolas Régnier",
"Giorgione"
] |
|
14519_NT
|
The Three Ages of Man (Giorgione)
|
In this artwork, how is the History discussed?
|
The opera was first identified in a description by Marcantonio Michiel of the antique dressing room of Gabriele Vendramin, cited in a 1569 inventory. In 1657, the painting passed into the collection of painter Nicolas Régnier and from there it was bought by the Medici family between 1666 and 1675, where it entered the collection of Ferdinando de' Medici. This panel with a triple portrait was initially attributed to Jacopo Palma il Vecchio and then to a "Lombardic style." In 1880, Morelli was the first to re-attribute to work to Giorgione, a hypothesis mostly shared by critics.
|
[
"Gabriele Vendramin",
"Ferdinando de' Medici",
"Marcantonio Michiel",
"Jacopo Palma il Vecchio",
"Medici family",
"Nicolas Régnier",
"Giorgione"
] |
|
14520_T
|
The Three Ages of Man (Giorgione)
|
Focus on The Three Ages of Man (Giorgione) and explore the Description and style.
|
The subject of the painting isn't clear. The title it has today is from the 17th century, but other hypotheses have suggested that the painting depicts a singing lesson or the education of a young Marcus Aurelius. The youth at the right has also sometimes been identified as a portrait of the musician Philippe Verdelot. Presumably, the same man is shown, represented in three moments of his life.In the scene, there are three people, of different ages, on a dark background. The youth at center reads a folio on which are drawn two rules of a musical staff. The man to his left points to the music sheet, and an old man looks at the viewer of the painting.The dark background contrasts with the incisive chromatic choices applied to the people. Their clothes and features emerge from the background gradually, with the "sfumato" effect typical of Leonardic works. Even the drafting with thin glazes comes from Leonardo da Vinci, with meticulous attention to details like the hair rendered with subtle brushstrokes.The driving allegory, often present in works of Giorgione, is in this case music, the spiritual expression of man and the harmony of existence.
|
[
"Leonardic",
"musical staff",
"Leonardo da Vinci",
"Giorgione",
"Marcus Aurelius",
"Philippe Verdelot",
"sfumato"
] |
|
14520_NT
|
The Three Ages of Man (Giorgione)
|
Focus on this artwork and explore the Description and style.
|
The subject of the painting isn't clear. The title it has today is from the 17th century, but other hypotheses have suggested that the painting depicts a singing lesson or the education of a young Marcus Aurelius. The youth at the right has also sometimes been identified as a portrait of the musician Philippe Verdelot. Presumably, the same man is shown, represented in three moments of his life.In the scene, there are three people, of different ages, on a dark background. The youth at center reads a folio on which are drawn two rules of a musical staff. The man to his left points to the music sheet, and an old man looks at the viewer of the painting.The dark background contrasts with the incisive chromatic choices applied to the people. Their clothes and features emerge from the background gradually, with the "sfumato" effect typical of Leonardic works. Even the drafting with thin glazes comes from Leonardo da Vinci, with meticulous attention to details like the hair rendered with subtle brushstrokes.The driving allegory, often present in works of Giorgione, is in this case music, the spiritual expression of man and the harmony of existence.
|
[
"Leonardic",
"musical staff",
"Leonardo da Vinci",
"Giorgione",
"Marcus Aurelius",
"Philippe Verdelot",
"sfumato"
] |
|
14521_T
|
Rough Waves
|
Focus on Rough Waves and explain the Background.
|
Throughout the history of Japanese art, many artists have sought to convey in their works the fleeting state of rolling sea waves. The theme has been depicted not only on emakimono (handscrolls) and silk, but also on fans, byōbu and decor items.
|
[
"emakimono",
"byōbu",
"Japanese art"
] |
|
14521_NT
|
Rough Waves
|
Focus on this artwork and explain the Background.
|
Throughout the history of Japanese art, many artists have sought to convey in their works the fleeting state of rolling sea waves. The theme has been depicted not only on emakimono (handscrolls) and silk, but also on fans, byōbu and decor items.
|
[
"emakimono",
"byōbu",
"Japanese art"
] |
|
14522_T
|
Rough Waves
|
Explore the Description of this artwork, Rough Waves.
|
Ogata's painting Rough Waves is the most important image of the unapproachable sea elements to be created in Japanese painting before Hokusai's The Great Wave off Kanagawa. To create it, Ogata used an ancient Chinese technique of drawing with two brushes, held together in one hand.The materials Ogata used for the painting were ink, paint and gilded paper. He conveyed the threatening and dangerous nature of the waves with the help of elongated and contrastingly contoured, finger- or dragon-claw-like wave crests and sea foam. The expressiveness of the work appears to be unusual for Ogata, with the main means of expression being the use of lines created by ink.The screen on which Rough Waves was painted bears the seal “Dōsū”, a pseudonym that Ogata used from 1704. Recent studies show that Ogata created the painting between 1704 and 1709, during the transitional period in his career when he lived in the city of Edo (now Tokyo). The works of the artist during this period are characterized by a strong influence of the creativity of representatives of the Kanō school.The direct source of inspiration for Rough Waves may have been the work of the artist Sesson Shukei (c. 1504 – c. 1589), whose still-extant paintings include a number of dynamic and mysterious images of sea waves, among them Egret, Moon, and Wave and The Wind and the Waves. Rough Waves also reflects the influence of Tawaraya Sōtatsu, who specialized in gloomy landscapes, but is nevertheless an independent interpretation by Ogata of the frightening and violent force of the sea.
|
[
"gilded paper",
"Kanō school",
"dragon",
"Hokusai",
"ink",
"Sesson Shukei",
"Tawaraya Sōtatsu",
"The Great Wave off Kanagawa"
] |
|
14522_NT
|
Rough Waves
|
Explore the Description of this artwork.
|
Ogata's painting Rough Waves is the most important image of the unapproachable sea elements to be created in Japanese painting before Hokusai's The Great Wave off Kanagawa. To create it, Ogata used an ancient Chinese technique of drawing with two brushes, held together in one hand.The materials Ogata used for the painting were ink, paint and gilded paper. He conveyed the threatening and dangerous nature of the waves with the help of elongated and contrastingly contoured, finger- or dragon-claw-like wave crests and sea foam. The expressiveness of the work appears to be unusual for Ogata, with the main means of expression being the use of lines created by ink.The screen on which Rough Waves was painted bears the seal “Dōsū”, a pseudonym that Ogata used from 1704. Recent studies show that Ogata created the painting between 1704 and 1709, during the transitional period in his career when he lived in the city of Edo (now Tokyo). The works of the artist during this period are characterized by a strong influence of the creativity of representatives of the Kanō school.The direct source of inspiration for Rough Waves may have been the work of the artist Sesson Shukei (c. 1504 – c. 1589), whose still-extant paintings include a number of dynamic and mysterious images of sea waves, among them Egret, Moon, and Wave and The Wind and the Waves. Rough Waves also reflects the influence of Tawaraya Sōtatsu, who specialized in gloomy landscapes, but is nevertheless an independent interpretation by Ogata of the frightening and violent force of the sea.
|
[
"gilded paper",
"Kanō school",
"dragon",
"Hokusai",
"ink",
"Sesson Shukei",
"Tawaraya Sōtatsu",
"The Great Wave off Kanagawa"
] |
|
14523_T
|
Rough Waves
|
Focus on Rough Waves and discuss the Influence.
|
Rough Waves impressed Ogata’s follower Sakai Hōitsu, who in 1805 created his work Waves, in which he tried to convey a similar frightening atmosphere and a premonition of danger. At some time in the past, Hōitsu's family had commissioned work from Ogata, and so a collection of Ogata's pictures was available for Hōitsu to study in detail. The images in Waves, created in ink on silver-plated paper, were more abstract than those in Ogata's work, but retained their demonic character.
|
[
"ink",
"Sakai Hōitsu"
] |
|
14523_NT
|
Rough Waves
|
Focus on this artwork and discuss the Influence.
|
Rough Waves impressed Ogata’s follower Sakai Hōitsu, who in 1805 created his work Waves, in which he tried to convey a similar frightening atmosphere and a premonition of danger. At some time in the past, Hōitsu's family had commissioned work from Ogata, and so a collection of Ogata's pictures was available for Hōitsu to study in detail. The images in Waves, created in ink on silver-plated paper, were more abstract than those in Ogata's work, but retained their demonic character.
|
[
"ink",
"Sakai Hōitsu"
] |
|
14524_T
|
Seated Girl in Peasant Costume
|
How does Seated Girl in Peasant Costume elucidate its abstract?
|
Seated Girl in Peasant Costume is an oil-on-panel painting by Dutch artist Gerard ter Borch, created c. 1650. It is held in the Rijksmuseum, in Amsterdam.
|
[
"Amsterdam",
"Rijksmuseum",
"Gerard ter Borch"
] |
|
14524_NT
|
Seated Girl in Peasant Costume
|
How does this artwork elucidate its abstract?
|
Seated Girl in Peasant Costume is an oil-on-panel painting by Dutch artist Gerard ter Borch, created c. 1650. It is held in the Rijksmuseum, in Amsterdam.
|
[
"Amsterdam",
"Rijksmuseum",
"Gerard ter Borch"
] |
|
14525_T
|
Seated Girl in Peasant Costume
|
Focus on Seated Girl in Peasant Costume and analyze the Provenance.
|
The work came from the private collection of Isaac de Bruyn and Johanna Geertruida van der Leeuw. This couple bequeathed the work to the Rijksmuseum in 1961.
|
[
"Rijksmuseum"
] |
|
14525_NT
|
Seated Girl in Peasant Costume
|
Focus on this artwork and analyze the Provenance.
|
The work came from the private collection of Isaac de Bruyn and Johanna Geertruida van der Leeuw. This couple bequeathed the work to the Rijksmuseum in 1961.
|
[
"Rijksmuseum"
] |
|
14526_T
|
Ploughing in the Nivernais
|
In Ploughing in the Nivernais, how is the abstract discussed?
|
Ploughing in the Nivernais (French: Labourage nivernais), also known as Oxen ploughing in Nevers or Plowing in Nivernais, is an 1849 painting by French artist Rosa Bonheur. It depicts two teams of oxen ploughing the land, and expresses deep commitment to the land; it may have been inspired by the opening scene of George Sand's 1846 novel La Mare au Diable. Commissioned by the government and winner of a First Medal at the Salon in 1849, today it is held in the Musée d'Orsay in Paris.
|
[
"Nevers",
"Nivernais",
"Musée d'Orsay",
"George Sand",
"La Mare au Diable",
"Salon",
"ox",
"Ox",
"Paris",
"Rosa Bonheur"
] |
|
14526_NT
|
Ploughing in the Nivernais
|
In this artwork, how is the abstract discussed?
|
Ploughing in the Nivernais (French: Labourage nivernais), also known as Oxen ploughing in Nevers or Plowing in Nivernais, is an 1849 painting by French artist Rosa Bonheur. It depicts two teams of oxen ploughing the land, and expresses deep commitment to the land; it may have been inspired by the opening scene of George Sand's 1846 novel La Mare au Diable. Commissioned by the government and winner of a First Medal at the Salon in 1849, today it is held in the Musée d'Orsay in Paris.
|
[
"Nevers",
"Nivernais",
"Musée d'Orsay",
"George Sand",
"La Mare au Diable",
"Salon",
"ox",
"Ox",
"Paris",
"Rosa Bonheur"
] |
|
14527_T
|
Ploughing in the Nivernais
|
Focus on Ploughing in the Nivernais and explore the Depiction.
|
The Nivernais, the area around Nevers, was known for its Charolais cattle, which were to play an important role in the agricultural revolution that took place in the area in the nineteenth century. Rosa Bonheur gained a reputation painting animals, and Ploughing in the Nivernais features twelve Charolais oxen, in two groups of six. On a sunny autumn day they plough the land; this is the sombrage, the first stage of soil preparation in the fall, which opens up the soil to aeration during the winter. Humans play a minor role in the painting—the farmer is almost completely hidden behind his animals. The freshly-ploughed land is prominent in the foreground, while the landscape behind is basking in sunlight. The painting's clarity and light resembles that of the Dutch paintings (esp. by Paulus Potter) which Bonheur had studied as part of her education.According to Albert Boime, the painting should be seen as a glorification of peasant life and its ancient traditions; he places it in the context of the revolutionary year 1848, when cities were the scene of chaos and strife.
|
[
"Nevers",
"Paulus Potter",
"Nivernais",
"Charolais cattle",
"ox",
"Albert Boime",
"Rosa Bonheur"
] |
|
14527_NT
|
Ploughing in the Nivernais
|
Focus on this artwork and explore the Depiction.
|
The Nivernais, the area around Nevers, was known for its Charolais cattle, which were to play an important role in the agricultural revolution that took place in the area in the nineteenth century. Rosa Bonheur gained a reputation painting animals, and Ploughing in the Nivernais features twelve Charolais oxen, in two groups of six. On a sunny autumn day they plough the land; this is the sombrage, the first stage of soil preparation in the fall, which opens up the soil to aeration during the winter. Humans play a minor role in the painting—the farmer is almost completely hidden behind his animals. The freshly-ploughed land is prominent in the foreground, while the landscape behind is basking in sunlight. The painting's clarity and light resembles that of the Dutch paintings (esp. by Paulus Potter) which Bonheur had studied as part of her education.According to Albert Boime, the painting should be seen as a glorification of peasant life and its ancient traditions; he places it in the context of the revolutionary year 1848, when cities were the scene of chaos and strife.
|
[
"Nevers",
"Paulus Potter",
"Nivernais",
"Charolais cattle",
"ox",
"Albert Boime",
"Rosa Bonheur"
] |
|
14528_T
|
Ploughing in the Nivernais
|
Focus on Ploughing in the Nivernais and explain the History.
|
Rosa Bonheur made the painting by commission of the French government for 3000 francs; it was shown in the Salon in 1849, where it won her a First Medal. N. D'Anvers repeats an apparently well-known story, that it was inspired by the opening scene of George Sand's novel La Mare au Diable (1846), which features oxen ploughing a landscape with the author's commentary, "a noble subject for a painter". The comparison with Sand is amplified in an article in the July 1899 edition of The Literary Digest, which referred to the painting as a "pictorial translation of the novel". Initially intended for the museum in Lyon, it was instead exhibited in the Musée du Luxembourg in Paris and was a featured exhibit at the 1889 World Fair. The painting was moved to the Louvre and afterward to the Musée d'Orsay. She made a number of copies, one of which is in the John and Mable Ringling Museum of Art.
|
[
"Musée d'Orsay",
"George Sand",
"John and Mable Ringling Museum of Art",
"The Literary Digest",
"Musée du Luxembourg",
"1889 World Fair",
"La Mare au Diable",
"Salon",
"ox",
"Louvre",
"Lyon",
"Paris",
"Rosa Bonheur"
] |
|
14528_NT
|
Ploughing in the Nivernais
|
Focus on this artwork and explain the History.
|
Rosa Bonheur made the painting by commission of the French government for 3000 francs; it was shown in the Salon in 1849, where it won her a First Medal. N. D'Anvers repeats an apparently well-known story, that it was inspired by the opening scene of George Sand's novel La Mare au Diable (1846), which features oxen ploughing a landscape with the author's commentary, "a noble subject for a painter". The comparison with Sand is amplified in an article in the July 1899 edition of The Literary Digest, which referred to the painting as a "pictorial translation of the novel". Initially intended for the museum in Lyon, it was instead exhibited in the Musée du Luxembourg in Paris and was a featured exhibit at the 1889 World Fair. The painting was moved to the Louvre and afterward to the Musée d'Orsay. She made a number of copies, one of which is in the John and Mable Ringling Museum of Art.
|
[
"Musée d'Orsay",
"George Sand",
"John and Mable Ringling Museum of Art",
"The Literary Digest",
"Musée du Luxembourg",
"1889 World Fair",
"La Mare au Diable",
"Salon",
"ox",
"Louvre",
"Lyon",
"Paris",
"Rosa Bonheur"
] |
|
14529_T
|
Ploughing in the Nivernais
|
Explore the Reception and legacy of this artwork, Ploughing in the Nivernais.
|
Rosa Bonheur was claimed by New York Times critic Mary Blume as "the most famous woman painter of her time, perhaps of all time". Besides The Horse Fair, Ploughing in the Nivernais is one of Bonheur's best-known paintings, and somewhat resembles Oxen going to work by Constant Troyon. An early admirer was Anna Elizabeth Klumpke, who copied the work in the Luxembourg before beginning a long acquaintance with the artist. George du Maurier's 1894 novel Trilby mentions such a scene, of people copying Ploughing in the Nivernais and other works in the Luxembourg. It is one of the paintings singled out by Margaret Addison on her European tour in 1900, though philosopher Frédéric Paulhan in L'Esthétique du paysage (1913) was less impressed; Paulhan argued that good art simplifies, and that Ploughing in the Nivernais does not do so, spoiling it with the execution of the clods of earth. Those clods and the greenery were done, according to Bonheur, in a "heartwarming" way, according to Paulhan; she did not create, but merely reproduced, since on the one hand she was too complete by providing too much insignificant detail, and on the other hand she weakened nature by reproducing it. Paul Cézanne was also unimpressed, commenting that "it is horribly like the real thing".In 1978 a critic described the work as "entirely forgotten and rarely dragged out from oblivion"; that year it was part of a series of paintings sent to China by the French government for an exhibition titled "The French Landscape and Peasant, 1820–1905". Mary Blume, in 1997, said "the work [Horse Fair as well as Ploughing] is more careful than inspired, affectionate but not sentimental, a doughty celebration of working animals".
|
[
"Anna Elizabeth Klumpke",
"Trilby",
"The Horse Fair",
"New York Times",
"Nivernais",
"Constant Troyon",
"Frédéric Paulhan",
"Margaret Addison",
"Ox",
"George du Maurier",
"Rosa Bonheur",
"Paul Cézanne",
"Mary Blume"
] |
|
14529_NT
|
Ploughing in the Nivernais
|
Explore the Reception and legacy of this artwork.
|
Rosa Bonheur was claimed by New York Times critic Mary Blume as "the most famous woman painter of her time, perhaps of all time". Besides The Horse Fair, Ploughing in the Nivernais is one of Bonheur's best-known paintings, and somewhat resembles Oxen going to work by Constant Troyon. An early admirer was Anna Elizabeth Klumpke, who copied the work in the Luxembourg before beginning a long acquaintance with the artist. George du Maurier's 1894 novel Trilby mentions such a scene, of people copying Ploughing in the Nivernais and other works in the Luxembourg. It is one of the paintings singled out by Margaret Addison on her European tour in 1900, though philosopher Frédéric Paulhan in L'Esthétique du paysage (1913) was less impressed; Paulhan argued that good art simplifies, and that Ploughing in the Nivernais does not do so, spoiling it with the execution of the clods of earth. Those clods and the greenery were done, according to Bonheur, in a "heartwarming" way, according to Paulhan; she did not create, but merely reproduced, since on the one hand she was too complete by providing too much insignificant detail, and on the other hand she weakened nature by reproducing it. Paul Cézanne was also unimpressed, commenting that "it is horribly like the real thing".In 1978 a critic described the work as "entirely forgotten and rarely dragged out from oblivion"; that year it was part of a series of paintings sent to China by the French government for an exhibition titled "The French Landscape and Peasant, 1820–1905". Mary Blume, in 1997, said "the work [Horse Fair as well as Ploughing] is more careful than inspired, affectionate but not sentimental, a doughty celebration of working animals".
|
[
"Anna Elizabeth Klumpke",
"Trilby",
"The Horse Fair",
"New York Times",
"Nivernais",
"Constant Troyon",
"Frédéric Paulhan",
"Margaret Addison",
"Ox",
"George du Maurier",
"Rosa Bonheur",
"Paul Cézanne",
"Mary Blume"
] |
|
14530_T
|
William A. Starke Memorial
|
Focus on William A. Starke Memorial and discuss the abstract.
|
William A. Starke Memorial is a public art work by American artist Robert Ingersoll Aitken, located in the Forest Home Cemetery on the south side of Milwaukee, Wisconsin. The artwork is a bronze figure depicting a seated angel. It is located in Section 33 of the cemetery at 2405 W. Forest Home Ave.The work commemorates William Starke, a local business man involved with the C.H. Starke Bridge Company, the Christopher Steamship Company, and the Sheriff Manufacturing Company.
|
[
"Milwaukee",
"Forest Home Cemetery",
"American",
"Robert Ingersoll Aitken",
"Wisconsin",
"public art"
] |
|
14530_NT
|
William A. Starke Memorial
|
Focus on this artwork and discuss the abstract.
|
William A. Starke Memorial is a public art work by American artist Robert Ingersoll Aitken, located in the Forest Home Cemetery on the south side of Milwaukee, Wisconsin. The artwork is a bronze figure depicting a seated angel. It is located in Section 33 of the cemetery at 2405 W. Forest Home Ave.The work commemorates William Starke, a local business man involved with the C.H. Starke Bridge Company, the Christopher Steamship Company, and the Sheriff Manufacturing Company.
|
[
"Milwaukee",
"Forest Home Cemetery",
"American",
"Robert Ingersoll Aitken",
"Wisconsin",
"public art"
] |
|
14531_T
|
The Bridge at Villeneuve-la-Garenne
|
How does The Bridge at Villeneuve-la-Garenne elucidate its abstract?
|
The Bridge at Villeneuve-la-Garenne is an oil on canvas painting by Alfred Sisley created in 1872.
It depicts a suspension bridge across the Seine looking toward the village of Villeneuve-la-Garenne. Holidaymakers can be seen on the river and along the riverbank.
The work is now in the Metropolitan Museum of Art in New York City.
|
[
"Seine",
"Villeneuve-la-Garenne",
"oil on canvas",
"New York City",
"Metropolitan Museum of Art",
"Alfred Sisley"
] |
|
14531_NT
|
The Bridge at Villeneuve-la-Garenne
|
How does this artwork elucidate its abstract?
|
The Bridge at Villeneuve-la-Garenne is an oil on canvas painting by Alfred Sisley created in 1872.
It depicts a suspension bridge across the Seine looking toward the village of Villeneuve-la-Garenne. Holidaymakers can be seen on the river and along the riverbank.
The work is now in the Metropolitan Museum of Art in New York City.
|
[
"Seine",
"Villeneuve-la-Garenne",
"oil on canvas",
"New York City",
"Metropolitan Museum of Art",
"Alfred Sisley"
] |
|
14532_T
|
The Bridge at Villeneuve-la-Garenne
|
Focus on The Bridge at Villeneuve-la-Garenne and analyze the Provenance.
|
It was bought from the artist on 24 August 1872 by Durand-Ruel, who sold it to Jean-Baptiste Faure on 15 April 1873. It was passed on to his son Louis Maurice's wife, who sold it to Georges Petit and Durand-Ruel in 1919. It was passed through various art dealers before being acquired by Fernand Bouisson sometime before 1930. It was then sold in New York and had been acquired by 1957 by Henry Ittleson Junior and his wife, who donated it to its present owner in 1964.
|
[
"Fernand Bouisson",
"Georges Petit",
"Jean-Baptiste Faure",
"Durand-Ruel"
] |
|
14532_NT
|
The Bridge at Villeneuve-la-Garenne
|
Focus on this artwork and analyze the Provenance.
|
It was bought from the artist on 24 August 1872 by Durand-Ruel, who sold it to Jean-Baptiste Faure on 15 April 1873. It was passed on to his son Louis Maurice's wife, who sold it to Georges Petit and Durand-Ruel in 1919. It was passed through various art dealers before being acquired by Fernand Bouisson sometime before 1930. It was then sold in New York and had been acquired by 1957 by Henry Ittleson Junior and his wife, who donated it to its present owner in 1964.
|
[
"Fernand Bouisson",
"Georges Petit",
"Jean-Baptiste Faure",
"Durand-Ruel"
] |
|
14533_T
|
Head of a Bear
|
In Head of a Bear, how is the abstract discussed?
|
Head of a Bear is a drawing study made by Leonardo da Vinci circa 1480. It is small in scale, measuring only 7 by 7 centimetres (2.8 in × 2.8 in), and is rendered in silverpoint pencil. It is thought to be part of a study of animals that Leonardo made in this period. The artist may have drawn upon this study when painting the head of the animal in his Lady with an Ermine of 1489–1490. The drawing was owned by the British painter Sir Thomas Lawrence in the 18th century and by the art collector Norman Colville in the early 20th century. The American billionaire Thomas Kaplan purchased the drawing in 2008. It sold in 2021 for a total of £8.8 million, a record for a drawing by Leonardo.
|
[
"Lady with an Ermine",
"silverpoint",
"Norman Colville",
"Thomas Kaplan",
"Leonardo da Vinci",
"Thomas Lawrence"
] |
|
14533_NT
|
Head of a Bear
|
In this artwork, how is the abstract discussed?
|
Head of a Bear is a drawing study made by Leonardo da Vinci circa 1480. It is small in scale, measuring only 7 by 7 centimetres (2.8 in × 2.8 in), and is rendered in silverpoint pencil. It is thought to be part of a study of animals that Leonardo made in this period. The artist may have drawn upon this study when painting the head of the animal in his Lady with an Ermine of 1489–1490. The drawing was owned by the British painter Sir Thomas Lawrence in the 18th century and by the art collector Norman Colville in the early 20th century. The American billionaire Thomas Kaplan purchased the drawing in 2008. It sold in 2021 for a total of £8.8 million, a record for a drawing by Leonardo.
|
[
"Lady with an Ermine",
"silverpoint",
"Norman Colville",
"Thomas Kaplan",
"Leonardo da Vinci",
"Thomas Lawrence"
] |
|
14534_T
|
Head of a Bear
|
Focus on Head of a Bear and explore the Description.
|
Head of a Bear is thought to have been executed by a young Leonardo da Vinci (b. 1452) circa 1480. It is a close-up drawing of a bear's head on a 7-by-7-centimetre (2.8 in × 2.8 in) piece of pink-beige paper. Its size has led it to be described as "a Post-it Note Leonardo". It is drawn with a silverpoint pencil. Silverpointing is a technique that Leonardo learnt in the workshop of Andrea del Verrocchio. It is an unforgiving medium as the marks made by the silver pencil are very difficult to erase.The drawing is thought to be part of a series of studies Leonardo made into the anatomy and movements of bears and a comparison he made between ursine and human anatomy. Bears were common in parts of Tuscany at that time, though it is likely that Leonardo made the drawing from a captive bear. It is one of four surviving drawings of animals from this period in Leonardo's life, the others being A Bear Walking (in the Metropolitan Museum of Art), Studies of a Dog's Paw (in the Scottish National Gallery) and Two Studies of a Cat and One of a Dog (in the British Museum). These works possibly all came from the same sketchbook.Head of a Bear was executed shortly before Leonardo left Florence for Milan. At Milan he painted Lady with an Ermine (1489–1490), a depiction of Cecilia Gallerani, the mistress of the Duke of Milan. It is known that Gallerani did not pose with an actual ermine (stoat), so Leonardo may have drawn upon his earlier work. The ermine gazes in a similar direction and its head structure, with small eyes and a cylindrical muzzle, is comparable to that of Head of a Bear. The ermine depicted is larger than such animals are in real life.
|
[
"Scottish National Gallery",
"Lady with an Ermine",
"silverpoint",
"Post-it Note",
"Silverpoint",
"Cecilia Gallerani",
"stoat",
"Leonardo da Vinci",
"Andrea del Verrocchio",
"National Gallery",
"British Museum",
"Tuscany",
"Metropolitan Museum of Art"
] |
|
14534_NT
|
Head of a Bear
|
Focus on this artwork and explore the Description.
|
Head of a Bear is thought to have been executed by a young Leonardo da Vinci (b. 1452) circa 1480. It is a close-up drawing of a bear's head on a 7-by-7-centimetre (2.8 in × 2.8 in) piece of pink-beige paper. Its size has led it to be described as "a Post-it Note Leonardo". It is drawn with a silverpoint pencil. Silverpointing is a technique that Leonardo learnt in the workshop of Andrea del Verrocchio. It is an unforgiving medium as the marks made by the silver pencil are very difficult to erase.The drawing is thought to be part of a series of studies Leonardo made into the anatomy and movements of bears and a comparison he made between ursine and human anatomy. Bears were common in parts of Tuscany at that time, though it is likely that Leonardo made the drawing from a captive bear. It is one of four surviving drawings of animals from this period in Leonardo's life, the others being A Bear Walking (in the Metropolitan Museum of Art), Studies of a Dog's Paw (in the Scottish National Gallery) and Two Studies of a Cat and One of a Dog (in the British Museum). These works possibly all came from the same sketchbook.Head of a Bear was executed shortly before Leonardo left Florence for Milan. At Milan he painted Lady with an Ermine (1489–1490), a depiction of Cecilia Gallerani, the mistress of the Duke of Milan. It is known that Gallerani did not pose with an actual ermine (stoat), so Leonardo may have drawn upon his earlier work. The ermine gazes in a similar direction and its head structure, with small eyes and a cylindrical muzzle, is comparable to that of Head of a Bear. The ermine depicted is larger than such animals are in real life.
|
[
"Scottish National Gallery",
"Lady with an Ermine",
"silverpoint",
"Post-it Note",
"Silverpoint",
"Cecilia Gallerani",
"stoat",
"Leonardo da Vinci",
"Andrea del Verrocchio",
"National Gallery",
"British Museum",
"Tuscany",
"Metropolitan Museum of Art"
] |
|
14535_T
|
Head of a Bear
|
Focus on Head of a Bear and explain the Later history.
|
By the 18th century Head of a Bear was in the collection of the British painter Sir Thomas Lawrence. Upon Lawrence's death in 1830 it passed to his art dealer Samuel Woodburn. In 1860 Woodburn sold the drawing at Christie's auction house in London for £2.50. Woodburn sold Studies of a Dog's Paw in the same sale. Head of a Bear entered the collection of Norman Colville by the early 20th century. It was exhibited for the first time in 1937 and was included in Bernard Berenson's 1938 book The Drawings of the Florentine Painters.In 2008 the work was purchased by the American billionaire Thomas Kaplan. He purchased it on the basis of a faxed copy sent to him by London-based dealer Johnny van Haeften. Kaplan was principally a collector of Dutch Old Master paintings, but van Haeften suggested the Leonardo drawing to him as Kaplan's son was named Leonardo. Kaplan allowed the drawing to be exhibited alongside the Lady with an Ermine at the National Gallery in 2011 and at the Long Museum in Shanghai. On 8 July 2021 Kaplan sold Head of a Bear at Christie's in London. It was given an estimate of £8–12 million but sold for £7.5 m (£8.8m with fees). It attracted only one bid, placed in person by a young American man and woman, who also purchased an autographed manuscript by Sir Isaac Newton for £1.7 million (including fees). The auction house's only comment on the buyer's identity was that it was a family trust. Head of a Bear remains one of only eight known Leonardo drawings in private hands (excluding those in the British Royal Collection and the Devonshire Collection). The 2021 sale was the first of a Leonardo drawing since Horse and Rider was sold, also at Christie's, in 2001 for £8.1 million (including fees). Head of a Bear set a new record for a Leonardo drawing, which had previously been set by the 2001 sale.
|
[
"Long Museum",
"Lady with an Ermine",
"Devonshire Collection",
"Norman Colville",
"Johnny van Haeften",
"Isaac Newton",
"Christie's",
"Bernard Berenson",
"Thomas Kaplan",
"Royal Collection",
"National Gallery",
"Old Master",
"Thomas Lawrence"
] |
|
14535_NT
|
Head of a Bear
|
Focus on this artwork and explain the Later history.
|
By the 18th century Head of a Bear was in the collection of the British painter Sir Thomas Lawrence. Upon Lawrence's death in 1830 it passed to his art dealer Samuel Woodburn. In 1860 Woodburn sold the drawing at Christie's auction house in London for £2.50. Woodburn sold Studies of a Dog's Paw in the same sale. Head of a Bear entered the collection of Norman Colville by the early 20th century. It was exhibited for the first time in 1937 and was included in Bernard Berenson's 1938 book The Drawings of the Florentine Painters.In 2008 the work was purchased by the American billionaire Thomas Kaplan. He purchased it on the basis of a faxed copy sent to him by London-based dealer Johnny van Haeften. Kaplan was principally a collector of Dutch Old Master paintings, but van Haeften suggested the Leonardo drawing to him as Kaplan's son was named Leonardo. Kaplan allowed the drawing to be exhibited alongside the Lady with an Ermine at the National Gallery in 2011 and at the Long Museum in Shanghai. On 8 July 2021 Kaplan sold Head of a Bear at Christie's in London. It was given an estimate of £8–12 million but sold for £7.5 m (£8.8m with fees). It attracted only one bid, placed in person by a young American man and woman, who also purchased an autographed manuscript by Sir Isaac Newton for £1.7 million (including fees). The auction house's only comment on the buyer's identity was that it was a family trust. Head of a Bear remains one of only eight known Leonardo drawings in private hands (excluding those in the British Royal Collection and the Devonshire Collection). The 2021 sale was the first of a Leonardo drawing since Horse and Rider was sold, also at Christie's, in 2001 for £8.1 million (including fees). Head of a Bear set a new record for a Leonardo drawing, which had previously been set by the 2001 sale.
|
[
"Long Museum",
"Lady with an Ermine",
"Devonshire Collection",
"Norman Colville",
"Johnny van Haeften",
"Isaac Newton",
"Christie's",
"Bernard Berenson",
"Thomas Kaplan",
"Royal Collection",
"National Gallery",
"Old Master",
"Thomas Lawrence"
] |
|
14536_T
|
Nathan Bedford Forrest Bust
|
Explore the abstract of this artwork, Nathan Bedford Forrest Bust.
|
The Nathan Bedford Forrest Bust is a bust of Confederate States of America Lt. General and first-era Ku Klux Klan Grand Wizard Nathan Bedford Forrest that was prominently displayed in the Tennessee State Capitol in Nashville. On July 23, 2021, the bust was removed, and was relocated to the Tennessee State Museum in a new exhibit that opened four days later.
|
[
"Confederate States of America",
"Tennessee State Capitol",
"Tennessee State Museum",
"Grand Wizard",
"Nathan Bedford Forrest",
"Nashville",
"Ku Klux Klan",
"Bust"
] |
|
14536_NT
|
Nathan Bedford Forrest Bust
|
Explore the abstract of this artwork.
|
The Nathan Bedford Forrest Bust is a bust of Confederate States of America Lt. General and first-era Ku Klux Klan Grand Wizard Nathan Bedford Forrest that was prominently displayed in the Tennessee State Capitol in Nashville. On July 23, 2021, the bust was removed, and was relocated to the Tennessee State Museum in a new exhibit that opened four days later.
|
[
"Confederate States of America",
"Tennessee State Capitol",
"Tennessee State Museum",
"Grand Wizard",
"Nathan Bedford Forrest",
"Nashville",
"Ku Klux Klan",
"Bust"
] |
|
14537_T
|
Nathan Bedford Forrest Bust
|
Focus on Nathan Bedford Forrest Bust and discuss the History.
|
Kenneth P'pool, who chaired the Nathan Bedford Forrest Bust Committee of the Sons of Confederate Veterans in 1973 (P'pool reportedly also earlier supported the candidacy of George Wallace for president in 1968), the late Tennessee state Senator and Sons of Confederate Veterans Joseph E. Johnston Camp 28 member Douglas Henry (D-Nashville), and the late Civil War expert and collector Lanier Merrit are attributed with heading up the project to install a bust representing Nathan Bedford Forrest inside the Tennessee General Assembly building. Henry first proposed Joint Resolution 54 (1973) in the Tennessee Senate calling for a bust of Confederate Lt. General Nathan Bedford Forrest to be installed within the state capitol, which passed on April 13, 1973.Forrest has been considered by many of his advocates to be an iconic Southern hero of the American Civil War because of his reported military exploits, including his saving "Rome (Georgia) from a raid by Union military". However, Forrest is also known for his antebellum career as a slave trader, for commanding the Massacre at Fort Pillow, and for his eventual role as the Grand Wizard of the first era Ku Klux Klan during the Reconstruction era of United States history.Fundraising for the Nathan Bedford Forrest bust was generated from the sale of 24″ × 30″ reproductions of a Forrest portrait at the Travellers Rest, a historic plantation in the Nashville area. The portrait by Joy Garner had been commissioned in 1973 for Travellers Rest by the Joseph E. Johnston camp of the Sons of Confederate Veterans. The bust was eventually designed by Loura Jane Herndon Baxendale, whose husband Albert Hatcher Baxendale, Jr., was a member of the Sons of Confederate Veterans.The Nathan Bedford Forrest bust was cast by the Karkadoulias Bronze Art Foundry in Cincinnati, Ohio, and installed in the Tennessee State Capitol on November 5, 1978.
|
[
"Reconstruction era",
"Rome",
"Massacre at Fort Pillow",
"Sons of Confederate Veterans",
"Joseph E. Johnston",
"Tennessee State Capitol",
"Travellers Rest",
"George Wallace",
"Tennessee General Assembly",
"Loura Jane Herndon Baxendale",
"Grand Wizard",
"Nathan Bedford Forrest",
"Nashville",
"Douglas Henry",
"Ohio",
"Tennessee Senate",
"Cincinnati",
"Ku Klux Klan",
"Bust",
"Cincinnati, Ohio"
] |
|
14537_NT
|
Nathan Bedford Forrest Bust
|
Focus on this artwork and discuss the History.
|
Kenneth P'pool, who chaired the Nathan Bedford Forrest Bust Committee of the Sons of Confederate Veterans in 1973 (P'pool reportedly also earlier supported the candidacy of George Wallace for president in 1968), the late Tennessee state Senator and Sons of Confederate Veterans Joseph E. Johnston Camp 28 member Douglas Henry (D-Nashville), and the late Civil War expert and collector Lanier Merrit are attributed with heading up the project to install a bust representing Nathan Bedford Forrest inside the Tennessee General Assembly building. Henry first proposed Joint Resolution 54 (1973) in the Tennessee Senate calling for a bust of Confederate Lt. General Nathan Bedford Forrest to be installed within the state capitol, which passed on April 13, 1973.Forrest has been considered by many of his advocates to be an iconic Southern hero of the American Civil War because of his reported military exploits, including his saving "Rome (Georgia) from a raid by Union military". However, Forrest is also known for his antebellum career as a slave trader, for commanding the Massacre at Fort Pillow, and for his eventual role as the Grand Wizard of the first era Ku Klux Klan during the Reconstruction era of United States history.Fundraising for the Nathan Bedford Forrest bust was generated from the sale of 24″ × 30″ reproductions of a Forrest portrait at the Travellers Rest, a historic plantation in the Nashville area. The portrait by Joy Garner had been commissioned in 1973 for Travellers Rest by the Joseph E. Johnston camp of the Sons of Confederate Veterans. The bust was eventually designed by Loura Jane Herndon Baxendale, whose husband Albert Hatcher Baxendale, Jr., was a member of the Sons of Confederate Veterans.The Nathan Bedford Forrest bust was cast by the Karkadoulias Bronze Art Foundry in Cincinnati, Ohio, and installed in the Tennessee State Capitol on November 5, 1978.
|
[
"Reconstruction era",
"Rome",
"Massacre at Fort Pillow",
"Sons of Confederate Veterans",
"Joseph E. Johnston",
"Tennessee State Capitol",
"Travellers Rest",
"George Wallace",
"Tennessee General Assembly",
"Loura Jane Herndon Baxendale",
"Grand Wizard",
"Nathan Bedford Forrest",
"Nashville",
"Douglas Henry",
"Ohio",
"Tennessee Senate",
"Cincinnati",
"Ku Klux Klan",
"Bust",
"Cincinnati, Ohio"
] |
|
14538_T
|
Nathan Bedford Forrest Bust
|
In Nathan Bedford Forrest Bust, how is the Protests of the History elucidated?
|
On the day of the bust's dedication, numerous African Americans protested at the capitol. More protests were organized by Black Tennesseans for Action in February 1979 after they were unsuccessful in gaining a meeting with Republican Governor Lamar Alexander to discuss the issue. That month, the bust was "damaged after someone struck it in the head with a blunt object". Soon after, two crosses were burned in Nashville, a symbolic intimidation associated with the historic Ku Klux Klan; one of these crosses was burned outside the Tennessee NAACP headquarters. In October 1980, "Tex Moore, grand dragon of the Tennessee chapter of the Invisible Empire, Knights of the Ku Klux Klan, and others held a news conference in front of the bust."
|
[
"NAACP",
"Lamar Alexander",
"Nashville",
"Ku Klux Klan",
"Republican"
] |
|
14538_NT
|
Nathan Bedford Forrest Bust
|
In this artwork, how is the Protests of the History elucidated?
|
On the day of the bust's dedication, numerous African Americans protested at the capitol. More protests were organized by Black Tennesseans for Action in February 1979 after they were unsuccessful in gaining a meeting with Republican Governor Lamar Alexander to discuss the issue. That month, the bust was "damaged after someone struck it in the head with a blunt object". Soon after, two crosses were burned in Nashville, a symbolic intimidation associated with the historic Ku Klux Klan; one of these crosses was burned outside the Tennessee NAACP headquarters. In October 1980, "Tex Moore, grand dragon of the Tennessee chapter of the Invisible Empire, Knights of the Ku Klux Klan, and others held a news conference in front of the bust."
|
[
"NAACP",
"Lamar Alexander",
"Nashville",
"Ku Klux Klan",
"Republican"
] |
|
14539_T
|
Nathan Bedford Forrest Bust
|
Focusing on the History of Nathan Bedford Forrest Bust, analyze the 2015 about the Protests.
|
2015 Democratic Congressman Jim Cooper and state Representative Craig Fitzhugh suggested that the Nathan Bedford Forrest bust should be removed from the Tennessee capitol in the wake of the 2015 Charleston church shooting, a horrific event in which nine African Americans were murdered in their church by a young white supremacist, Dylann Roof. Republican Governor Bill Haslam and Senator Bob Corker also agreed. However, its removal was postponed.
|
[
"Dylann Roof",
"Charleston church shooting",
"Democratic",
"Craig Fitzhugh",
"Nathan Bedford Forrest",
"Jim Cooper",
"white supremacist",
"Bob Corker",
"Bill Haslam",
"Republican"
] |
|
14539_NT
|
Nathan Bedford Forrest Bust
|
Focusing on the History of this artwork, analyze the 2015 about the Protests.
|
2015 Democratic Congressman Jim Cooper and state Representative Craig Fitzhugh suggested that the Nathan Bedford Forrest bust should be removed from the Tennessee capitol in the wake of the 2015 Charleston church shooting, a horrific event in which nine African Americans were murdered in their church by a young white supremacist, Dylann Roof. Republican Governor Bill Haslam and Senator Bob Corker also agreed. However, its removal was postponed.
|
[
"Dylann Roof",
"Charleston church shooting",
"Democratic",
"Craig Fitzhugh",
"Nathan Bedford Forrest",
"Jim Cooper",
"white supremacist",
"Bob Corker",
"Bill Haslam",
"Republican"
] |
|
14540_T
|
Nathan Bedford Forrest Bust
|
When looking at the History of Nathan Bedford Forrest Bust, how do you discuss its Protests's 2017?
|
2017 After the violence of the 2017 Unite the Right rally in Charlottesville, Virginia, Governor Bill Haslam explicitly called for removal of the Nathan Bedford Forrest bust from the Tennessee state capitol building, while U.S. Senator Bob Corker suggested it should be relocated for public display at the Tennessee State Museum. But the Capitol Commission oversees elements of maintaining the complex. Composed of Secretary of State Tre Hargett, State Treasurer David Lillard, and Comptroller Justin P. Wilson, the Commission voted to reject the removal. Governor Haslam said that he was "very disappointed" with this decision.In December 2017, a legislative bill was proposed to relocate the Nathan Bedford Forrest bust to the nearby Tennessee State Museum, which is one of the largest state museums in the United States and houses one of the largest collections of artifacts from the U.S. Civil War.
|
[
"Tre Hargett",
"Tennessee State Museum",
"David Lillard",
"Nathan Bedford Forrest",
"Justin P. Wilson",
"Unite the Right rally",
"Bob Corker",
"Bill Haslam",
"Charlottesville, Virginia"
] |
|
14540_NT
|
Nathan Bedford Forrest Bust
|
When looking at the History of this artwork, how do you discuss its Protests's 2017?
|
2017 After the violence of the 2017 Unite the Right rally in Charlottesville, Virginia, Governor Bill Haslam explicitly called for removal of the Nathan Bedford Forrest bust from the Tennessee state capitol building, while U.S. Senator Bob Corker suggested it should be relocated for public display at the Tennessee State Museum. But the Capitol Commission oversees elements of maintaining the complex. Composed of Secretary of State Tre Hargett, State Treasurer David Lillard, and Comptroller Justin P. Wilson, the Commission voted to reject the removal. Governor Haslam said that he was "very disappointed" with this decision.In December 2017, a legislative bill was proposed to relocate the Nathan Bedford Forrest bust to the nearby Tennessee State Museum, which is one of the largest state museums in the United States and houses one of the largest collections of artifacts from the U.S. Civil War.
|
[
"Tre Hargett",
"Tennessee State Museum",
"David Lillard",
"Nathan Bedford Forrest",
"Justin P. Wilson",
"Unite the Right rally",
"Bob Corker",
"Bill Haslam",
"Charlottesville, Virginia"
] |
|
14541_T
|
Nathan Bedford Forrest Bust
|
Focusing on the History of Nathan Bedford Forrest Bust, explore the 2019 about the Protests.
|
2019 In January 2019, members of the State Capitol Commission turned down a request to remove the bust by a 7 to 5 vote.At the end of January 2019, a group of Tennessee college students arrived at the Tennessee State capitol to request of newly elected Governor Bill Lee that the bust be removed. State troopers did not allow the students to see the governor because they did not have an appointment, but they did manage to meet with a representative from his office. Justin Jones and Jeneisha Harris led sit-in protests and were arrested.
|
[
"Justin Jones",
"Bill Lee"
] |
|
14541_NT
|
Nathan Bedford Forrest Bust
|
Focusing on the History of this artwork, explore the 2019 about the Protests.
|
2019 In January 2019, members of the State Capitol Commission turned down a request to remove the bust by a 7 to 5 vote.At the end of January 2019, a group of Tennessee college students arrived at the Tennessee State capitol to request of newly elected Governor Bill Lee that the bust be removed. State troopers did not allow the students to see the governor because they did not have an appointment, but they did manage to meet with a representative from his office. Justin Jones and Jeneisha Harris led sit-in protests and were arrested.
|
[
"Justin Jones",
"Bill Lee"
] |
|
14542_T
|
Nathan Bedford Forrest Bust
|
Explore the 2020 about the Relocation to the Tennessee State Museum of the History in this artwork, Nathan Bedford Forrest Bust.
|
2020 On June 9, 2020, the Tennessee General Assembly debated HJR 0686 to remove the bust. Republican opposition to removal led to the motion failing in the House by five votes to eleven.
On July 9, 2020, the Tennessee Capitol Commission voted 9–2 in favor of removing the bust from the Capitol building and relocating it to the Tennessee State Museum. The Tennessee Historical Commission voted 25–1 on March 9, 2021, to move the bust to the museum. Governor Bill Lee (R) said this should be done as soon as possible.
|
[
"Tennessee Historical Commission",
"Tennessee General Assembly",
"Tennessee State Museum",
"Bill Lee",
"Republican"
] |
|
14542_NT
|
Nathan Bedford Forrest Bust
|
Explore the 2020 about the Relocation to the Tennessee State Museum of the History in this artwork.
|
2020 On June 9, 2020, the Tennessee General Assembly debated HJR 0686 to remove the bust. Republican opposition to removal led to the motion failing in the House by five votes to eleven.
On July 9, 2020, the Tennessee Capitol Commission voted 9–2 in favor of removing the bust from the Capitol building and relocating it to the Tennessee State Museum. The Tennessee Historical Commission voted 25–1 on March 9, 2021, to move the bust to the museum. Governor Bill Lee (R) said this should be done as soon as possible.
|
[
"Tennessee Historical Commission",
"Tennessee General Assembly",
"Tennessee State Museum",
"Bill Lee",
"Republican"
] |
|
14543_T
|
Nathan Bedford Forrest Bust
|
Focusing on the History of Nathan Bedford Forrest Bust, discuss the 2021 about the Relocation to the Tennessee State Museum.
|
2021 Senator Joey Hensley (R-Hohenwald; also a member of the Sons of Confederate Veterans) filed a retaliatory bill, SB0600 on February 9, 2021, that if enacted into state law, would cancel the appointments of all 29 members of the Tennessee Historical Commission and create a revisionary Tennessee Historical Commission of 12 entirely new members with the Governor of Tennessee, the House Speaker, and the Lt. Governor each appointing four commission members. SB0600 was co-sponsored within the Tennessee Senate by Senators Janice Bowling (R-Tullahoma), Frank Niceley (R-Strawberry Plains), and Mark Pody (R-Lebanon).Representative John Ragan (R-Oak Ridge) filed his House companion bill, HB1227, on February 11, 2021, and initially signed on Reps. Paul Sherrell (R-Sparta), Jay D. Reedy (R-Erin), Rusty Grills (R-Newbern), Jerry Sexton (R-Bean Station), Kent Calfee (R-Kingston), Todd Warner (R-Chapel Hill), and Clay Doggett (R-Pulaski) as prime co-sponsors of the House bill seeking to cancel out and revise the Tennessee Historical Commission membership.Tennessee House Speaker Cameron Sexton, R-Crossville) and Lt. Gov. Randy McNally (R-Oak Ridge) in a February 26, 2021, letter to Tennessee Attorney General Herbert Slatery queried as to if the Tennessee Capitol Commission had the authority to seek permission from the Tennessee Historical Commission to remove the Nathan Bedford Forrest bust. McNally reportedly has been a vocal defender of the displaying the Forrest bust at the second floor of the Tennessee General Assembly building.
Acting upon the earlier 2020 amended approval issued by the Tennessee Capitol Commission, the Tennessee Historical Commission on March 17, 2021, itself voted 25–1, following a five-hour meeting, to move the Nathan Bedford Forrest bust, along with two other busts for public display at the nearby Tennessee State Museum.On July 22, 2021, the state Building Commission voted 5–2 to give final approval to relocate the bust to the state museum. The bust was removed the following day. On July 27, 2021, the bust became part of a new exhibit at the Tennessee State Museum.
|
[
"Erin",
"Tennessee Historical Commission",
"Oak Ridge",
"Crossville",
"Sons of Confederate Veterans",
"Hohenwald",
"Bean Station",
"Tullahoma",
"Chapel Hill",
"Tennessee General Assembly",
"Tennessee State Museum",
"Todd Warner",
"Joey Hensley",
"Nathan Bedford Forrest",
"Cameron Sexton",
"Newbern",
"Jay D. Reedy",
"Sparta",
"Mark Pody",
"Kent Calfee",
"Clay Doggett",
"Paul Sherrell",
"Jerry Sexton",
"Janice Bowling",
"Tennessee Senate",
"Randy McNally",
"Lebanon",
"Pulaski",
"Kingston",
"Rusty Grills",
"John Ragan",
"Strawberry Plains",
"Frank Niceley"
] |
|
14543_NT
|
Nathan Bedford Forrest Bust
|
Focusing on the History of this artwork, discuss the 2021 about the Relocation to the Tennessee State Museum.
|
2021 Senator Joey Hensley (R-Hohenwald; also a member of the Sons of Confederate Veterans) filed a retaliatory bill, SB0600 on February 9, 2021, that if enacted into state law, would cancel the appointments of all 29 members of the Tennessee Historical Commission and create a revisionary Tennessee Historical Commission of 12 entirely new members with the Governor of Tennessee, the House Speaker, and the Lt. Governor each appointing four commission members. SB0600 was co-sponsored within the Tennessee Senate by Senators Janice Bowling (R-Tullahoma), Frank Niceley (R-Strawberry Plains), and Mark Pody (R-Lebanon).Representative John Ragan (R-Oak Ridge) filed his House companion bill, HB1227, on February 11, 2021, and initially signed on Reps. Paul Sherrell (R-Sparta), Jay D. Reedy (R-Erin), Rusty Grills (R-Newbern), Jerry Sexton (R-Bean Station), Kent Calfee (R-Kingston), Todd Warner (R-Chapel Hill), and Clay Doggett (R-Pulaski) as prime co-sponsors of the House bill seeking to cancel out and revise the Tennessee Historical Commission membership.Tennessee House Speaker Cameron Sexton, R-Crossville) and Lt. Gov. Randy McNally (R-Oak Ridge) in a February 26, 2021, letter to Tennessee Attorney General Herbert Slatery queried as to if the Tennessee Capitol Commission had the authority to seek permission from the Tennessee Historical Commission to remove the Nathan Bedford Forrest bust. McNally reportedly has been a vocal defender of the displaying the Forrest bust at the second floor of the Tennessee General Assembly building.
Acting upon the earlier 2020 amended approval issued by the Tennessee Capitol Commission, the Tennessee Historical Commission on March 17, 2021, itself voted 25–1, following a five-hour meeting, to move the Nathan Bedford Forrest bust, along with two other busts for public display at the nearby Tennessee State Museum.On July 22, 2021, the state Building Commission voted 5–2 to give final approval to relocate the bust to the state museum. The bust was removed the following day. On July 27, 2021, the bust became part of a new exhibit at the Tennessee State Museum.
|
[
"Erin",
"Tennessee Historical Commission",
"Oak Ridge",
"Crossville",
"Sons of Confederate Veterans",
"Hohenwald",
"Bean Station",
"Tullahoma",
"Chapel Hill",
"Tennessee General Assembly",
"Tennessee State Museum",
"Todd Warner",
"Joey Hensley",
"Nathan Bedford Forrest",
"Cameron Sexton",
"Newbern",
"Jay D. Reedy",
"Sparta",
"Mark Pody",
"Kent Calfee",
"Clay Doggett",
"Paul Sherrell",
"Jerry Sexton",
"Janice Bowling",
"Tennessee Senate",
"Randy McNally",
"Lebanon",
"Pulaski",
"Kingston",
"Rusty Grills",
"John Ragan",
"Strawberry Plains",
"Frank Niceley"
] |
|
14544_T
|
Lane in Autumn
|
How does Lane in Autumn elucidate its abstract?
|
Lane in Autumn is an oil painting created in 1884 by Vincent van Gogh.
|
[
"Vincent van Gogh"
] |
|
14544_NT
|
Lane in Autumn
|
How does this artwork elucidate its abstract?
|
Lane in Autumn is an oil painting created in 1884 by Vincent van Gogh.
|
[
"Vincent van Gogh"
] |
|
14545_T
|
The Tortoise and the Hare (sculpture)
|
Focus on The Tortoise and the Hare (sculpture) and analyze the abstract.
|
The Tortoise and the Hare is a 1994 bronze sculpture by Nancy Schön, installed in Boston's Copley Square, in the U.S. state of Massachusetts. The work references one of Aesop's Fables, The Tortoise and the Hare, and commemorates Boston Marathon participants.
|
[
"Boston Marathon",
"Aesop",
"Aesop's Fables",
"bronze sculpture",
"The Tortoise and the Hare",
"Nancy Schön",
"Boston",
"U.S. state",
"Copley Square",
"Massachusetts"
] |
|
14545_NT
|
The Tortoise and the Hare (sculpture)
|
Focus on this artwork and analyze the abstract.
|
The Tortoise and the Hare is a 1994 bronze sculpture by Nancy Schön, installed in Boston's Copley Square, in the U.S. state of Massachusetts. The work references one of Aesop's Fables, The Tortoise and the Hare, and commemorates Boston Marathon participants.
|
[
"Boston Marathon",
"Aesop",
"Aesop's Fables",
"bronze sculpture",
"The Tortoise and the Hare",
"Nancy Schön",
"Boston",
"U.S. state",
"Copley Square",
"Massachusetts"
] |
|
14546_T
|
Number 17A
|
In Number 17A, how is the abstract discussed?
|
Number 17A is an abstract expressionist painting by American painter Jackson Pollock, from 1948.
The painting is oil paint on fiberboard and is a drip painting, created by splashing paint onto a horizontal surface. It was painted a year after Jackson Pollock introduced his drip technique. The piece was featured in the August 1949 edition of Life that made Jackson Pollock a celebrity.It is owned by hedge fund manager Kenneth C. Griffin, who purchased it in September 2015 from David Geffen for $200 million, a then record-breaking price, at which time it was lent to the Art Institute of Chicago. As of September 2022, it is ranked 5th on the list of most expensive paintings.
|
[
"fiberboard",
"David Geffen",
"oil paint",
"drip painting",
"Life",
"abstract expressionist",
"hedge fund",
"Art Institute of Chicago",
"Kenneth C. Griffin",
"list of most expensive paintings",
"Jackson Pollock"
] |
|
14546_NT
|
Number 17A
|
In this artwork, how is the abstract discussed?
|
Number 17A is an abstract expressionist painting by American painter Jackson Pollock, from 1948.
The painting is oil paint on fiberboard and is a drip painting, created by splashing paint onto a horizontal surface. It was painted a year after Jackson Pollock introduced his drip technique. The piece was featured in the August 1949 edition of Life that made Jackson Pollock a celebrity.It is owned by hedge fund manager Kenneth C. Griffin, who purchased it in September 2015 from David Geffen for $200 million, a then record-breaking price, at which time it was lent to the Art Institute of Chicago. As of September 2022, it is ranked 5th on the list of most expensive paintings.
|
[
"fiberboard",
"David Geffen",
"oil paint",
"drip painting",
"Life",
"abstract expressionist",
"hedge fund",
"Art Institute of Chicago",
"Kenneth C. Griffin",
"list of most expensive paintings",
"Jackson Pollock"
] |
|
14547_T
|
Statue of Sun Yat-sen (New York City)
|
Focus on Statue of Sun Yat-sen (New York City) and explore the abstract.
|
Dr. Sun Yat-sen is an outdoor statue of Sun Yat-sen by Lu Chun-Hsiung and Michael Kang, installed in Manhattan's Columbus Park, in the U.S. state of New York.
|
[
"U.S. state",
"Manhattan",
"Sun Yat-sen",
"Columbus Park",
"New York"
] |
|
14547_NT
|
Statue of Sun Yat-sen (New York City)
|
Focus on this artwork and explore the abstract.
|
Dr. Sun Yat-sen is an outdoor statue of Sun Yat-sen by Lu Chun-Hsiung and Michael Kang, installed in Manhattan's Columbus Park, in the U.S. state of New York.
|
[
"U.S. state",
"Manhattan",
"Sun Yat-sen",
"Columbus Park",
"New York"
] |
|
14548_T
|
Brutus Condemning His Sons to Death
|
Focus on Brutus Condemning His Sons to Death and explain the abstract.
|
Brutus Condemning His Sons to Death is a 1788 painting by the Guadeloupe born French Neoclassical painter Guillaume Guillon-Lethière (1760–1832). It depicts the legendary founder of the Roman Republic Lucius Junius Brutus who overthrew Lucius Tarquinius Superbus the last King of Rome, watching the execution of his sons Tiberius Junius Brutus and Titus Junius Brutus stoically after having sentenced them to die for plotting to restore the Tarquin monarchy.The work was extremely controversial due to the severed head of one of Junius Brutus' sons, presaging the political and revolutionary violence which soon occurred in France.In 2018 the Clark Art Institute in Williamstown, Massachusetts acquired the painting as well as a preparatory drawing for it from a private collection where it had been for many years.This work is the first of two Guillon-Lethière created with this subject and title. The second work was executed later in 1811 and is in the permanent collection of the Louvre in Paris.Lethiere's more famous contemporary Jacques Louis David covered the same historical subject in his work The Lictors Bring to Brutus the Bodies of His Sons (1789).
|
[
"Lucius Junius Brutus",
"Williamstown, Massachusetts",
"Clark Art Institute",
"Neoclassical",
"Roman Republic",
"The Lictors Bring to Brutus the Bodies of His Sons",
"Williamstown",
"Guadeloupe",
"Lucius Tarquinius Superbus",
"Guillaume Guillon-Lethière",
"Louvre",
"King of Rome",
"Paris",
"Massachusetts"
] |
|
14548_NT
|
Brutus Condemning His Sons to Death
|
Focus on this artwork and explain the abstract.
|
Brutus Condemning His Sons to Death is a 1788 painting by the Guadeloupe born French Neoclassical painter Guillaume Guillon-Lethière (1760–1832). It depicts the legendary founder of the Roman Republic Lucius Junius Brutus who overthrew Lucius Tarquinius Superbus the last King of Rome, watching the execution of his sons Tiberius Junius Brutus and Titus Junius Brutus stoically after having sentenced them to die for plotting to restore the Tarquin monarchy.The work was extremely controversial due to the severed head of one of Junius Brutus' sons, presaging the political and revolutionary violence which soon occurred in France.In 2018 the Clark Art Institute in Williamstown, Massachusetts acquired the painting as well as a preparatory drawing for it from a private collection where it had been for many years.This work is the first of two Guillon-Lethière created with this subject and title. The second work was executed later in 1811 and is in the permanent collection of the Louvre in Paris.Lethiere's more famous contemporary Jacques Louis David covered the same historical subject in his work The Lictors Bring to Brutus the Bodies of His Sons (1789).
|
[
"Lucius Junius Brutus",
"Williamstown, Massachusetts",
"Clark Art Institute",
"Neoclassical",
"Roman Republic",
"The Lictors Bring to Brutus the Bodies of His Sons",
"Williamstown",
"Guadeloupe",
"Lucius Tarquinius Superbus",
"Guillaume Guillon-Lethière",
"Louvre",
"King of Rome",
"Paris",
"Massachusetts"
] |
|
14549_T
|
Olympic Iliad
|
Explore the abstract of this artwork, Olympic Iliad.
|
Olympic Iliad, also known as Pasta Tube, is a 1984 steel sculpture by Alexander Liberman, located in the lawn surrounding the Space Needle at Seattle Center in Seattle, Washington, United States. The work includes large steel cylinders cut at different angles and lengths, painted red. The sculpture is similar to Liberman's Iliad, located at the Storm King Art Center in Mountainville, New York. It is featured on the cover of Brazilian musician Amon Tobin's album Bricolage.
|
[
"Seattle",
"Space Needle",
"Alexander Liberman",
"Amon Tobin",
"Seattle Center",
"Washington",
"Bricolage"
] |
|
14549_NT
|
Olympic Iliad
|
Explore the abstract of this artwork.
|
Olympic Iliad, also known as Pasta Tube, is a 1984 steel sculpture by Alexander Liberman, located in the lawn surrounding the Space Needle at Seattle Center in Seattle, Washington, United States. The work includes large steel cylinders cut at different angles and lengths, painted red. The sculpture is similar to Liberman's Iliad, located at the Storm King Art Center in Mountainville, New York. It is featured on the cover of Brazilian musician Amon Tobin's album Bricolage.
|
[
"Seattle",
"Space Needle",
"Alexander Liberman",
"Amon Tobin",
"Seattle Center",
"Washington",
"Bricolage"
] |
|
14550_T
|
Vision of Constantine (Stavarkis)
|
Focus on Vision of Constantine (Stavarkis) and discuss the History.
|
Vision of Constantine is a tempera painting on wood panel in the form of an arch. The height of the work is 86 cm (33.8 in) and the width is 174 cm (68.5 in). The painting was used to fill an archway in a church in Zakynthos. A large number of vessels are present in the water as the battle is about to ensue. A city looms in the background. The artist carefully paints the structures indicating a saturated city possibly Rome. The horse is greeted by a soldier. He is dressed in ostentatious attire.The gold of Constantine's militaristic attire is representative of the celestial realm from which he descended. Constantine's imperial uniform exhibits intricate ornamentation and brilliant colors. His cape flows in a weightless setting. The gold decoration illustrates Constantine's majestic divinity. The horse is sculpturesque as it rests on its hind legs. The emperor's hand gestures are similar in Moskos and Stavraki's paintings. Both works also resemble Bernini's equestrian statue of Constantine The Vision of Constantine. All three versions of The Vision of Constantine convey a unique hand gesture of prayer. An angel is behind the Constantine playing a horn while he gazes at a cross in the sky with the famous Greek inscription. Ἐν τούτῳ νίκα (En to tow nika) the translation is by this sign, you will conquer.
|
[
"Vision of Constantine",
"Bernini",
"The Vision of Constantine",
"Zakynthos",
"Moskos"
] |
|
14550_NT
|
Vision of Constantine (Stavarkis)
|
Focus on this artwork and discuss the History.
|
Vision of Constantine is a tempera painting on wood panel in the form of an arch. The height of the work is 86 cm (33.8 in) and the width is 174 cm (68.5 in). The painting was used to fill an archway in a church in Zakynthos. A large number of vessels are present in the water as the battle is about to ensue. A city looms in the background. The artist carefully paints the structures indicating a saturated city possibly Rome. The horse is greeted by a soldier. He is dressed in ostentatious attire.The gold of Constantine's militaristic attire is representative of the celestial realm from which he descended. Constantine's imperial uniform exhibits intricate ornamentation and brilliant colors. His cape flows in a weightless setting. The gold decoration illustrates Constantine's majestic divinity. The horse is sculpturesque as it rests on its hind legs. The emperor's hand gestures are similar in Moskos and Stavraki's paintings. Both works also resemble Bernini's equestrian statue of Constantine The Vision of Constantine. All three versions of The Vision of Constantine convey a unique hand gesture of prayer. An angel is behind the Constantine playing a horn while he gazes at a cross in the sky with the famous Greek inscription. Ἐν τούτῳ νίκα (En to tow nika) the translation is by this sign, you will conquer.
|
[
"Vision of Constantine",
"Bernini",
"The Vision of Constantine",
"Zakynthos",
"Moskos"
] |
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