ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
list |
|---|---|---|---|---|---|
14551_T
|
David and Goliath (Caravaggio)
|
How does David and Goliath (Caravaggio) elucidate its abstract?
|
David and Goliath, also known as David with the Head of Goliath or David Victorious over Goliath, is an oil painting by the Italian Baroque master Caravaggio. It was painted around 1600, and is held in the Museo del Prado, Madrid.Two later versions of the same theme by Caravaggio, both titled David with the Head of Goliath, are currently to be seen in the Kunsthistorisches Museum, Vienna, and the Galleria Borghese, Rome.
|
[
"Galleria Borghese",
"M",
"Baroque",
"Kunsthistorisches Museum",
"Caravaggio",
"David",
"Museo del Prado",
"Goliath",
"Madrid"
] |
|
14551_NT
|
David and Goliath (Caravaggio)
|
How does this artwork elucidate its abstract?
|
David and Goliath, also known as David with the Head of Goliath or David Victorious over Goliath, is an oil painting by the Italian Baroque master Caravaggio. It was painted around 1600, and is held in the Museo del Prado, Madrid.Two later versions of the same theme by Caravaggio, both titled David with the Head of Goliath, are currently to be seen in the Kunsthistorisches Museum, Vienna, and the Galleria Borghese, Rome.
|
[
"Galleria Borghese",
"M",
"Baroque",
"Kunsthistorisches Museum",
"Caravaggio",
"David",
"Museo del Prado",
"Goliath",
"Madrid"
] |
|
14552_T
|
David and Goliath (Caravaggio)
|
Focus on David and Goliath (Caravaggio) and analyze the History.
|
The David and Goliath in the Prado was painted in the early part of the artist's career, while he was a member of the household of Cardinal Francesco Maria Del Monte. It shows the Biblical David as a young boy (in accordance with the Bible story) fastening the head of the champion of the Philistines, the giant Goliath, by the hair. The light catches on David's leg, arm and flank, on the massive shoulders from which Goliath's head has been severed, and on the head itself, but everything else is dark. Even David's face is almost invisible in the shadows. A wound on Goliath's forehead shows where he has been felled by the stone from David's sling. The overwhelming impression is of some action intensely personal and private - no triumph, no armies, no victory.Caravaggio originally showed Goliath's face fixed in wild-eyed open-mouthed terror, tongue rolling, eyeballs swivelled to the edges of the sockets. In the finished painting the melodrama is banished: the drama is transferred from Goliath to the quietly efficient David, his face almost hidden, intent on his work with his hands in his enemy's hair, kneeling almost casually on the man's torso.
This painting and two others done at about the same time – the first version of Sacrifice of Isaac and the first John the Baptist – were taken to Spain shortly after they were made, where they were frequently copied and made a deep impression on art in that country.
|
[
"M",
"Sacrifice of Isaac",
"John the Baptist",
"Caravaggio",
"Francesco Maria Del Monte",
"David",
"Goliath"
] |
|
14552_NT
|
David and Goliath (Caravaggio)
|
Focus on this artwork and analyze the History.
|
The David and Goliath in the Prado was painted in the early part of the artist's career, while he was a member of the household of Cardinal Francesco Maria Del Monte. It shows the Biblical David as a young boy (in accordance with the Bible story) fastening the head of the champion of the Philistines, the giant Goliath, by the hair. The light catches on David's leg, arm and flank, on the massive shoulders from which Goliath's head has been severed, and on the head itself, but everything else is dark. Even David's face is almost invisible in the shadows. A wound on Goliath's forehead shows where he has been felled by the stone from David's sling. The overwhelming impression is of some action intensely personal and private - no triumph, no armies, no victory.Caravaggio originally showed Goliath's face fixed in wild-eyed open-mouthed terror, tongue rolling, eyeballs swivelled to the edges of the sockets. In the finished painting the melodrama is banished: the drama is transferred from Goliath to the quietly efficient David, his face almost hidden, intent on his work with his hands in his enemy's hair, kneeling almost casually on the man's torso.
This painting and two others done at about the same time – the first version of Sacrifice of Isaac and the first John the Baptist – were taken to Spain shortly after they were made, where they were frequently copied and made a deep impression on art in that country.
|
[
"M",
"Sacrifice of Isaac",
"John the Baptist",
"Caravaggio",
"Francesco Maria Del Monte",
"David",
"Goliath"
] |
|
14553_T
|
Balbi Holy Conversation
|
In Balbi Holy Conversation, how is the abstract discussed?
|
Balbi Holy Conversation (Italian: Sacra conversazione, also known as Titian Madonna and Child with Sts Catherine and Dominic and a Donor) is an oil painting by the Italian late Renaissance painter Titian, dated to around 1513, and now held at the Fondazione Magnani-Rocca in Traversetolo, near Parma, northern Italy.
The work was originally part of marquess Balbi's collection at Genoa, hence the name. It is a work from the artist's youth, set in an open landscape, with some Giorgione influences but already some personal elements, such as the asymmetrical composition and the full figures.
|
[
"Italy",
"Titian",
"Giorgione",
"Renaissance",
"Genoa",
"Parma",
"Fondazione Magnani-Rocca",
"Traversetolo"
] |
|
14553_NT
|
Balbi Holy Conversation
|
In this artwork, how is the abstract discussed?
|
Balbi Holy Conversation (Italian: Sacra conversazione, also known as Titian Madonna and Child with Sts Catherine and Dominic and a Donor) is an oil painting by the Italian late Renaissance painter Titian, dated to around 1513, and now held at the Fondazione Magnani-Rocca in Traversetolo, near Parma, northern Italy.
The work was originally part of marquess Balbi's collection at Genoa, hence the name. It is a work from the artist's youth, set in an open landscape, with some Giorgione influences but already some personal elements, such as the asymmetrical composition and the full figures.
|
[
"Italy",
"Titian",
"Giorgione",
"Renaissance",
"Genoa",
"Parma",
"Fondazione Magnani-Rocca",
"Traversetolo"
] |
|
14554_T
|
Icarus (sculpture)
|
Focus on Icarus (sculpture) and explore the abstract.
|
Icarus, also known as Icarus III, is an outdoor 1973 sculpture depicting the Greek mythological figure of the same name by Michael Ayrton, installed in Old Change Court in the City of London, in the United Kingdom.
|
[
"Greek mythological figure of the same name",
"London",
"Michael Ayrton",
"Icarus"
] |
|
14554_NT
|
Icarus (sculpture)
|
Focus on this artwork and explore the abstract.
|
Icarus, also known as Icarus III, is an outdoor 1973 sculpture depicting the Greek mythological figure of the same name by Michael Ayrton, installed in Old Change Court in the City of London, in the United Kingdom.
|
[
"Greek mythological figure of the same name",
"London",
"Michael Ayrton",
"Icarus"
] |
|
14555_T
|
Statue of Emmeline Pankhurst
|
Focus on Statue of Emmeline Pankhurst and explain the abstract.
|
The statue of Emmeline Pankhurst (officially called Rise up, Women, and also known as Our Emmeline) is a bronze sculpture in St Peter's Square, Manchester, depicting Emmeline Pankhurst, a British political activist and leader of the suffragette movement in the United Kingdom. Hazel Reeves sculpted the figure and designed the Meeting Circle that surrounds it.
The statue was unveiled on 14 December 2018, the centenary of the 1918 United Kingdom general election, the first election in the United Kingdom in which women over the age of 30 could vote. It is the first statue honouring a woman erected in Manchester since a statue of Queen Victoria was dedicated more than 100 years ago.
|
[
"1918 United Kingdom general election",
"Emmeline Pankhurst",
"Hazel Reeves",
"Manchester",
"Queen Victoria",
"St Peter's Square, Manchester"
] |
|
14555_NT
|
Statue of Emmeline Pankhurst
|
Focus on this artwork and explain the abstract.
|
The statue of Emmeline Pankhurst (officially called Rise up, Women, and also known as Our Emmeline) is a bronze sculpture in St Peter's Square, Manchester, depicting Emmeline Pankhurst, a British political activist and leader of the suffragette movement in the United Kingdom. Hazel Reeves sculpted the figure and designed the Meeting Circle that surrounds it.
The statue was unveiled on 14 December 2018, the centenary of the 1918 United Kingdom general election, the first election in the United Kingdom in which women over the age of 30 could vote. It is the first statue honouring a woman erected in Manchester since a statue of Queen Victoria was dedicated more than 100 years ago.
|
[
"1918 United Kingdom general election",
"Emmeline Pankhurst",
"Hazel Reeves",
"Manchester",
"Queen Victoria",
"St Peter's Square, Manchester"
] |
|
14556_T
|
Statue of Emmeline Pankhurst
|
Explore the The WoManchester Statue Project of this artwork, Statue of Emmeline Pankhurst.
|
The statue was created following a five-year campaign called the WoManchester Statue Project. This was led by Manchester City councillor Andrew Simcock. He had initiated the campaign following a meeting in March 2014 with his friend Anne-Marie Glennon in the Sculpture Hall in Manchester Town Hall. Over coffee she had commented "these (busts) are all men. Where are the women!"Simcock's campaign was also inspired by a craftivism exhibition held at Manchester Town Hall during February and March 2014. Frustrated by the gender imbalance in Manchester's civic statues, Warp & Weft (artist Helen Davies and heritage researcher Jenny White) devised the Stature project, yarnbombing eight male portrait busts with crochet masks depicting local historical women of achievement.Councillor Simcock invited Warp & Weft to restage their exhibition on 30 July 2014, the day Manchester City Council gave its unanimous backing to his resolution that a 'statue of a woman of significance to Manchester' be created.Initially a 20-strong list of women was compiled for consideration for the statue:In June 2015, Simcock cycled from Land's End to John o' Groats in 20 stages, each one devoted to one of the women on the list.A shortlist was created in the autumn of 2015 and Emmeline Pankhurst was decisively selected following a vote by thousands of people across the world.: 60–77
The unveiling was attended by 6,000 people including many who had marched from the Pankhurst Centre near Manchester Royal Infirmary. It was here, as the then home of the Pankhurst family, that the Women's Social and Political Union had been formed.
The event marked exactly 100 years since the first women voted and stood as candidates in a general election. Two marches started from two symbolic locations – the People's History Museum and the Pankhurst Centre – ending up at St Peter's Square, which was attended by 6,000 people including 1,000 local schoolchildren. In July 2018, the Portland stone Pankhurst Meeting Circle was unveiled, designed to encircle the bronze statue.The statue was funded by corporate sponsors Manchester Airport Group and Property Alliance Group and from the sale of a limited number of bronze maquettes of the statue. A significant donation also came from the Government's Centenary Fund (Centenary Cities).: 60–77
|
[
"Emmeline Pankhurst",
"Land's End to John o' Groats",
"Manchester",
"Manchester Airport",
"Manchester Airport Group",
"Manchester City Council",
"Manchester Royal Infirmary",
"Manchester Town Hall",
"Pankhurst Centre",
"People's History Museum",
"Women's Social and Political Union"
] |
|
14556_NT
|
Statue of Emmeline Pankhurst
|
Explore the The WoManchester Statue Project of this artwork.
|
The statue was created following a five-year campaign called the WoManchester Statue Project. This was led by Manchester City councillor Andrew Simcock. He had initiated the campaign following a meeting in March 2014 with his friend Anne-Marie Glennon in the Sculpture Hall in Manchester Town Hall. Over coffee she had commented "these (busts) are all men. Where are the women!"Simcock's campaign was also inspired by a craftivism exhibition held at Manchester Town Hall during February and March 2014. Frustrated by the gender imbalance in Manchester's civic statues, Warp & Weft (artist Helen Davies and heritage researcher Jenny White) devised the Stature project, yarnbombing eight male portrait busts with crochet masks depicting local historical women of achievement.Councillor Simcock invited Warp & Weft to restage their exhibition on 30 July 2014, the day Manchester City Council gave its unanimous backing to his resolution that a 'statue of a woman of significance to Manchester' be created.Initially a 20-strong list of women was compiled for consideration for the statue:In June 2015, Simcock cycled from Land's End to John o' Groats in 20 stages, each one devoted to one of the women on the list.A shortlist was created in the autumn of 2015 and Emmeline Pankhurst was decisively selected following a vote by thousands of people across the world.: 60–77
The unveiling was attended by 6,000 people including many who had marched from the Pankhurst Centre near Manchester Royal Infirmary. It was here, as the then home of the Pankhurst family, that the Women's Social and Political Union had been formed.
The event marked exactly 100 years since the first women voted and stood as candidates in a general election. Two marches started from two symbolic locations – the People's History Museum and the Pankhurst Centre – ending up at St Peter's Square, which was attended by 6,000 people including 1,000 local schoolchildren. In July 2018, the Portland stone Pankhurst Meeting Circle was unveiled, designed to encircle the bronze statue.The statue was funded by corporate sponsors Manchester Airport Group and Property Alliance Group and from the sale of a limited number of bronze maquettes of the statue. A significant donation also came from the Government's Centenary Fund (Centenary Cities).: 60–77
|
[
"Emmeline Pankhurst",
"Land's End to John o' Groats",
"Manchester",
"Manchester Airport",
"Manchester Airport Group",
"Manchester City Council",
"Manchester Royal Infirmary",
"Manchester Town Hall",
"Pankhurst Centre",
"People's History Museum",
"Women's Social and Political Union"
] |
|
14557_T
|
Statue of Emmeline Pankhurst
|
In the context of Statue of Emmeline Pankhurst, discuss the First in the Fight of the The WoManchester Statue Project.
|
In November 2019, a book was published chronicling the history of the WoManchester Statue Campaign and the 20 women on the original long list for consideration. First in the Fight by Helen Antrobus and Andrew Simcock contains essays on all 20 women plus the history of the campaign.
|
[
"Manchester"
] |
|
14557_NT
|
Statue of Emmeline Pankhurst
|
In the context of this artwork, discuss the First in the Fight of the The WoManchester Statue Project.
|
In November 2019, a book was published chronicling the history of the WoManchester Statue Campaign and the 20 women on the original long list for consideration. First in the Fight by Helen Antrobus and Andrew Simcock contains essays on all 20 women plus the history of the campaign.
|
[
"Manchester"
] |
|
14558_T
|
Statue of Emmeline Pankhurst
|
In Statue of Emmeline Pankhurst, how is the Maintenance of the statue of the The WoManchester Statue Project elucidated?
|
The WoManchester Statue campaign specifically set out to raise money covering the maintenance of the statue.
|
[
"Manchester"
] |
|
14558_NT
|
Statue of Emmeline Pankhurst
|
In this artwork, how is the Maintenance of the statue of the The WoManchester Statue Project elucidated?
|
The WoManchester Statue campaign specifically set out to raise money covering the maintenance of the statue.
|
[
"Manchester"
] |
|
14559_T
|
Statue of Emmeline Pankhurst
|
Focus on Statue of Emmeline Pankhurst and analyze the Award.
|
In 2021, the statue won the Public Statues and Sculpture Association (PSSA) Marsh Award for Excellence in Public Sculpture.
|
[
"Marsh Award for Excellence in Public Sculpture",
"Public Statues and Sculpture Association"
] |
|
14559_NT
|
Statue of Emmeline Pankhurst
|
Focus on this artwork and analyze the Award.
|
In 2021, the statue won the Public Statues and Sculpture Association (PSSA) Marsh Award for Excellence in Public Sculpture.
|
[
"Marsh Award for Excellence in Public Sculpture",
"Public Statues and Sculpture Association"
] |
|
14560_T
|
Study for Crouching Nude
|
In Study for Crouching Nude, how is the abstract discussed?
|
Study for Crouching Nude is an oil painting on canvas by the Irish-born artist Francis Bacon. It was painted in the spring of 1952 and shows a perched figure whose form was likely derived from Muybridge's Man Performing a Standing Jump. The painting was first displayed – in place of Study for Portrait (1949) – at Recent Trends in Realist Painting (organized by Robert Melville and David Sylvester) at the Institute of Contemporary Arts, London, from July to August 1952. It is held at the Detroit Institute of Arts.
|
[
"Detroit",
"Muybridge",
"David Sylvester",
"Detroit Institute of Arts",
"Robert Melville",
"Francis Bacon",
"Institute of Contemporary Arts"
] |
|
14560_NT
|
Study for Crouching Nude
|
In this artwork, how is the abstract discussed?
|
Study for Crouching Nude is an oil painting on canvas by the Irish-born artist Francis Bacon. It was painted in the spring of 1952 and shows a perched figure whose form was likely derived from Muybridge's Man Performing a Standing Jump. The painting was first displayed – in place of Study for Portrait (1949) – at Recent Trends in Realist Painting (organized by Robert Melville and David Sylvester) at the Institute of Contemporary Arts, London, from July to August 1952. It is held at the Detroit Institute of Arts.
|
[
"Detroit",
"Muybridge",
"David Sylvester",
"Detroit Institute of Arts",
"Robert Melville",
"Francis Bacon",
"Institute of Contemporary Arts"
] |
|
14561_T
|
SAARC Fountain
|
Focus on SAARC Fountain and explore the abstract.
|
SAARC Fountain is a fountain in Dhaka, Bangladesh. It is situated at Kawran Bazar, at the intersection of Panthapath, Kazi Nazrul Islam Avenue, and Sonargaon Road, and is adjacent to the Pan Pacific Sonargaon hotel.The structure was designed by Nitun Kundu, a Bangladeshi artist and sculptor. While the fountain is made of steel, the reservoir is made of reinforced cement concrete.
The structure was built shortly before the inaugural SAARC summit held in Dhaka in 1985.
|
[
"Dhaka",
"SAARC",
"Nitun Kundu",
"Bangladesh",
"Panthapath",
"Kawran Bazar",
"Pan Pacific Sonargaon"
] |
|
14561_NT
|
SAARC Fountain
|
Focus on this artwork and explore the abstract.
|
SAARC Fountain is a fountain in Dhaka, Bangladesh. It is situated at Kawran Bazar, at the intersection of Panthapath, Kazi Nazrul Islam Avenue, and Sonargaon Road, and is adjacent to the Pan Pacific Sonargaon hotel.The structure was designed by Nitun Kundu, a Bangladeshi artist and sculptor. While the fountain is made of steel, the reservoir is made of reinforced cement concrete.
The structure was built shortly before the inaugural SAARC summit held in Dhaka in 1985.
|
[
"Dhaka",
"SAARC",
"Nitun Kundu",
"Bangladesh",
"Panthapath",
"Kawran Bazar",
"Pan Pacific Sonargaon"
] |
|
14562_T
|
Fish Magic
|
Focus on Fish Magic and explain the Analysis.
|
Fish Magic is seen as an intermingling of aquatic, celestial, and earthly entities. The painting is covered by a delicate surface of black paint, under which lies a dense layer of multicolored pigments. The colorful figures were then scratched and scrawled out by Klee on the dark background. A square of muslin was glued to the painting in the center, giving the painting the sense of a collage. The painting's dark palette and the muslin's fragility create a mysterious and inky atmosphere.
Ker writes that "Fish Magic is set squarely within the tradition of German Romanticism, with its blend of fantasy and natural empiricism, of poetry and pragmatics." She points to the technique used to draw out the various fish, flora, human beings, and clock tower as "a sophisticated version of the games children play with wax crayons."According to Ann Temkin, Fish Magic is a masterpiece in which the intellectual and imaginative forces of Klee's artistic gifts are reconciled, producing a "sense of magic". Specifically, Temkin points to the thin diagonal line extending from the middle right of the canvas to the top of the clock tower, writing that the "long painted line from the side seems ready to pull the [square of muslin] off to reveal something underneath."
|
[
"Ann Temkin",
"muslin",
"German Romanticism"
] |
|
14562_NT
|
Fish Magic
|
Focus on this artwork and explain the Analysis.
|
Fish Magic is seen as an intermingling of aquatic, celestial, and earthly entities. The painting is covered by a delicate surface of black paint, under which lies a dense layer of multicolored pigments. The colorful figures were then scratched and scrawled out by Klee on the dark background. A square of muslin was glued to the painting in the center, giving the painting the sense of a collage. The painting's dark palette and the muslin's fragility create a mysterious and inky atmosphere.
Ker writes that "Fish Magic is set squarely within the tradition of German Romanticism, with its blend of fantasy and natural empiricism, of poetry and pragmatics." She points to the technique used to draw out the various fish, flora, human beings, and clock tower as "a sophisticated version of the games children play with wax crayons."According to Ann Temkin, Fish Magic is a masterpiece in which the intellectual and imaginative forces of Klee's artistic gifts are reconciled, producing a "sense of magic". Specifically, Temkin points to the thin diagonal line extending from the middle right of the canvas to the top of the clock tower, writing that the "long painted line from the side seems ready to pull the [square of muslin] off to reveal something underneath."
|
[
"Ann Temkin",
"muslin",
"German Romanticism"
] |
|
14563_T
|
Theseus saving Hippodamia
|
Explore the abstract of this artwork, Theseus saving Hippodamia.
|
The sculptural complex "Theseus saving Hippodamia" is located in Viktoria Square in Athens and is a sculptural creation of great artistic value. It is considered one of the most important outdoor sculpture works of the 20th century in Athens.
|
[
"Hippodamia",
"Theseus",
"outdoor sculpture",
"Athens",
"Viktoria Square"
] |
|
14563_NT
|
Theseus saving Hippodamia
|
Explore the abstract of this artwork.
|
The sculptural complex "Theseus saving Hippodamia" is located in Viktoria Square in Athens and is a sculptural creation of great artistic value. It is considered one of the most important outdoor sculpture works of the 20th century in Athens.
|
[
"Hippodamia",
"Theseus",
"outdoor sculpture",
"Athens",
"Viktoria Square"
] |
|
14564_T
|
Theseus saving Hippodamia
|
Focus on Theseus saving Hippodamia and discuss the History.
|
The sculpture was created in Berlin in 1906 by the German sculptor Johannes Pfuhl (1846–1914) and was cast in 1908 from galvanized bronze in a German factory. The entire sculptural structure stands on an octagonal marble base, with the engraved inscription "ΘΗΣΕΥΣ ΣΩΖΩΝ ΤΗΝ ΙΠΠΟΔΑΜΕΙΑΝ. ΕΡΓΟΝ Ι. ΠΦΟΥΛ" (Theseus saving Hippodamia. Work of J. Pfuhl). The sculpture depicts the hero Theseus who, according to Greek myth, saved the beautiful Hippodamia, the wife of King Pirithous of the Lapiths, from the drunken centaur Eurytion in the Centauromachy.
This bronze sculpture was donated to the Municipality of Athens in 1927 and was originally placed at Syntagma Square in Athens, from where it was moved in 1937 to its present location in Viktoria Square.
|
[
"Hippodamia",
"Berlin",
"Syntagma Square",
"Johannes Pfuhl",
"Theseus",
"Lapiths",
"Centauromachy",
"Athens",
"Viktoria Square",
"centaur",
"Centaur",
"Pirithous"
] |
|
14564_NT
|
Theseus saving Hippodamia
|
Focus on this artwork and discuss the History.
|
The sculpture was created in Berlin in 1906 by the German sculptor Johannes Pfuhl (1846–1914) and was cast in 1908 from galvanized bronze in a German factory. The entire sculptural structure stands on an octagonal marble base, with the engraved inscription "ΘΗΣΕΥΣ ΣΩΖΩΝ ΤΗΝ ΙΠΠΟΔΑΜΕΙΑΝ. ΕΡΓΟΝ Ι. ΠΦΟΥΛ" (Theseus saving Hippodamia. Work of J. Pfuhl). The sculpture depicts the hero Theseus who, according to Greek myth, saved the beautiful Hippodamia, the wife of King Pirithous of the Lapiths, from the drunken centaur Eurytion in the Centauromachy.
This bronze sculpture was donated to the Municipality of Athens in 1927 and was originally placed at Syntagma Square in Athens, from where it was moved in 1937 to its present location in Viktoria Square.
|
[
"Hippodamia",
"Berlin",
"Syntagma Square",
"Johannes Pfuhl",
"Theseus",
"Lapiths",
"Centauromachy",
"Athens",
"Viktoria Square",
"centaur",
"Centaur",
"Pirithous"
] |
|
14565_T
|
Crucifixion (Perugino and Signorelli)
|
How does Crucifixion (Perugino and Signorelli) elucidate its abstract?
|
Crucifixion is a painting of the Crucifixion of Christ, usually attributed to Perugino, with or without assistance from Luca Signorelli. The work's dating and attribution are both uncertain - Venturi and Schmarsow attribute it to a pupil of Perugino, whilst other art historians attribute it to Perugino alone or with assistance from Signorelli. The deep chiaroscuro is comparable to Signorelli's style elsewhere or to the early style of Perugino whilst he was still heavily influenced by Verrochio. The landscape background is typical of Perugino, with mountains and hills in deep perspective.
It is usually dated to between 1470 and 1478 or to between 1480 and 1490 - if it is the latter, it was one of three paintings produced for the church of the Jesuati monastery of San Giusto alle mura in Florence - the other two are Pietà and Agony in the Garden. To the left of the cross stand saint Jerome (inspiration for the Jesuati) and Francis of Assisi. To its right are Mary Magdalene touching Christ's feet, Blessed Giovanni Colombini (founder of the Jesuati) and John the Baptist (patron saint of Florence). John points to Christ, whilst Jerome has thrown down his cardinal's cap at the foot of the cross, symbolising his rejection of earthly honours
Giorgio Vasari saw all three paintings in their original positions over the church's side altars, but after the church was destroyed in the 1529 Siege of Florence all three paintings were moved to the order's new monastery of San Giovanni Battista della Calza near the city's Porta Romana. After that monastery was suppressed the Crucifixion passed through several different hands before being bought by its current owner the Uffizi in 1904 for 30,000 lira.
|
[
"Mary Magdalene",
"Giorgio Vasari",
"Uffizi",
"John the Baptist",
"Luca Signorelli",
"Verrochio",
"chiaroscuro",
"Jesuati",
"Giovanni Colombini",
"Perugino",
"Pietà",
"saint Jerome",
"Siege of Florence",
"Agony in the Garden",
"Crucifixion of Christ",
"Francis of Assisi"
] |
|
14565_NT
|
Crucifixion (Perugino and Signorelli)
|
How does this artwork elucidate its abstract?
|
Crucifixion is a painting of the Crucifixion of Christ, usually attributed to Perugino, with or without assistance from Luca Signorelli. The work's dating and attribution are both uncertain - Venturi and Schmarsow attribute it to a pupil of Perugino, whilst other art historians attribute it to Perugino alone or with assistance from Signorelli. The deep chiaroscuro is comparable to Signorelli's style elsewhere or to the early style of Perugino whilst he was still heavily influenced by Verrochio. The landscape background is typical of Perugino, with mountains and hills in deep perspective.
It is usually dated to between 1470 and 1478 or to between 1480 and 1490 - if it is the latter, it was one of three paintings produced for the church of the Jesuati monastery of San Giusto alle mura in Florence - the other two are Pietà and Agony in the Garden. To the left of the cross stand saint Jerome (inspiration for the Jesuati) and Francis of Assisi. To its right are Mary Magdalene touching Christ's feet, Blessed Giovanni Colombini (founder of the Jesuati) and John the Baptist (patron saint of Florence). John points to Christ, whilst Jerome has thrown down his cardinal's cap at the foot of the cross, symbolising his rejection of earthly honours
Giorgio Vasari saw all three paintings in their original positions over the church's side altars, but after the church was destroyed in the 1529 Siege of Florence all three paintings were moved to the order's new monastery of San Giovanni Battista della Calza near the city's Porta Romana. After that monastery was suppressed the Crucifixion passed through several different hands before being bought by its current owner the Uffizi in 1904 for 30,000 lira.
|
[
"Mary Magdalene",
"Giorgio Vasari",
"Uffizi",
"John the Baptist",
"Luca Signorelli",
"Verrochio",
"chiaroscuro",
"Jesuati",
"Giovanni Colombini",
"Perugino",
"Pietà",
"saint Jerome",
"Siege of Florence",
"Agony in the Garden",
"Crucifixion of Christ",
"Francis of Assisi"
] |
|
14566_T
|
The Discovery of America by Christopher Columbus
|
Focus on The Discovery of America by Christopher Columbus and analyze the abstract.
|
The Discovery of America by Christopher Columbus is a painting by artist Salvador Dalí, begun in 1958 and finished in 1959. It is over 14 feet tall and over 9 feet wide (410 x 284 cm; 161.4 x 111.8 in), one in a series of large paintings Dalí did during this era.
|
[
"Salvador Dalí",
"Christopher Columbus"
] |
|
14566_NT
|
The Discovery of America by Christopher Columbus
|
Focus on this artwork and analyze the abstract.
|
The Discovery of America by Christopher Columbus is a painting by artist Salvador Dalí, begun in 1958 and finished in 1959. It is over 14 feet tall and over 9 feet wide (410 x 284 cm; 161.4 x 111.8 in), one in a series of large paintings Dalí did during this era.
|
[
"Salvador Dalí",
"Christopher Columbus"
] |
|
14567_T
|
The Discovery of America by Christopher Columbus
|
In The Discovery of America by Christopher Columbus, how is the Description discussed?
|
This work is an ambitious homage to Dalí's Spain. It combines Spanish history, religion, art, and myth into a unified whole. It was commissioned for Huntington Hartford for the opening of his Museum Gallery of Modern Art in New York's 2 Columbus Circle. At this time, some Catalan historians were claiming that Columbus was actually from Catalonia, not Italy, making the discovery all the more relevant for Dalí, who was also from this region of Spain.
The eponymous painting deals with Christopher Columbus's first landing in the New World. It depicts the event metaphorically rather than aiming for historical accuracy. Columbus is depicted not as a middle-aged mariner, but as an adolescent boy in a classical robe to symbolize America as a young continent with its best years ahead of it.
Dalí, in a period of intense interest in Roman Catholic mysticism at the time, symbolically portrayed Columbus bringing Christianity and the true church to a new world as a great and holy accomplishment.
Gala Dalí, the painter's wife, whom he often depicted as the Virgin Mary, poses for the role of The Blessed Virgin (or according to some commentators Saint Helena) on the banner in the right hand of Columbus. She appears as a Saint, suggesting that she is Dalí's muse and that she is responsible for his own, "Discovery of America".
Dalí painted himself in the background as a kneeling monk holding a crucifix. Dalí's belief that Columbus was Catalan is represented by the incorporation of the old Catalan flag.
The painting contains numerous references to the works of Diego Velázquez (specifically The Surrender of Breda), a Spanish painter who had died 300 years earlier, and who influenced both Dalí's painting and his moustache. Dalí borrows the spears from that painting and places them on the right hand side of his work. Within these spears, Dalí has painted the image of a crucified Christ, which was based on a drawing by the Spanish mystic, St. John.
In the bottom center of the painting, on the beach a few steps in front of Columbus, is the bumpy and pockmarked brown sphere of a sea urchin with a curious halo-like ring around it.
|
[
"New World",
"2 Columbus Circle",
"Gala Dalí",
"Roman Catholic",
"eponymous",
"Saint Helena",
"Christianity",
"Spanish",
"New York",
"Huntington Hartford",
"The Surrender of Breda",
"Christopher Columbus",
"Spain",
"Diego Velázquez",
"sea urchin",
"Virgin Mary",
"moustache",
"Catalan",
"crucifix"
] |
|
14567_NT
|
The Discovery of America by Christopher Columbus
|
In this artwork, how is the Description discussed?
|
This work is an ambitious homage to Dalí's Spain. It combines Spanish history, religion, art, and myth into a unified whole. It was commissioned for Huntington Hartford for the opening of his Museum Gallery of Modern Art in New York's 2 Columbus Circle. At this time, some Catalan historians were claiming that Columbus was actually from Catalonia, not Italy, making the discovery all the more relevant for Dalí, who was also from this region of Spain.
The eponymous painting deals with Christopher Columbus's first landing in the New World. It depicts the event metaphorically rather than aiming for historical accuracy. Columbus is depicted not as a middle-aged mariner, but as an adolescent boy in a classical robe to symbolize America as a young continent with its best years ahead of it.
Dalí, in a period of intense interest in Roman Catholic mysticism at the time, symbolically portrayed Columbus bringing Christianity and the true church to a new world as a great and holy accomplishment.
Gala Dalí, the painter's wife, whom he often depicted as the Virgin Mary, poses for the role of The Blessed Virgin (or according to some commentators Saint Helena) on the banner in the right hand of Columbus. She appears as a Saint, suggesting that she is Dalí's muse and that she is responsible for his own, "Discovery of America".
Dalí painted himself in the background as a kneeling monk holding a crucifix. Dalí's belief that Columbus was Catalan is represented by the incorporation of the old Catalan flag.
The painting contains numerous references to the works of Diego Velázquez (specifically The Surrender of Breda), a Spanish painter who had died 300 years earlier, and who influenced both Dalí's painting and his moustache. Dalí borrows the spears from that painting and places them on the right hand side of his work. Within these spears, Dalí has painted the image of a crucified Christ, which was based on a drawing by the Spanish mystic, St. John.
In the bottom center of the painting, on the beach a few steps in front of Columbus, is the bumpy and pockmarked brown sphere of a sea urchin with a curious halo-like ring around it.
|
[
"New World",
"2 Columbus Circle",
"Gala Dalí",
"Roman Catholic",
"eponymous",
"Saint Helena",
"Christianity",
"Spanish",
"New York",
"Huntington Hartford",
"The Surrender of Breda",
"Christopher Columbus",
"Spain",
"Diego Velázquez",
"sea urchin",
"Virgin Mary",
"moustache",
"Catalan",
"crucifix"
] |
|
14568_T
|
The Discovery of America by Christopher Columbus
|
Focus on The Discovery of America by Christopher Columbus and explore the Current status.
|
The painting now hangs in the Salvador Dalí Museum in St. Petersburg, Florida which provides a permanent home for the collection of A. Reynolds Morse & Eleanor R. Morse.
|
[
"A. Reynolds Morse & Eleanor R. Morse",
"Salvador Dalí",
"Salvador Dalí Museum",
"St. Petersburg, Florida"
] |
|
14568_NT
|
The Discovery of America by Christopher Columbus
|
Focus on this artwork and explore the Current status.
|
The painting now hangs in the Salvador Dalí Museum in St. Petersburg, Florida which provides a permanent home for the collection of A. Reynolds Morse & Eleanor R. Morse.
|
[
"A. Reynolds Morse & Eleanor R. Morse",
"Salvador Dalí",
"Salvador Dalí Museum",
"St. Petersburg, Florida"
] |
|
14569_T
|
Diminish and Ascend
|
Focus on Diminish and Ascend and explain the abstract.
|
Diminish And Ascend is a welded aluminum stairway sculpture by David McCracken. It is permanently installed in the Christchurch Botanic Gardens in New Zealand. The sculpture is an optical illusion.
|
[
"New Zealand",
"David McCracken",
"Christchurch Botanic Gardens",
"optical illusion",
"Christchurch"
] |
|
14569_NT
|
Diminish and Ascend
|
Focus on this artwork and explain the abstract.
|
Diminish And Ascend is a welded aluminum stairway sculpture by David McCracken. It is permanently installed in the Christchurch Botanic Gardens in New Zealand. The sculpture is an optical illusion.
|
[
"New Zealand",
"David McCracken",
"Christchurch Botanic Gardens",
"optical illusion",
"Christchurch"
] |
|
14570_T
|
Diminish and Ascend
|
Explore the History of this artwork, Diminish and Ascend.
|
In 2013, the sculpture was first displayed in Bondi Beach, Australia, at the Sculpture by the Sea event. It was then moved to Waiheke Island in New Zealand. In 2016 it was moved to the Christchurch Botanic Gardens in New Zealand. The cost of the sculpture was NZ$192,000. The cost of the sculpture was funded with a grant from the Friends of the Botanic Gardens, and sponsorship from Christchurch City Council Art in Public Spaces Fund.
The NZ$700 per month cost of maintenance for the sculpture (mainly to remove bird droppings) is covered by the Christchurch City Council.
|
[
"Waiheke Island",
"New Zealand",
"Australia",
"Bondi Beach",
"Christchurch City Council",
"Christchurch Botanic Gardens",
"Christchurch",
"Sculpture by the Sea"
] |
|
14570_NT
|
Diminish and Ascend
|
Explore the History of this artwork.
|
In 2013, the sculpture was first displayed in Bondi Beach, Australia, at the Sculpture by the Sea event. It was then moved to Waiheke Island in New Zealand. In 2016 it was moved to the Christchurch Botanic Gardens in New Zealand. The cost of the sculpture was NZ$192,000. The cost of the sculpture was funded with a grant from the Friends of the Botanic Gardens, and sponsorship from Christchurch City Council Art in Public Spaces Fund.
The NZ$700 per month cost of maintenance for the sculpture (mainly to remove bird droppings) is covered by the Christchurch City Council.
|
[
"Waiheke Island",
"New Zealand",
"Australia",
"Bondi Beach",
"Christchurch City Council",
"Christchurch Botanic Gardens",
"Christchurch",
"Sculpture by the Sea"
] |
|
14571_T
|
Diminish and Ascend
|
Focus on Diminish and Ascend and discuss the Design.
|
New Zealand artist David McCracken designed the sculpture to be constructed from welded aluminum. The dimensions of the structure are 12 metres (39 ft) x 1.45 metres (4.8 ft) x 3.8 metres (12 ft). It is installed in Christchurch Botanic Gardens in Kiosk Lake. It is a stairway sculpture which is meant to be an optical illusion. The illusion is achieved due to wider steps at the bottom of the sculpture which gradually decrease in size with each step until they come to a vanishing point at the top. The steps at the top are just a few centimeters wide. When viewed from certain angles it appears to be an endless stairway.
|
[
"vanishing point",
"New Zealand",
"David McCracken",
"Christchurch Botanic Gardens",
"optical illusion",
"Christchurch"
] |
|
14571_NT
|
Diminish and Ascend
|
Focus on this artwork and discuss the Design.
|
New Zealand artist David McCracken designed the sculpture to be constructed from welded aluminum. The dimensions of the structure are 12 metres (39 ft) x 1.45 metres (4.8 ft) x 3.8 metres (12 ft). It is installed in Christchurch Botanic Gardens in Kiosk Lake. It is a stairway sculpture which is meant to be an optical illusion. The illusion is achieved due to wider steps at the bottom of the sculpture which gradually decrease in size with each step until they come to a vanishing point at the top. The steps at the top are just a few centimeters wide. When viewed from certain angles it appears to be an endless stairway.
|
[
"vanishing point",
"New Zealand",
"David McCracken",
"Christchurch Botanic Gardens",
"optical illusion",
"Christchurch"
] |
|
14572_T
|
Diminish and Ascend
|
How does Diminish and Ascend elucidate its Reception?
|
Bored Panda put the sculpture at number 12 on their list of "42 of the Most Amazing Sculptures in the World". The Huffington Post called it an "M. C. Escher drawing in real life". Christchurch City Council member Phil Clearwater has said the sculpture is a "peaceful, reflective artwork". Pinar Noota from My Modern Met has referred to it as a "stairway to heaven". In 2019 Architectural Digest included it their 38 most fascinating sculptures.The sculpture killed two birds after being installed at the Christchurch Botanical Gardens. The animals flew into the end of the sculpture, impaling themselves. Councillor Tim Scandrett called the artwork "a poisoned chalice", citing the expense of maintenance. Community principal advisor, Brent Smith, stated that the cost of maintenance of the sculpture took funds away from other projects.
|
[
"Architectural Digest",
"Christchurch City Council",
"Huffington Post",
"Christchurch",
"M. C. Escher",
"Bored Panda"
] |
|
14572_NT
|
Diminish and Ascend
|
How does this artwork elucidate its Reception?
|
Bored Panda put the sculpture at number 12 on their list of "42 of the Most Amazing Sculptures in the World". The Huffington Post called it an "M. C. Escher drawing in real life". Christchurch City Council member Phil Clearwater has said the sculpture is a "peaceful, reflective artwork". Pinar Noota from My Modern Met has referred to it as a "stairway to heaven". In 2019 Architectural Digest included it their 38 most fascinating sculptures.The sculpture killed two birds after being installed at the Christchurch Botanical Gardens. The animals flew into the end of the sculpture, impaling themselves. Councillor Tim Scandrett called the artwork "a poisoned chalice", citing the expense of maintenance. Community principal advisor, Brent Smith, stated that the cost of maintenance of the sculpture took funds away from other projects.
|
[
"Architectural Digest",
"Christchurch City Council",
"Huffington Post",
"Christchurch",
"M. C. Escher",
"Bored Panda"
] |
|
14573_T
|
Plum Brandy
|
Focus on Plum Brandy and analyze the abstract.
|
Plum Brandy, also known as The Plum (French: La Prune), is an oil painting by Édouard Manet. It is undated but thought to have been painted about 1877.
The painting measures 73.6 centimetres (29.0 in) by 50.2 centimetres (19.8 in). It depicts a woman seated alone at a table in a cafe, in a lethargic pose similar to that of the woman in Degas' L'Absinthe. The woman may be a prostitute, but unlike the subject of Degas' work she appears more dreamy than depressed. She holds an unlit cigarette and her plum soaked in brandy appears untouched.Plum Brandy is exhibited in the National Gallery of Art, Washington, D.C.
|
[
"L'Absinthe",
"National Gallery of Art",
"Absinthe",
"Édouard Manet"
] |
|
14573_NT
|
Plum Brandy
|
Focus on this artwork and analyze the abstract.
|
Plum Brandy, also known as The Plum (French: La Prune), is an oil painting by Édouard Manet. It is undated but thought to have been painted about 1877.
The painting measures 73.6 centimetres (29.0 in) by 50.2 centimetres (19.8 in). It depicts a woman seated alone at a table in a cafe, in a lethargic pose similar to that of the woman in Degas' L'Absinthe. The woman may be a prostitute, but unlike the subject of Degas' work she appears more dreamy than depressed. She holds an unlit cigarette and her plum soaked in brandy appears untouched.Plum Brandy is exhibited in the National Gallery of Art, Washington, D.C.
|
[
"L'Absinthe",
"National Gallery of Art",
"Absinthe",
"Édouard Manet"
] |
|
14574_T
|
Plum Brandy
|
In Plum Brandy, how is the Analysis discussed?
|
The painting is a study in loneliness, depicting a quiet, almost melancholy, scene of a young working girl seated in a café. The subject is viewed from nearby, perhaps by another seated customer. She may be a prostitute waiting for a client, or possibly a shop worker hoping for some conversation. On the table is a plum soaked in brandy, a speciality of Parisian cafés at the time (originally painted as a glass of beer), which gives the painting its title. She leans forward, with her cheek resting on her right hand, and her right elbow on the marble tabletop, looking into the distance with a blank pensive look. Her left hand rests on the table holding an unlit cigarette. She wears a pink dress with embroidered cuffs, a white jabot, and a black hat trimmed with silk and lace. Her head is framed by the decorative grille behind her, above the red upholstered banquette on which she sits.
Manet may have based the painting on observations at the Café de la Nouvelle Athènes on the Place Pigalle in Paris. However, the background - the decorative grille and its gold frame - does not match other depictions of the café, and suggests the painting was made in Manet’s studio, where he is known to have had a café-style marble table on iron legs. Manet uses a simple style: for example, the plum in its glass and the fingers of the woman's left hand are created with just a few dabs of colour.
The model is the actress Ellen Andrée, who was also depicted with Marcellin Desboutin in the similar 1876 painting L'Absinthe (or In a Café) by Edgar Degas. The similarities between the two paintings suggest that Manet's The Plum may be a response to Degas's L'Absinthe. Degas's painting shows a bleak scene of despair blunted by absinthe; Manet's is a more hopeful scene, where there is the chance that the sitter's loneliness may be broken. Andrée also appears in Pierre-Auguste Renoir's 1881 painting Luncheon of the Boating Party. Edward Hopper's 1927 painting Automat has a similar theme.
|
[
"L'Absinthe",
"Edgar Degas",
"Absinthe",
"Edward Hopper",
"Café de la Nouvelle Athènes",
"Automat",
"Luncheon of the Boating Party",
"banquette",
"Pierre-Auguste Renoir",
"Marcellin Desboutin",
"absinthe",
"Ellen Andrée",
"Place Pigalle"
] |
|
14574_NT
|
Plum Brandy
|
In this artwork, how is the Analysis discussed?
|
The painting is a study in loneliness, depicting a quiet, almost melancholy, scene of a young working girl seated in a café. The subject is viewed from nearby, perhaps by another seated customer. She may be a prostitute waiting for a client, or possibly a shop worker hoping for some conversation. On the table is a plum soaked in brandy, a speciality of Parisian cafés at the time (originally painted as a glass of beer), which gives the painting its title. She leans forward, with her cheek resting on her right hand, and her right elbow on the marble tabletop, looking into the distance with a blank pensive look. Her left hand rests on the table holding an unlit cigarette. She wears a pink dress with embroidered cuffs, a white jabot, and a black hat trimmed with silk and lace. Her head is framed by the decorative grille behind her, above the red upholstered banquette on which she sits.
Manet may have based the painting on observations at the Café de la Nouvelle Athènes on the Place Pigalle in Paris. However, the background - the decorative grille and its gold frame - does not match other depictions of the café, and suggests the painting was made in Manet’s studio, where he is known to have had a café-style marble table on iron legs. Manet uses a simple style: for example, the plum in its glass and the fingers of the woman's left hand are created with just a few dabs of colour.
The model is the actress Ellen Andrée, who was also depicted with Marcellin Desboutin in the similar 1876 painting L'Absinthe (or In a Café) by Edgar Degas. The similarities between the two paintings suggest that Manet's The Plum may be a response to Degas's L'Absinthe. Degas's painting shows a bleak scene of despair blunted by absinthe; Manet's is a more hopeful scene, where there is the chance that the sitter's loneliness may be broken. Andrée also appears in Pierre-Auguste Renoir's 1881 painting Luncheon of the Boating Party. Edward Hopper's 1927 painting Automat has a similar theme.
|
[
"L'Absinthe",
"Edgar Degas",
"Absinthe",
"Edward Hopper",
"Café de la Nouvelle Athènes",
"Automat",
"Luncheon of the Boating Party",
"banquette",
"Pierre-Auguste Renoir",
"Marcellin Desboutin",
"absinthe",
"Ellen Andrée",
"Place Pigalle"
] |
|
14575_T
|
Plum Brandy
|
Focus on Plum Brandy and explore the History.
|
Manet sold the painting to collector Charles Deudon in about 1881. It was inherited by Deudon's wife on his death in 1914 and sold before 1919. It came into the collection of Arthur Sachs (1880–1975), the son of Samuel Sachs and a partner in Goldman Sachs for many years. It was then sold by M. Knoedler & Co to Paul Mellon in 1961, who donated it to the National Gallery of Art in Washington DC in 1971.
|
[
"Knoedler",
"National Gallery of Art",
"Paul Mellon",
"M. Knoedler & Co",
"Goldman Sachs",
"Samuel Sachs"
] |
|
14575_NT
|
Plum Brandy
|
Focus on this artwork and explore the History.
|
Manet sold the painting to collector Charles Deudon in about 1881. It was inherited by Deudon's wife on his death in 1914 and sold before 1919. It came into the collection of Arthur Sachs (1880–1975), the son of Samuel Sachs and a partner in Goldman Sachs for many years. It was then sold by M. Knoedler & Co to Paul Mellon in 1961, who donated it to the National Gallery of Art in Washington DC in 1971.
|
[
"Knoedler",
"National Gallery of Art",
"Paul Mellon",
"M. Knoedler & Co",
"Goldman Sachs",
"Samuel Sachs"
] |
|
14576_T
|
Crucifixion (Modena)
|
Focus on Crucifixion (Modena) and explain the abstract.
|
Crucifixion is a 1375 panel painting by Italian artist Barnaba da Modena, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts the crucifixion of Jesus in tempera and gold.
|
[
"Jesus",
"Indianapolis",
"panel",
"Barnaba da Modena",
"crucifixion of Jesus",
"Indianapolis Museum of Art",
"Italian",
"Indiana",
"Modena",
"gold"
] |
|
14576_NT
|
Crucifixion (Modena)
|
Focus on this artwork and explain the abstract.
|
Crucifixion is a 1375 panel painting by Italian artist Barnaba da Modena, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts the crucifixion of Jesus in tempera and gold.
|
[
"Jesus",
"Indianapolis",
"panel",
"Barnaba da Modena",
"crucifixion of Jesus",
"Indianapolis Museum of Art",
"Italian",
"Indiana",
"Modena",
"gold"
] |
|
14577_T
|
Crucifixion (Modena)
|
Explore the Description of this artwork, Crucifixion (Modena).
|
There is a distinct division in this image between the celestial upper half and the heavy, earthbound lower half. The upper section is serene, with a gold background enveloping Jesus, the good thief (whose soul is being borne up to Heaven), and the bad thief (whose soul is being torn out by demons). The bottom part of the panel, however, is crammed full of figures and narratives. A swooning Mary is supported by attendants, including John. Mary Magdalene and a boy to quench Jesus' thirst with vinegar stand at the foot of the cross. To the right, soldiers gamble for the clothes of the condemned. Just above them rides Pontius Pilate. His banner is emblazoned with S.P.Q.R., standing for Rome, while above Jesus' head is the mocking I.N.R.I. This clash of old and new in their respective standards reiterates the divided nature of the painting.Although Modena used a conservative style, his figures are highly expressive. His ability to create such lively, emotive figures made him the foremost painter in late fourteenth century Genoa.
|
[
"Mary Magdalene",
"S.P.Q.R.",
"Genoa",
"Jesus",
"panel",
"Mary",
"good thief",
"Pontius Pilate",
"I.N.R.I.",
"John",
"Modena",
"gold",
"bad thief"
] |
|
14577_NT
|
Crucifixion (Modena)
|
Explore the Description of this artwork.
|
There is a distinct division in this image between the celestial upper half and the heavy, earthbound lower half. The upper section is serene, with a gold background enveloping Jesus, the good thief (whose soul is being borne up to Heaven), and the bad thief (whose soul is being torn out by demons). The bottom part of the panel, however, is crammed full of figures and narratives. A swooning Mary is supported by attendants, including John. Mary Magdalene and a boy to quench Jesus' thirst with vinegar stand at the foot of the cross. To the right, soldiers gamble for the clothes of the condemned. Just above them rides Pontius Pilate. His banner is emblazoned with S.P.Q.R., standing for Rome, while above Jesus' head is the mocking I.N.R.I. This clash of old and new in their respective standards reiterates the divided nature of the painting.Although Modena used a conservative style, his figures are highly expressive. His ability to create such lively, emotive figures made him the foremost painter in late fourteenth century Genoa.
|
[
"Mary Magdalene",
"S.P.Q.R.",
"Genoa",
"Jesus",
"panel",
"Mary",
"good thief",
"Pontius Pilate",
"I.N.R.I.",
"John",
"Modena",
"gold",
"bad thief"
] |
|
14578_T
|
Crucifixion (Modena)
|
In the context of Crucifixion (Modena), discuss the Acquisition of the Description.
|
The IMA acquired Crucifixion in 1924, courtesy of the James E. Roberts Fund. It has the accession number 24.5.
|
[] |
|
14578_NT
|
Crucifixion (Modena)
|
In the context of this artwork, discuss the Acquisition of the Description.
|
The IMA acquired Crucifixion in 1924, courtesy of the James E. Roberts Fund. It has the accession number 24.5.
|
[] |
|
14579_T
|
Morning on the White River
|
How does Morning on the White River elucidate its abstract?
|
Morning on the White River is a 2013 painted landscape diptych by Mason Archie of the White River in Indianapolis, Indiana. The paintings are located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and are part of the Eskenazi Health Art Collection.
|
[
"landscape",
"Eskenazi Health Art Collection",
"Indianapolis",
"Mason Archie",
"White River",
"campus",
"Indianapolis, Indiana",
"Indiana",
"Eskenazi Health"
] |
|
14579_NT
|
Morning on the White River
|
How does this artwork elucidate its abstract?
|
Morning on the White River is a 2013 painted landscape diptych by Mason Archie of the White River in Indianapolis, Indiana. The paintings are located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and are part of the Eskenazi Health Art Collection.
|
[
"landscape",
"Eskenazi Health Art Collection",
"Indianapolis",
"Mason Archie",
"White River",
"campus",
"Indianapolis, Indiana",
"Indiana",
"Eskenazi Health"
] |
|
14580_T
|
Morning on the White River
|
Focus on Morning on the White River and analyze the Description.
|
Morning on the White River is a 2013 oil on linen canvas landscape diptych by artist Mason Archie, which depicts a view of the White River from a location approximately ¼ mile from Sidney & Lois Eskenazi Hospital. Archie selected this specific location along the river to paint when he encountered human traces left behind there. Makeshift fishing props and a worn path serve as evidence of the frequency with which local residents visit, and these details can be seen within the paintings: Each of the two paintings measure 38.25" x 61.5", framed.
|
[
"landscape",
"Mason Archie",
"White River",
"Sidney & Lois Eskenazi Hospital"
] |
|
14580_NT
|
Morning on the White River
|
Focus on this artwork and analyze the Description.
|
Morning on the White River is a 2013 oil on linen canvas landscape diptych by artist Mason Archie, which depicts a view of the White River from a location approximately ¼ mile from Sidney & Lois Eskenazi Hospital. Archie selected this specific location along the river to paint when he encountered human traces left behind there. Makeshift fishing props and a worn path serve as evidence of the frequency with which local residents visit, and these details can be seen within the paintings: Each of the two paintings measure 38.25" x 61.5", framed.
|
[
"landscape",
"Mason Archie",
"White River",
"Sidney & Lois Eskenazi Hospital"
] |
|
14581_T
|
Morning on the White River
|
In the context of Morning on the White River, explore the Acquisition of the Historical information.
|
Morning on the White River was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Morning on the White River is credited as "Dedicated with gratitude by Kathi and Bob Postlethwait.”
|
[
"White River",
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
14581_NT
|
Morning on the White River
|
In the context of this artwork, explore the Acquisition of the Historical information.
|
Morning on the White River was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Morning on the White River is credited as "Dedicated with gratitude by Kathi and Bob Postlethwait.”
|
[
"White River",
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
14582_T
|
Morning on the White River
|
In the context of Morning on the White River, explain the Location of the Historical information.
|
Morning on the White River is located in the 6th Floor Robert & Gina Laikin Intensive Care Waiting Room of the Sidney & Lois Eskenazi Hospital.
|
[
"White River",
"Sidney & Lois Eskenazi Hospital"
] |
|
14582_NT
|
Morning on the White River
|
In the context of this artwork, explain the Location of the Historical information.
|
Morning on the White River is located in the 6th Floor Robert & Gina Laikin Intensive Care Waiting Room of the Sidney & Lois Eskenazi Hospital.
|
[
"White River",
"Sidney & Lois Eskenazi Hospital"
] |
|
14583_T
|
King and Queen (sculpture)
|
Explore the abstract of this artwork, King and Queen (sculpture).
|
King and Queen (LH 350) is a bronze sculpture by Henry Moore, designed in 1952. It depicts two figures, one male and one female, seated beside each other on a bench, both facing slightly to the left. It is Moore's only sculpture depicting a single pair of adult figures. Moore's records suggest it was originally known as Two Seated Figures.
Ten bronze casts of the 27 centimetres (11 in) high maquette were cast in 1952. Five bronze casts of the 164 centimetres (65 in) high full-size sculpture were made in 1953, with one further cast in 1957 and another in the 1980s, creating an edition of "5 +2" (five for sale, and two artist's copies). Examples are held by the Middelheim Open Air Sculpture Museum, Glenkiln Sculpture Park, (now removed from public view), Hirshhorn Museum and Sculpture Garden, Norton Simon Museum, Tate Gallery, MOA Museum of Art, and the Henry Moore Foundation.
|
[
"Hirshhorn Museum and Sculpture Garden",
"Glenkiln Sculpture Park",
"Henry Moore Foundation",
"Henry Moore",
"Tate",
"Tate Gallery",
"MOA Museum of Art",
"maquette",
"Norton Simon Museum",
"Middelheim Open Air Sculpture Museum"
] |
|
14583_NT
|
King and Queen (sculpture)
|
Explore the abstract of this artwork.
|
King and Queen (LH 350) is a bronze sculpture by Henry Moore, designed in 1952. It depicts two figures, one male and one female, seated beside each other on a bench, both facing slightly to the left. It is Moore's only sculpture depicting a single pair of adult figures. Moore's records suggest it was originally known as Two Seated Figures.
Ten bronze casts of the 27 centimetres (11 in) high maquette were cast in 1952. Five bronze casts of the 164 centimetres (65 in) high full-size sculpture were made in 1953, with one further cast in 1957 and another in the 1980s, creating an edition of "5 +2" (five for sale, and two artist's copies). Examples are held by the Middelheim Open Air Sculpture Museum, Glenkiln Sculpture Park, (now removed from public view), Hirshhorn Museum and Sculpture Garden, Norton Simon Museum, Tate Gallery, MOA Museum of Art, and the Henry Moore Foundation.
|
[
"Hirshhorn Museum and Sculpture Garden",
"Glenkiln Sculpture Park",
"Henry Moore Foundation",
"Henry Moore",
"Tate",
"Tate Gallery",
"MOA Museum of Art",
"maquette",
"Norton Simon Museum",
"Middelheim Open Air Sculpture Museum"
] |
|
14584_T
|
King and Queen (sculpture)
|
Focus on King and Queen (sculpture) and discuss the Maquettes.
|
According to Moore, speaking years later, the work was inspired by double statues of male and female figures from Ancient Egypt, and by fairy tales read to his daughter Mary. Art critics have suggested links with the accession of Elizabeth II in 1952, and have identified a strikingly similar photograph of Moore and his wife Irina seated beside each other c.1952, in which Moore has one hand clenched in his lap and the other on the arm of the sofa, and Irina sits beside him with her fingers interlaced.
It was based on preliminary drawings of seated figures from the late 1940s. Inspiration came to Moore from playing with pieces of wax which became an initial maquette in 1952. He first created a bearded head with a crown which became the "king" figure, then the female "queen" and the bench. The king had a clenched fist, and the feet were little defined. The maquette had a narrow squared frame behind the figures, defining the space, recalling similar frames used by Alberto Giacometti for example in his The Nose and The Cage, and the frames used repeatedly in the paintings of Francis Bacon, such as his Three Studies of the Male Back. The 27 centimetres (11 in) high maquette was later cast in an edition of ten bronzes (LH 348). Examples were sold at Sotheby's in 2001 for £531,500, at Christie's in 2010 for over US$2.8m, and at Sotheby's in 2016 for £1.1m.
A copy of the maquette was made in plaster, but only fragments survive. It was used to scale up the sculpture to a full-size plaster working model, Maquette for King and Queen 1952–3. Anthony Caro made a three quarter size terracotta model of the queen figure, which was cast in bronze in an edition of five, as Seated Figure 1952–3 (LH 345). In this work, the hands are ill defined, and head does not have the crown-like looping feature.
|
[
"Elizabeth II",
"Francis Bacon",
"Three Studies of the Male Back",
"Maquette",
"Anthony Caro",
"Christie's",
"Ancient Egypt",
"Sotheby's",
"Alberto Giacometti",
"maquette"
] |
|
14584_NT
|
King and Queen (sculpture)
|
Focus on this artwork and discuss the Maquettes.
|
According to Moore, speaking years later, the work was inspired by double statues of male and female figures from Ancient Egypt, and by fairy tales read to his daughter Mary. Art critics have suggested links with the accession of Elizabeth II in 1952, and have identified a strikingly similar photograph of Moore and his wife Irina seated beside each other c.1952, in which Moore has one hand clenched in his lap and the other on the arm of the sofa, and Irina sits beside him with her fingers interlaced.
It was based on preliminary drawings of seated figures from the late 1940s. Inspiration came to Moore from playing with pieces of wax which became an initial maquette in 1952. He first created a bearded head with a crown which became the "king" figure, then the female "queen" and the bench. The king had a clenched fist, and the feet were little defined. The maquette had a narrow squared frame behind the figures, defining the space, recalling similar frames used by Alberto Giacometti for example in his The Nose and The Cage, and the frames used repeatedly in the paintings of Francis Bacon, such as his Three Studies of the Male Back. The 27 centimetres (11 in) high maquette was later cast in an edition of ten bronzes (LH 348). Examples were sold at Sotheby's in 2001 for £531,500, at Christie's in 2010 for over US$2.8m, and at Sotheby's in 2016 for £1.1m.
A copy of the maquette was made in plaster, but only fragments survive. It was used to scale up the sculpture to a full-size plaster working model, Maquette for King and Queen 1952–3. Anthony Caro made a three quarter size terracotta model of the queen figure, which was cast in bronze in an edition of five, as Seated Figure 1952–3 (LH 345). In this work, the hands are ill defined, and head does not have the crown-like looping feature.
|
[
"Elizabeth II",
"Francis Bacon",
"Three Studies of the Male Back",
"Maquette",
"Anthony Caro",
"Christie's",
"Ancient Egypt",
"Sotheby's",
"Alberto Giacometti",
"maquette"
] |
|
14585_T
|
King and Queen (sculpture)
|
How does King and Queen (sculpture) elucidate its Description?
|
The full size sculpture is 165 centimetres (65 in) high. It depicts two figures, one male and one female, seated beside each other on a bench, both facing slightly to the left.
The male figure to the left is slightly taller and broader, and sits slightly further back. It has two angular jawlines that reach forward towards a prominent chin, where it meets a third line marking the nose, with excavated cheeks and eyehole pierced between the nose ridge. There is a semi-circular loop adornment on top of the head, like a crown. The figure has narrow arms, with one hand one in the figure's lap and the other resting on the bench. The broad, flattened torso has few features and it is probably clothed. The legs are mostly covered by a folded tunic, with ankles and bare feet visible, feet resting on the ground. The hollowed concave back of the figure is incised with vertical lines recalling a backbone.
The female figure to the right is in a similar seated pose. It has a similar flattened face with pierced eyehole but no prominent jawline. There are incised eyelashes around the hole on the left side of the face. Bumps at the back of the head suggests a piled up arrangement of hair, and a loop over the head suggests a diadem or tiara. The figure has a similar flattened body, but with two domed breasts. Its thin arms lead to hands clasped on the figure's lap. It is also wearing a tunic, with pleats that cover most of the legs except the feet.
Moore paid special attention to hands in the final model, to give it additional interest for the viewer. He used the hands of his wife Irina and his six year old daughter Mary, and others, as models . Moore's assistant Alan Ingham modelled for the feet of the king figure. The head of the queen figure was remodelled three times before Moore was satisfied. In the final work, Moore left out the square frame behind the figures in the maquette: he said it made them look like they were goalkeepers at a soccer game.
|
[
"Alan Ingham",
"maquette"
] |
|
14585_NT
|
King and Queen (sculpture)
|
How does this artwork elucidate its Description?
|
The full size sculpture is 165 centimetres (65 in) high. It depicts two figures, one male and one female, seated beside each other on a bench, both facing slightly to the left.
The male figure to the left is slightly taller and broader, and sits slightly further back. It has two angular jawlines that reach forward towards a prominent chin, where it meets a third line marking the nose, with excavated cheeks and eyehole pierced between the nose ridge. There is a semi-circular loop adornment on top of the head, like a crown. The figure has narrow arms, with one hand one in the figure's lap and the other resting on the bench. The broad, flattened torso has few features and it is probably clothed. The legs are mostly covered by a folded tunic, with ankles and bare feet visible, feet resting on the ground. The hollowed concave back of the figure is incised with vertical lines recalling a backbone.
The female figure to the right is in a similar seated pose. It has a similar flattened face with pierced eyehole but no prominent jawline. There are incised eyelashes around the hole on the left side of the face. Bumps at the back of the head suggests a piled up arrangement of hair, and a loop over the head suggests a diadem or tiara. The figure has a similar flattened body, but with two domed breasts. Its thin arms lead to hands clasped on the figure's lap. It is also wearing a tunic, with pleats that cover most of the legs except the feet.
Moore paid special attention to hands in the final model, to give it additional interest for the viewer. He used the hands of his wife Irina and his six year old daughter Mary, and others, as models . Moore's assistant Alan Ingham modelled for the feet of the king figure. The head of the queen figure was remodelled three times before Moore was satisfied. In the final work, Moore left out the square frame behind the figures in the maquette: he said it made them look like they were goalkeepers at a soccer game.
|
[
"Alan Ingham",
"maquette"
] |
|
14586_T
|
King and Queen (sculpture)
|
Focus on King and Queen (sculpture) and analyze the Casts.
|
Moore completed a full-size model in plaster in 1953,and it was cast at the Art Bronze Foundry in London, using the lost wax technique to create pieces that were then welded together, to create an edition of 4+1 (four for sale, and one artist's copy). A fifth numbered cast and second artist's copy were cast later.
The first full-size cast of the sculpture was exhibited at the Second Biennial for Sculpture at Middelheim Park in Antwerp in 1953. It was bought by the city of Antwerp for the Middelheim Open Air Sculpture Museum, where it remains. It measures 170 by 150 by 95 centimetres (67 in × 59 in × 37 in).
The second cast was bought by Sir William Keswick in 1954 and installed on his estate at Glenkiln in Kirkcudbrightshire, on a rock outcrop looking over Glenkiln Loch. It was formerly part of the Glenkiln Sculpture Park. This cast was decapitated in 1995 but later restored.A third cast was exhibited at the Curt Valentin Gallery in New York, was bought by Joseph H. Hirshhorn, and is now in the Hirshhorn Museum and Sculpture Garden in Washington, D.C.A fourth cast was exhibited at the Leicester Galleries in London in February 1954, to mixed reviews, some disliking the mixture of figurative and abstract elements. It was described by Robert Melville in 1954 as "Moore's finest achievement since the war, and probably the most graceful of all his works". It was bought by newspaper editor David Astor, and displayed at his home in St John's Wood, until sold to the Norton Simon Museum of Art in Pasadena in 1976.A fifth cast was made for the Tate Gallery in 1957, acquired using funds donated by Associated Rediffusion, delivered in early 1959. It measures 163.5 by 138.5 by 84.5 centimetres (64.4 in × 54.5 in × 33.3 in)
The original artist's copy (cast 0) is now in the collection of the MOA Museum of Art in Atami, Japan. A second artist's copy, cast 00, was created in the 1980s for the Henry Moore Foundation, and is displayed at Perry Green, Hertfordshire.
|
[
"Hirshhorn Museum and Sculpture Garden",
"Robert Melville",
"Glenkiln Sculpture Park",
"Henry Moore Foundation",
"Associated Rediffusion",
"William Keswick",
"Joseph H. Hirshhorn",
"Henry Moore",
"Tate",
"Tate Gallery",
"Norton Simon Museum of Art",
"MOA Museum of Art",
"Leicester Galleries",
"Perry Green, Hertfordshire",
"Curt Valentin",
"St John's Wood",
"Atami",
"lost wax",
"Curt Valentin Gallery",
"Norton Simon Museum",
"Middelheim Open Air Sculpture Museum",
"David Astor",
"Art Bronze Foundry",
"Middelheim Park"
] |
|
14586_NT
|
King and Queen (sculpture)
|
Focus on this artwork and analyze the Casts.
|
Moore completed a full-size model in plaster in 1953,and it was cast at the Art Bronze Foundry in London, using the lost wax technique to create pieces that were then welded together, to create an edition of 4+1 (four for sale, and one artist's copy). A fifth numbered cast and second artist's copy were cast later.
The first full-size cast of the sculpture was exhibited at the Second Biennial for Sculpture at Middelheim Park in Antwerp in 1953. It was bought by the city of Antwerp for the Middelheim Open Air Sculpture Museum, where it remains. It measures 170 by 150 by 95 centimetres (67 in × 59 in × 37 in).
The second cast was bought by Sir William Keswick in 1954 and installed on his estate at Glenkiln in Kirkcudbrightshire, on a rock outcrop looking over Glenkiln Loch. It was formerly part of the Glenkiln Sculpture Park. This cast was decapitated in 1995 but later restored.A third cast was exhibited at the Curt Valentin Gallery in New York, was bought by Joseph H. Hirshhorn, and is now in the Hirshhorn Museum and Sculpture Garden in Washington, D.C.A fourth cast was exhibited at the Leicester Galleries in London in February 1954, to mixed reviews, some disliking the mixture of figurative and abstract elements. It was described by Robert Melville in 1954 as "Moore's finest achievement since the war, and probably the most graceful of all his works". It was bought by newspaper editor David Astor, and displayed at his home in St John's Wood, until sold to the Norton Simon Museum of Art in Pasadena in 1976.A fifth cast was made for the Tate Gallery in 1957, acquired using funds donated by Associated Rediffusion, delivered in early 1959. It measures 163.5 by 138.5 by 84.5 centimetres (64.4 in × 54.5 in × 33.3 in)
The original artist's copy (cast 0) is now in the collection of the MOA Museum of Art in Atami, Japan. A second artist's copy, cast 00, was created in the 1980s for the Henry Moore Foundation, and is displayed at Perry Green, Hertfordshire.
|
[
"Hirshhorn Museum and Sculpture Garden",
"Robert Melville",
"Glenkiln Sculpture Park",
"Henry Moore Foundation",
"Associated Rediffusion",
"William Keswick",
"Joseph H. Hirshhorn",
"Henry Moore",
"Tate",
"Tate Gallery",
"Norton Simon Museum of Art",
"MOA Museum of Art",
"Leicester Galleries",
"Perry Green, Hertfordshire",
"Curt Valentin",
"St John's Wood",
"Atami",
"lost wax",
"Curt Valentin Gallery",
"Norton Simon Museum",
"Middelheim Open Air Sculpture Museum",
"David Astor",
"Art Bronze Foundry",
"Middelheim Park"
] |
|
14587_T
|
Round About (sculpture)
|
In Round About (sculpture), how is the abstract discussed?
|
Round About is a public art work by artist Linda Howard located in Milwaukee, Wisconsin at the Lynden Sculpture Garden. The abstract sculpture consists of aluminum bars stacked horizontally; it is installed on the lawn.
|
[
"abstract",
"Lynden Sculpture Garden",
"Linda Howard",
"aluminum",
"public art"
] |
|
14587_NT
|
Round About (sculpture)
|
In this artwork, how is the abstract discussed?
|
Round About is a public art work by artist Linda Howard located in Milwaukee, Wisconsin at the Lynden Sculpture Garden. The abstract sculpture consists of aluminum bars stacked horizontally; it is installed on the lawn.
|
[
"abstract",
"Lynden Sculpture Garden",
"Linda Howard",
"aluminum",
"public art"
] |
|
14588_T
|
The Three Musicians
|
Focus on The Three Musicians and explore the abstract.
|
Three Musicians is an oil painting by Diego Velázquez (1599-1660), a Spanish Baroque painter considered one of the great Spanish naturalists. It depicts three young men grouped around a dinner table playing music. It is painted in chiaroscuro, a Baroque painting technique that made use of the contrast between light and dark shadows to achieve a sense of volume.
|
[
"naturalists",
"Spanish",
"Three Musicians",
"chiaroscuro",
"oil painting",
"Diego Velázquez"
] |
|
14588_NT
|
The Three Musicians
|
Focus on this artwork and explore the abstract.
|
Three Musicians is an oil painting by Diego Velázquez (1599-1660), a Spanish Baroque painter considered one of the great Spanish naturalists. It depicts three young men grouped around a dinner table playing music. It is painted in chiaroscuro, a Baroque painting technique that made use of the contrast between light and dark shadows to achieve a sense of volume.
|
[
"naturalists",
"Spanish",
"Three Musicians",
"chiaroscuro",
"oil painting",
"Diego Velázquez"
] |
|
14589_T
|
The Three Musicians
|
Focus on The Three Musicians and explain the Painting.
|
The Three Musicians is one of Velázquez's earliest works, from his early Seville period. It is one of approximately ten paintings in the bodegón style that Velázquez created before 1622, while living in Seville. Its subject is similar to that of another painting, The Farmers' Lunch. In this painting three young men are grouped around a table eating, drinking and playing music, with strong contrasts of light and darkness around the figures. The light falls from the left, creating sharp shadows and intense highlights. Two men with stringed instruments are singing while the third, the youngest, has an instrument of his own under his arm and a glass of wine in his hand; he displays the glass with a mocking smile, pointing out the wine that inspires the musicians. In the background can be seen a monkey with a pear in hand. The monkey emphasizes the grotesque nature of the scene.
A loaf of bread on a napkin, a glass of wine, and a piece of cheese with a knife stuck into it give Velázquez the opportunity to study the different textures. An interesting feature of The Three Musicians is the variety of issues raised, such as whether it is a genre representation or whether behind the supposedly everyday scene there are hidden layers of meaning, which can make the picture readable as an allegory, giving it a different interpretation.
|
[
"The Farmers' Lunch",
"Seville",
"genre representation",
"Three Musicians",
"bodegón"
] |
|
14589_NT
|
The Three Musicians
|
Focus on this artwork and explain the Painting.
|
The Three Musicians is one of Velázquez's earliest works, from his early Seville period. It is one of approximately ten paintings in the bodegón style that Velázquez created before 1622, while living in Seville. Its subject is similar to that of another painting, The Farmers' Lunch. In this painting three young men are grouped around a table eating, drinking and playing music, with strong contrasts of light and darkness around the figures. The light falls from the left, creating sharp shadows and intense highlights. Two men with stringed instruments are singing while the third, the youngest, has an instrument of his own under his arm and a glass of wine in his hand; he displays the glass with a mocking smile, pointing out the wine that inspires the musicians. In the background can be seen a monkey with a pear in hand. The monkey emphasizes the grotesque nature of the scene.
A loaf of bread on a napkin, a glass of wine, and a piece of cheese with a knife stuck into it give Velázquez the opportunity to study the different textures. An interesting feature of The Three Musicians is the variety of issues raised, such as whether it is a genre representation or whether behind the supposedly everyday scene there are hidden layers of meaning, which can make the picture readable as an allegory, giving it a different interpretation.
|
[
"The Farmers' Lunch",
"Seville",
"genre representation",
"Three Musicians",
"bodegón"
] |
|
14590_T
|
Conversation with the Wind
|
Explore the abstract of this artwork, Conversation with the Wind.
|
Conversation with the Wind (Colloquio col Vento), or simply Conversation with the Wind, is a 1962 kinetic steel sculpture by Italian artist Pietro Consagra, installed at the Museum of Fine Arts, Houston's (MFAH) Lillie and Hugh Roy Cullen Sculpture Garden in the U.S. state of Texas. The sculpture measures 104 × 107 × 94 5/8 in. (264.2 × 271.8 × 240.4 cm). It was exhibited in Spoleto, Italy in 1962, and purchased by MFAH in 1963.According to his daughter, Consagra proposed painting the badly rusted sculpture for restorative purposes.
|
[
"Houston",
"U.S. state",
"kinetic",
"Museum of Fine Arts, Houston",
"Pietro Consagra",
"Texas",
"Lillie and Hugh Roy Cullen Sculpture Garden"
] |
|
14590_NT
|
Conversation with the Wind
|
Explore the abstract of this artwork.
|
Conversation with the Wind (Colloquio col Vento), or simply Conversation with the Wind, is a 1962 kinetic steel sculpture by Italian artist Pietro Consagra, installed at the Museum of Fine Arts, Houston's (MFAH) Lillie and Hugh Roy Cullen Sculpture Garden in the U.S. state of Texas. The sculpture measures 104 × 107 × 94 5/8 in. (264.2 × 271.8 × 240.4 cm). It was exhibited in Spoleto, Italy in 1962, and purchased by MFAH in 1963.According to his daughter, Consagra proposed painting the badly rusted sculpture for restorative purposes.
|
[
"Houston",
"U.S. state",
"kinetic",
"Museum of Fine Arts, Houston",
"Pietro Consagra",
"Texas",
"Lillie and Hugh Roy Cullen Sculpture Garden"
] |
|
14591_T
|
Statue of Sherlock Holmes, London
|
Focus on Statue of Sherlock Holmes, London and discuss the abstract.
|
A statue of Sherlock Holmes by the sculptor John Doubleday stands near the supposed site of 221B Baker Street, the fictional detective's address in London. Unveiled on 23 September 1999, the sculpture was funded by the Abbey National building society, whose headquarters were on the purported site of the famous address. As no site was available on Baker Street itself the statue was installed outside Baker Street tube station, on Marylebone Road. Doubleday had previously produced a statue of Holmes for the town of Meiringen in Switzerland, below the Reichenbach Falls whence the detective fell to his apparent death in the 1893 story "The Final Problem".
|
[
"Reichenbach Falls",
"Abbey National",
"Baker Street",
"John Doubleday",
"Meiringen",
"221B Baker Street",
"building society",
"Baker Street tube station",
"Sherlock Holmes",
"London",
"The Final Problem",
"Marylebone Road"
] |
|
14591_NT
|
Statue of Sherlock Holmes, London
|
Focus on this artwork and discuss the abstract.
|
A statue of Sherlock Holmes by the sculptor John Doubleday stands near the supposed site of 221B Baker Street, the fictional detective's address in London. Unveiled on 23 September 1999, the sculpture was funded by the Abbey National building society, whose headquarters were on the purported site of the famous address. As no site was available on Baker Street itself the statue was installed outside Baker Street tube station, on Marylebone Road. Doubleday had previously produced a statue of Holmes for the town of Meiringen in Switzerland, below the Reichenbach Falls whence the detective fell to his apparent death in the 1893 story "The Final Problem".
|
[
"Reichenbach Falls",
"Abbey National",
"Baker Street",
"John Doubleday",
"Meiringen",
"221B Baker Street",
"building society",
"Baker Street tube station",
"Sherlock Holmes",
"London",
"The Final Problem",
"Marylebone Road"
] |
|
14592_T
|
Statue of Sherlock Holmes, London
|
How does Statue of Sherlock Holmes, London elucidate its Description?
|
The 3-metre-high (9.8 ft) statue depicts Holmes wearing an Inverness cape and a deerstalker, attributes first given to him by Sidney Paget, the illustrator of Arthur Conan Doyle's stories for The Strand Magazine, and holding a calabash pipe (which appears to be a later addition). It is located outside Baker Street tube station on Marylebone Road, near both the detective's fictional home at 221B Baker Street and the Sherlock Holmes Museum between numbers 237 and 241.
|
[
"Baker Street",
"Sherlock Holmes Museum",
"calabash pipe",
"221B Baker Street",
"deerstalker",
"The Strand Magazine",
"Baker Street tube station",
"Sherlock Holmes",
"Inverness cape",
"Arthur Conan Doyle",
"Marylebone Road",
"Sidney Paget"
] |
|
14592_NT
|
Statue of Sherlock Holmes, London
|
How does this artwork elucidate its Description?
|
The 3-metre-high (9.8 ft) statue depicts Holmes wearing an Inverness cape and a deerstalker, attributes first given to him by Sidney Paget, the illustrator of Arthur Conan Doyle's stories for The Strand Magazine, and holding a calabash pipe (which appears to be a later addition). It is located outside Baker Street tube station on Marylebone Road, near both the detective's fictional home at 221B Baker Street and the Sherlock Holmes Museum between numbers 237 and 241.
|
[
"Baker Street",
"Sherlock Holmes Museum",
"calabash pipe",
"221B Baker Street",
"deerstalker",
"The Strand Magazine",
"Baker Street tube station",
"Sherlock Holmes",
"Inverness cape",
"Arthur Conan Doyle",
"Marylebone Road",
"Sidney Paget"
] |
|
14593_T
|
Statue of Sherlock Holmes, London
|
Focus on Statue of Sherlock Holmes, London and analyze the History.
|
In 1927 G. K. Chesterton was the first person to suggest that a statue of Holmes be sited in London, but his efforts came to nothing. A new campaign was begun by the Sherlock Holmes Society of London in 1996. Before then the society had, according to its president Anthony Howlett, spent "a decade or two debating whether we should put a statue smack in the middle of Baker Street, and the traffic be damned". The Sherlock Holmes Statue Company Limited was set up to manage the project. In 1998, Abbey National agreed to fund the statue because of their connection with Holmes. (Their headquarters were at 215−229 Baker Street and they employed a member of staff to respond to any letters addressed to Holmes at 221B.)John Doubleday, the sculptor of the first statue of Holmes at Meiringen, was given the commission for the London statue on 31 March 1998. After the plans to install the statue were announced some local residents and the St Marylebone Society spoke out against the work, saying that it was "not very appropriate. It should have been in Baker Street itself, which is much quieter." The statue was unveiled by Lord Tugendhat, the chairman of Abbey National, on 23 September 1999.
Since 2014, Doubleday's sculpture has been one of a series of "Talking Statues" across London where passers-by can receive a simulated telephone call from the statue's subject by scanning a QR code or visiting a link. The Holmes statue is voiced by the actor Ed Stoppard with a script written by the English novelist Anthony Horowitz which humorously gives details relating to the statue's appearance.
|
[
"Abbey National",
"Baker Street",
"John Doubleday",
"QR code",
"Talking Statues",
"Meiringen",
"Ed Stoppard",
"Lord Tugendhat",
"G. K. Chesterton",
"Sherlock Holmes",
"London",
"Anthony Horowitz"
] |
|
14593_NT
|
Statue of Sherlock Holmes, London
|
Focus on this artwork and analyze the History.
|
In 1927 G. K. Chesterton was the first person to suggest that a statue of Holmes be sited in London, but his efforts came to nothing. A new campaign was begun by the Sherlock Holmes Society of London in 1996. Before then the society had, according to its president Anthony Howlett, spent "a decade or two debating whether we should put a statue smack in the middle of Baker Street, and the traffic be damned". The Sherlock Holmes Statue Company Limited was set up to manage the project. In 1998, Abbey National agreed to fund the statue because of their connection with Holmes. (Their headquarters were at 215−229 Baker Street and they employed a member of staff to respond to any letters addressed to Holmes at 221B.)John Doubleday, the sculptor of the first statue of Holmes at Meiringen, was given the commission for the London statue on 31 March 1998. After the plans to install the statue were announced some local residents and the St Marylebone Society spoke out against the work, saying that it was "not very appropriate. It should have been in Baker Street itself, which is much quieter." The statue was unveiled by Lord Tugendhat, the chairman of Abbey National, on 23 September 1999.
Since 2014, Doubleday's sculpture has been one of a series of "Talking Statues" across London where passers-by can receive a simulated telephone call from the statue's subject by scanning a QR code or visiting a link. The Holmes statue is voiced by the actor Ed Stoppard with a script written by the English novelist Anthony Horowitz which humorously gives details relating to the statue's appearance.
|
[
"Abbey National",
"Baker Street",
"John Doubleday",
"QR code",
"Talking Statues",
"Meiringen",
"Ed Stoppard",
"Lord Tugendhat",
"G. K. Chesterton",
"Sherlock Holmes",
"London",
"Anthony Horowitz"
] |
|
14594_T
|
Statue of Sherlock Holmes, London
|
In Statue of Sherlock Holmes, London, how is the Other statues of Sherlock Holmes discussed?
|
Before London received its statue of Sherlock Holmes examples had already been installed in 1988 in Meiringen, also in 1988 in Karuizawa (Japan) and in 1991 on the site of Conan-Doyle's birthplace in Edinburgh. In 2007, a statue of Sherlock Holmes and Dr. Watson was erected in Moscow near the British embassy.
|
[
"Karuizawa",
"Meiringen",
"Moscow",
"Edinburgh",
"Sherlock Holmes",
"London"
] |
|
14594_NT
|
Statue of Sherlock Holmes, London
|
In this artwork, how is the Other statues of Sherlock Holmes discussed?
|
Before London received its statue of Sherlock Holmes examples had already been installed in 1988 in Meiringen, also in 1988 in Karuizawa (Japan) and in 1991 on the site of Conan-Doyle's birthplace in Edinburgh. In 2007, a statue of Sherlock Holmes and Dr. Watson was erected in Moscow near the British embassy.
|
[
"Karuizawa",
"Meiringen",
"Moscow",
"Edinburgh",
"Sherlock Holmes",
"London"
] |
|
14595_T
|
Japonaiserie (Van Gogh)
|
Focus on Japonaiserie (Van Gogh) and explore the abstract.
|
Japonaiserie (English: Japanesery) was the term used by Dutch post-impressionist painter Vincent van Gogh to express the influence of Japanese art on his works.
|
[
"influence of Japanese art",
"Vincent van Gogh",
"post-impressionist"
] |
|
14595_NT
|
Japonaiserie (Van Gogh)
|
Focus on this artwork and explore the abstract.
|
Japonaiserie (English: Japanesery) was the term used by Dutch post-impressionist painter Vincent van Gogh to express the influence of Japanese art on his works.
|
[
"influence of Japanese art",
"Vincent van Gogh",
"post-impressionist"
] |
|
14596_T
|
Japonaiserie (Van Gogh)
|
Focus on Japonaiserie (Van Gogh) and explain the Background.
|
Before 1854, trade with Japan was limited to a Dutch monopoly, and Japanese goods imported into Europe primarily comprised porcelain and lacquer ware. The Convention of Kanagawa ended the 200-year Japanese foreign policy of Seclusion and opened up trade between Japan and the West. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.
|
[
"Japanese goods imported into Europe",
"Convention of Kanagawa",
"Japanese woodblock prints",
"ukiyo-e",
"limited to a Dutch monopoly",
"Seclusion"
] |
|
14596_NT
|
Japonaiserie (Van Gogh)
|
Focus on this artwork and explain the Background.
|
Before 1854, trade with Japan was limited to a Dutch monopoly, and Japanese goods imported into Europe primarily comprised porcelain and lacquer ware. The Convention of Kanagawa ended the 200-year Japanese foreign policy of Seclusion and opened up trade between Japan and the West. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.
|
[
"Japanese goods imported into Europe",
"Convention of Kanagawa",
"Japanese woodblock prints",
"ukiyo-e",
"limited to a Dutch monopoly",
"Seclusion"
] |
|
14597_T
|
Japonaiserie (Van Gogh)
|
Explore the Influence of Japanese art on van Gogh of this artwork, Japonaiserie (Van Gogh).
|
Van Gogh's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré. Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life. Beginning in 1885, Van Gogh switched from collecting magazine illustrations, such as Régamey, to collecting ukiyo-e prints which could be bought in small Parisian shops. Van Gogh bought Japanese ukiyo-e woodcuts in the docklands of Antwerp, later incorporating elements of their style into the background of some of his paintings. Vincent possessed twelve prints from Hiroshige's series One Hundred Famous Views of Edo, and he also had bought Two Girls Bathing by Kunisada II, 1868. These prints were influential to his artistic development.He shared his collection with his contemporaries and organized a Japanese print exhibition in Paris in 1887. He and his brother Theo van Gogh dealt in these prints for some time, eventually amassing hundreds of them, which are now housed in the Van Gogh Museum in Amsterdam.A month later he wrote,All my work is based to some extent on Japanese art...
Van Gogh made three copies of ukiyo-e prints, The Courtesan and the two studies after Hiroshige.
Van Gogh's dealing in ukiyo-e prints brought him into contact with Siegfried Bing, who was prominent in the introduction of Japanese art to the West and later in the development of Art Nouveau. Van Gogh developed an idealised conception of the Japanese artist which led him to the Yellow House at Arles and his attempt to form a utopian art colony there with Paul Gauguin.
|
[
"Amsterdam",
"Le Monde Illustré",
"Yellow House at Arles",
"Van Gogh Museum",
"ukiyo-e",
"Hiroshige",
"The Illustrated London News",
"Kunisada II",
"Paul Gauguin",
"One Hundred Famous Views of Edo",
"art colony",
"Theo van Gogh",
"Art Nouveau",
"Siegfried Bing"
] |
|
14597_NT
|
Japonaiserie (Van Gogh)
|
Explore the Influence of Japanese art on van Gogh of this artwork.
|
Van Gogh's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré. Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life. Beginning in 1885, Van Gogh switched from collecting magazine illustrations, such as Régamey, to collecting ukiyo-e prints which could be bought in small Parisian shops. Van Gogh bought Japanese ukiyo-e woodcuts in the docklands of Antwerp, later incorporating elements of their style into the background of some of his paintings. Vincent possessed twelve prints from Hiroshige's series One Hundred Famous Views of Edo, and he also had bought Two Girls Bathing by Kunisada II, 1868. These prints were influential to his artistic development.He shared his collection with his contemporaries and organized a Japanese print exhibition in Paris in 1887. He and his brother Theo van Gogh dealt in these prints for some time, eventually amassing hundreds of them, which are now housed in the Van Gogh Museum in Amsterdam.A month later he wrote,All my work is based to some extent on Japanese art...
Van Gogh made three copies of ukiyo-e prints, The Courtesan and the two studies after Hiroshige.
Van Gogh's dealing in ukiyo-e prints brought him into contact with Siegfried Bing, who was prominent in the introduction of Japanese art to the West and later in the development of Art Nouveau. Van Gogh developed an idealised conception of the Japanese artist which led him to the Yellow House at Arles and his attempt to form a utopian art colony there with Paul Gauguin.
|
[
"Amsterdam",
"Le Monde Illustré",
"Yellow House at Arles",
"Van Gogh Museum",
"ukiyo-e",
"Hiroshige",
"The Illustrated London News",
"Kunisada II",
"Paul Gauguin",
"One Hundred Famous Views of Edo",
"art colony",
"Theo van Gogh",
"Art Nouveau",
"Siegfried Bing"
] |
|
14598_T
|
Japonaiserie (Van Gogh)
|
Focus on Japonaiserie (Van Gogh) and discuss the Japonaiserie and Impressionism.
|
In a letter to Theo dated 5 June 1888, Vincent remarked,About staying in the south, even if it’s more expensive—Look, we love Japanese painting, we’ve experienced its influence—all the Impressionists have that in common—[so why not go to Japan], in other words, to what is the equivalent of Japan, the south? So I believe that the future of the new art still lies in the south after all.In a letter of July 1888 he referred to the Impressionists as the "French Japanese".
|
[] |
|
14598_NT
|
Japonaiserie (Van Gogh)
|
Focus on this artwork and discuss the Japonaiserie and Impressionism.
|
In a letter to Theo dated 5 June 1888, Vincent remarked,About staying in the south, even if it’s more expensive—Look, we love Japanese painting, we’ve experienced its influence—all the Impressionists have that in common—[so why not go to Japan], in other words, to what is the equivalent of Japan, the south? So I believe that the future of the new art still lies in the south after all.In a letter of July 1888 he referred to the Impressionists as the "French Japanese".
|
[] |
|
14599_T
|
Japonaiserie (Van Gogh)
|
How does Japonaiserie (Van Gogh) elucidate its The Courtesan (after Eisen)?
|
The May 1886 edition of Paris Illustré was devoted to Japan with text by Tadamasa Hayashi who may have inspired van Gogh's utopian notion of the Japanese artist:Just think of that; isn't it almost a new religion that these Japanese teach us, who are so simple and live in nature as if they themselves were flowers?
And we wouldn't be able to study Japanese art, it seems to me, without becoming much happier and more cheerful, and it makes us return to nature, despite our education and our work in a world of convention.
The cover carried a reverse image of a colour woodblock by Keisai Eisen depicting a Japanese courtesan or Oiran. Vincent traced this and enlarged it to produce his painting.
|
[
"Tadamasa Hayashi",
"Keisai Eisen",
"Oiran"
] |
|
14599_NT
|
Japonaiserie (Van Gogh)
|
How does this artwork elucidate its The Courtesan (after Eisen)?
|
The May 1886 edition of Paris Illustré was devoted to Japan with text by Tadamasa Hayashi who may have inspired van Gogh's utopian notion of the Japanese artist:Just think of that; isn't it almost a new religion that these Japanese teach us, who are so simple and live in nature as if they themselves were flowers?
And we wouldn't be able to study Japanese art, it seems to me, without becoming much happier and more cheerful, and it makes us return to nature, despite our education and our work in a world of convention.
The cover carried a reverse image of a colour woodblock by Keisai Eisen depicting a Japanese courtesan or Oiran. Vincent traced this and enlarged it to produce his painting.
|
[
"Tadamasa Hayashi",
"Keisai Eisen",
"Oiran"
] |
|
14600_T
|
Japonaiserie (Van Gogh)
|
Focus on Japonaiserie (Van Gogh) and analyze the Copies of Hiroshige prints.
|
Van Gogh made copies of two Hiroshige prints. He altered their colours and added borders filled with calligraphic characters he borrowed from other prints.
|
[
"Hiroshige"
] |
|
14600_NT
|
Japonaiserie (Van Gogh)
|
Focus on this artwork and analyze the Copies of Hiroshige prints.
|
Van Gogh made copies of two Hiroshige prints. He altered their colours and added borders filled with calligraphic characters he borrowed from other prints.
|
[
"Hiroshige"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.