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|---|---|---|---|---|---|
14601_T
|
Madonna of the Cherubim
|
In Madonna of the Cherubim, how is the abstract discussed?
|
The Madonna of the Cherubim is a painting of c. 1485 by the Italian Renaissance painter Andrea Mantegna in the Pinacoteca di Brera, Milan.
|
[
"Andrea Mantegna",
"Pinacoteca di Brera",
"Italian Renaissance"
] |
|
14601_NT
|
Madonna of the Cherubim
|
In this artwork, how is the abstract discussed?
|
The Madonna of the Cherubim is a painting of c. 1485 by the Italian Renaissance painter Andrea Mantegna in the Pinacoteca di Brera, Milan.
|
[
"Andrea Mantegna",
"Pinacoteca di Brera",
"Italian Renaissance"
] |
|
14602_T
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Focus on Cabinet of Curiosities in Dell' Historia Naturale and explore the abstract.
|
Cabinet of Curiosities in Dell'Historia Naturale depicts Ferrante Imperato's cabinet of curiosities. Imperato was an Italian apothecary and naturalist practicing in Naples during the 16th century. The image shows the types of objects Imperato collected for his cabinet of curiosities, including shells, animals, minerals, and botanic specimens. This print appeared in Historia naturale di Ferrante Imperato napolitano: nella quale ordinatamente si tratta della diversa condition di minere, pietre pretiose, & altre curiosità : con varie historie di piante, & animali, sin'hora non date in luce, otherwise known as Dell’Historia Naturale, a monumental work of natural history in 28 volumes. The exploration of natural history was part of the Renaissance humanist movement and empiricism. The use of senses to formulate new ideas and natural discoveries was at the heart of this movement. The discoveries resulting from empirical exploration were aimed at figuring out how everyone is connected through nature. Imperato's cabinet was part of this movement and provided a place for aristocrats in society to expand their knowledge.
|
[
"Naples",
"Renaissance humanist",
"natural history",
"Imperato's",
"naturalist",
"Ferrante Imperato",
"apothecary",
"empiricism",
"cabinet of curiosities"
] |
|
14602_NT
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Focus on this artwork and explore the abstract.
|
Cabinet of Curiosities in Dell'Historia Naturale depicts Ferrante Imperato's cabinet of curiosities. Imperato was an Italian apothecary and naturalist practicing in Naples during the 16th century. The image shows the types of objects Imperato collected for his cabinet of curiosities, including shells, animals, minerals, and botanic specimens. This print appeared in Historia naturale di Ferrante Imperato napolitano: nella quale ordinatamente si tratta della diversa condition di minere, pietre pretiose, & altre curiosità : con varie historie di piante, & animali, sin'hora non date in luce, otherwise known as Dell’Historia Naturale, a monumental work of natural history in 28 volumes. The exploration of natural history was part of the Renaissance humanist movement and empiricism. The use of senses to formulate new ideas and natural discoveries was at the heart of this movement. The discoveries resulting from empirical exploration were aimed at figuring out how everyone is connected through nature. Imperato's cabinet was part of this movement and provided a place for aristocrats in society to expand their knowledge.
|
[
"Naples",
"Renaissance humanist",
"natural history",
"Imperato's",
"naturalist",
"Ferrante Imperato",
"apothecary",
"empiricism",
"cabinet of curiosities"
] |
|
14603_T
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Focus on Cabinet of Curiosities in Dell' Historia Naturale and explain the Visual description.
|
This fold-out woodcut from the book Dell’Historia Naturale depicts a room full of collection of natural objects. There is an array of animals and botanical subjects shown in the room, all of which were collected by Imperato himself. On top of the image, there is a variety of aquatic animal species along with an array of shells. Many cabinets (right), brimming with books, most likely containing field notes of Imperato's examination of his biological discoveries, art historians assume these books include his biological discoveries because their titles refer to specific classes of species and there are reports of Imperato in the field with books and writing utensils. The image is very exact in the representation of objects. Fine lines allow for intricate details to be seen. The focal point of this print is the window in the center which leads the eye to the alligator. On the lower right of this image, there are four men examining this cabinet of wonders. The expressions on their faces display amazement and curiosity, and their body language suggests interest in the room itself. This type of cabinet of curiosity was very characteristic of the empirical scientific movement. There were collections of wonder cabinets around Europe that displayed objects from the natural world in a similar way.
|
[
"Imperato's",
"woodcut"
] |
|
14603_NT
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Focus on this artwork and explain the Visual description.
|
This fold-out woodcut from the book Dell’Historia Naturale depicts a room full of collection of natural objects. There is an array of animals and botanical subjects shown in the room, all of which were collected by Imperato himself. On top of the image, there is a variety of aquatic animal species along with an array of shells. Many cabinets (right), brimming with books, most likely containing field notes of Imperato's examination of his biological discoveries, art historians assume these books include his biological discoveries because their titles refer to specific classes of species and there are reports of Imperato in the field with books and writing utensils. The image is very exact in the representation of objects. Fine lines allow for intricate details to be seen. The focal point of this print is the window in the center which leads the eye to the alligator. On the lower right of this image, there are four men examining this cabinet of wonders. The expressions on their faces display amazement and curiosity, and their body language suggests interest in the room itself. This type of cabinet of curiosity was very characteristic of the empirical scientific movement. There were collections of wonder cabinets around Europe that displayed objects from the natural world in a similar way.
|
[
"Imperato's",
"woodcut"
] |
|
14604_T
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Explore the Background of this artwork, Cabinet of Curiosities in Dell' Historia Naturale.
|
Ferrante Imperato was the creator of this cabinet of wonders depicted in this print. Imperato was an apothecary and a collector of natural objects. He lived from 1525 to 1615 and was mainly known for the publication of Dell’Historia Naturale. This publication included 28 volumes, all describing and depicting his discoveries and their importance. The majority of the volumes examined minerals, gems, and stones, but this image indicated that later volumes focused on animal and botanical subjects in his room of curiosities. It was Imperato's son, Francesco Imperato, who convinced him to publish the series. This allowed for more people to share in Imperto's collection and research into the natural world. Imperto published this work in 1599 in Naples, Italy. It served as an educational source for aristocrats and individuals of higher status in society.
|
[
"Naples",
"Imperato's",
"Ferrante Imperato",
"apothecary"
] |
|
14604_NT
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Explore the Background of this artwork.
|
Ferrante Imperato was the creator of this cabinet of wonders depicted in this print. Imperato was an apothecary and a collector of natural objects. He lived from 1525 to 1615 and was mainly known for the publication of Dell’Historia Naturale. This publication included 28 volumes, all describing and depicting his discoveries and their importance. The majority of the volumes examined minerals, gems, and stones, but this image indicated that later volumes focused on animal and botanical subjects in his room of curiosities. It was Imperato's son, Francesco Imperato, who convinced him to publish the series. This allowed for more people to share in Imperto's collection and research into the natural world. Imperto published this work in 1599 in Naples, Italy. It served as an educational source for aristocrats and individuals of higher status in society.
|
[
"Naples",
"Imperato's",
"Ferrante Imperato",
"apothecary"
] |
|
14605_T
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Focus on Cabinet of Curiosities in Dell' Historia Naturale and discuss the Curiosity cabinets.
|
This type of print represents Renaissance humanist interest in the idea that everyone was connected to and through nature. This scientific movement, empiricism, re-examined previous ideas about what it meant to be human and a part of nature. It questioned what moral and civic involvement should look like in citizens and how individuals should act as participants in society. As a result, there was an increase in exploration of nature through scientific methods. Apothecaries, like Ferranto Imperte, collected natural objects such as animals, botanicals, and minerals as a way to experiment and draw conclusions about the physical world. Imperato, through his investigations, found new species of animals, such as the Salamandre terrestri. When examining what it meant to be human, Renaissance humanists placed heavy emphasis on an individual's moral and ethical agency, along with stressing the importance of using critical reasoning to examine the natural world. Through improving these calculated and curiosity centered ways of looking at the world, it was thought that an individual could discover their individual purpose in society. This helped fuel the surge of curiosity cabinets because as scientific exploration was encouraged, more discoveries were found and people wanted to share their knowledge with other academics. Often referred to by many different titles such as “wunderkammer”, meaning wonder chamber, or “cabinet of wonders”, there were many variations of these collections. Each one was centered around discovery of nature or other objects that facilitated a curiosity of the natural world.
|
[
"Renaissance humanist",
"empiricism"
] |
|
14605_NT
|
Cabinet of Curiosities in Dell' Historia Naturale
|
Focus on this artwork and discuss the Curiosity cabinets.
|
This type of print represents Renaissance humanist interest in the idea that everyone was connected to and through nature. This scientific movement, empiricism, re-examined previous ideas about what it meant to be human and a part of nature. It questioned what moral and civic involvement should look like in citizens and how individuals should act as participants in society. As a result, there was an increase in exploration of nature through scientific methods. Apothecaries, like Ferranto Imperte, collected natural objects such as animals, botanicals, and minerals as a way to experiment and draw conclusions about the physical world. Imperato, through his investigations, found new species of animals, such as the Salamandre terrestri. When examining what it meant to be human, Renaissance humanists placed heavy emphasis on an individual's moral and ethical agency, along with stressing the importance of using critical reasoning to examine the natural world. Through improving these calculated and curiosity centered ways of looking at the world, it was thought that an individual could discover their individual purpose in society. This helped fuel the surge of curiosity cabinets because as scientific exploration was encouraged, more discoveries were found and people wanted to share their knowledge with other academics. Often referred to by many different titles such as “wunderkammer”, meaning wonder chamber, or “cabinet of wonders”, there were many variations of these collections. Each one was centered around discovery of nature or other objects that facilitated a curiosity of the natural world.
|
[
"Renaissance humanist",
"empiricism"
] |
|
14606_T
|
Youth (sculpture)
|
How does Youth (sculpture) elucidate its abstract?
|
Youth (Czech: Mládí), or Joyful Youth (Radostné mládí), is an outdoor bronze sculpture of a nude young man by Miloš Zet, installed in 1965 outside the House of children (after 1989 changed to the Toy Museum) at Prague Castle in Prague, Czech Republic.Before the last adaptation of the courtyard, in 2016 the statue was removed and has been stored in the depository of the Gallery of the City of Prague.
|
[
"bronze sculpture",
"nude",
"Miloš Zet",
"Prague",
"Prague Castle"
] |
|
14606_NT
|
Youth (sculpture)
|
How does this artwork elucidate its abstract?
|
Youth (Czech: Mládí), or Joyful Youth (Radostné mládí), is an outdoor bronze sculpture of a nude young man by Miloš Zet, installed in 1965 outside the House of children (after 1989 changed to the Toy Museum) at Prague Castle in Prague, Czech Republic.Before the last adaptation of the courtyard, in 2016 the statue was removed and has been stored in the depository of the Gallery of the City of Prague.
|
[
"bronze sculpture",
"nude",
"Miloš Zet",
"Prague",
"Prague Castle"
] |
|
14607_T
|
Frog Baby Fountain (Ball State University)
|
Focus on Frog Baby Fountain (Ball State University) and analyze the abstract.
|
Frog Baby Fountain is a statue set in the middle of a fountain on the Ball State University campus. It is known as a sign of good luck and is a popular meeting place. The Frog Baby statue was cast by Edith Barretto Stevens Parsons in 1937 and has been moved several times prior to becoming what it is known as today. Frank C. Ball donated the statue to the university and it remained in the Ball State University Museum of Art until it became damaged by excessive rubbing by students, and was then packed away. In 1993, Frog Baby was restored and placed in a fountain where it resides today. The fountain is dedicated to Alexander Bracken, the son-in-law of Frank C. Ball, who was responsible for Ball State's rapid growth after World War II.
|
[
"Frank C. Ball",
"Ball State University Museum of Art",
"Ball State University",
"Edith Barretto Stevens Parsons",
"World War II"
] |
|
14607_NT
|
Frog Baby Fountain (Ball State University)
|
Focus on this artwork and analyze the abstract.
|
Frog Baby Fountain is a statue set in the middle of a fountain on the Ball State University campus. It is known as a sign of good luck and is a popular meeting place. The Frog Baby statue was cast by Edith Barretto Stevens Parsons in 1937 and has been moved several times prior to becoming what it is known as today. Frank C. Ball donated the statue to the university and it remained in the Ball State University Museum of Art until it became damaged by excessive rubbing by students, and was then packed away. In 1993, Frog Baby was restored and placed in a fountain where it resides today. The fountain is dedicated to Alexander Bracken, the son-in-law of Frank C. Ball, who was responsible for Ball State's rapid growth after World War II.
|
[
"Frank C. Ball",
"Ball State University Museum of Art",
"Ball State University",
"Edith Barretto Stevens Parsons",
"World War II"
] |
|
14608_T
|
Frog Baby Fountain (Ball State University)
|
In Frog Baby Fountain (Ball State University), how is the Artist discussed?
|
Edith Barretto Stevens Parsons was an American born artist. She was born in Houston, Virginia on July 4, 1878. She studied at the Art Students League of New York with John Twachtman, Daniel Chester French, and George Bernard and won scholarships and prizes for her sculptures. Her sculptures are representations of her children often holding turtles, ducks, frogs, and other animals. Edith Parson's sculptures can be found in Memphis Public Park, Tennessee; the Cleveland Museum, Ohio; Ball State University, Indiana and many other places. Edith Baretto Stevens Parsons died in 1956.
|
[
"Daniel Chester French",
"Art Students League of New York",
"Ball State University",
"Houston, Virginia",
"John Twachtman",
"Edith Barretto Stevens Parsons"
] |
|
14608_NT
|
Frog Baby Fountain (Ball State University)
|
In this artwork, how is the Artist discussed?
|
Edith Barretto Stevens Parsons was an American born artist. She was born in Houston, Virginia on July 4, 1878. She studied at the Art Students League of New York with John Twachtman, Daniel Chester French, and George Bernard and won scholarships and prizes for her sculptures. Her sculptures are representations of her children often holding turtles, ducks, frogs, and other animals. Edith Parson's sculptures can be found in Memphis Public Park, Tennessee; the Cleveland Museum, Ohio; Ball State University, Indiana and many other places. Edith Baretto Stevens Parsons died in 1956.
|
[
"Daniel Chester French",
"Art Students League of New York",
"Ball State University",
"Houston, Virginia",
"John Twachtman",
"Edith Barretto Stevens Parsons"
] |
|
14609_T
|
Frog Baby Fountain (Ball State University)
|
Focus on Frog Baby Fountain (Ball State University) and explore the Other copies.
|
A common misconception is that the Frog Baby statue at Ball State was made specifically for the university and that it is the only copy that exists. However, another copy of the Frog Baby sculpture resides in Brookgreen Gardens in South Carolina as part of the Gallery of Small Sculptures.
It was one of 350 sculptures that was acquired by Archer Milton Huntington and his wife Anna Hyatt Huntington for the gardens. Frog Baby was placed in a pool in the gallery in 1934. There is another copy that is on loan to the Atlanta Botanical Garden from The High Museum of Art in Atlanta, Georgia. There is a fourth copy that is owned by the Forest Lawn Museum in Glendale, California. A fifth copy resides in an interior patio at the Pomona Public Library in Pomona, California.
|
[
"South Carolina",
"Atlanta, Georgia",
"Archer Milton Huntington",
"Pomona, California",
"Anna Hyatt Huntington",
"Atlanta",
"Glendale, California",
"Atlanta Botanical Garden",
"Brookgreen Gardens",
"Forest Lawn Museum",
"High Museum of Art"
] |
|
14609_NT
|
Frog Baby Fountain (Ball State University)
|
Focus on this artwork and explore the Other copies.
|
A common misconception is that the Frog Baby statue at Ball State was made specifically for the university and that it is the only copy that exists. However, another copy of the Frog Baby sculpture resides in Brookgreen Gardens in South Carolina as part of the Gallery of Small Sculptures.
It was one of 350 sculptures that was acquired by Archer Milton Huntington and his wife Anna Hyatt Huntington for the gardens. Frog Baby was placed in a pool in the gallery in 1934. There is another copy that is on loan to the Atlanta Botanical Garden from The High Museum of Art in Atlanta, Georgia. There is a fourth copy that is owned by the Forest Lawn Museum in Glendale, California. A fifth copy resides in an interior patio at the Pomona Public Library in Pomona, California.
|
[
"South Carolina",
"Atlanta, Georgia",
"Archer Milton Huntington",
"Pomona, California",
"Anna Hyatt Huntington",
"Atlanta",
"Glendale, California",
"Atlanta Botanical Garden",
"Brookgreen Gardens",
"Forest Lawn Museum",
"High Museum of Art"
] |
|
14610_T
|
Double Check
|
Focus on Double Check and explain the abstract.
|
Double Check is a 1982 sculpture by John Seward Johnson II, located across from Zuccotti Park at the corner of Liberty Street and Broadway in Manhattan, New York City. The bronze sculpture portrays a well-dressed businessman sitting with his briefcase open, which are filled with office materials getting ready to enter an office building. The statue is notable for its association with the 9/11 attacks.
|
[
"Zuccotti Park",
"John Seward Johnson II",
"New York City",
"Manhattan",
"John Seward Johnson I"
] |
|
14610_NT
|
Double Check
|
Focus on this artwork and explain the abstract.
|
Double Check is a 1982 sculpture by John Seward Johnson II, located across from Zuccotti Park at the corner of Liberty Street and Broadway in Manhattan, New York City. The bronze sculpture portrays a well-dressed businessman sitting with his briefcase open, which are filled with office materials getting ready to enter an office building. The statue is notable for its association with the 9/11 attacks.
|
[
"Zuccotti Park",
"John Seward Johnson II",
"New York City",
"Manhattan",
"John Seward Johnson I"
] |
|
14611_T
|
Double Check
|
Explore the History of this artwork, Double Check.
|
The sculpture was installed before the September 11 attacks serving as an art piece. However, after the attack, it became a memorial site, with people leaving flowers, notes, and candles. Photos were taken where the sculpture was covered in ash after the attack with it suffering minor damage. It was moved multiple times and was moved for the final time across from Zuccotti Park (then Liberty Park). The statue was removed to be cleaned and was returned to its original place in June 1, 2006.Makeshift Memorial an adapted 2nd casting of Double Check, placed in 2004 along the Hudson River Waterfront Walkway in Jersey City, New Jersey opposite the original World Trade Center site, and is a component of the Jersey City 9/11 Memorial
|
[
"Zuccotti Park",
"Jersey City 9/11 Memorial",
"Makeshift Memorial",
"Hudson River Waterfront Walkway",
"original World Trade Center site",
"September 11 attacks",
"Jersey City, New Jersey"
] |
|
14611_NT
|
Double Check
|
Explore the History of this artwork.
|
The sculpture was installed before the September 11 attacks serving as an art piece. However, after the attack, it became a memorial site, with people leaving flowers, notes, and candles. Photos were taken where the sculpture was covered in ash after the attack with it suffering minor damage. It was moved multiple times and was moved for the final time across from Zuccotti Park (then Liberty Park). The statue was removed to be cleaned and was returned to its original place in June 1, 2006.Makeshift Memorial an adapted 2nd casting of Double Check, placed in 2004 along the Hudson River Waterfront Walkway in Jersey City, New Jersey opposite the original World Trade Center site, and is a component of the Jersey City 9/11 Memorial
|
[
"Zuccotti Park",
"Jersey City 9/11 Memorial",
"Makeshift Memorial",
"Hudson River Waterfront Walkway",
"original World Trade Center site",
"September 11 attacks",
"Jersey City, New Jersey"
] |
|
14612_T
|
Triumph of the Name of Jesus
|
Focus on Triumph of the Name of Jesus and discuss the Jesuit history.
|
The Jesuit Order, or Society of Jesus, was formed in 1540, by Ignatius of Loyola. He was wounded during his time as a Spanish viceroy; which led to his religious enlightenment. While their teachings would spread over many countries, the heart of the society was the Il Gesu, built in the late 1600s. Gian Paolo Oliva was the Father general of the Society of Jesus.
|
[
"Ignatius of Loyola",
"Gian Paolo Oliva",
"Il Gesu"
] |
|
14612_NT
|
Triumph of the Name of Jesus
|
Focus on this artwork and discuss the Jesuit history.
|
The Jesuit Order, or Society of Jesus, was formed in 1540, by Ignatius of Loyola. He was wounded during his time as a Spanish viceroy; which led to his religious enlightenment. While their teachings would spread over many countries, the heart of the society was the Il Gesu, built in the late 1600s. Gian Paolo Oliva was the Father general of the Society of Jesus.
|
[
"Ignatius of Loyola",
"Gian Paolo Oliva",
"Il Gesu"
] |
|
14613_T
|
Triumph of the Name of Jesus
|
How does Triumph of the Name of Jesus elucidate its Bernini's involvement?
|
Giovanni Battista Gaulli owes a great deal of his success on the ceiling fresco to Gian Lorenzo Bernini. Several other artists were considered for the job of painting the ceiling. Gian Paolo Oliva relied on Bernini's opinion when selecting the artist for the ceiling. Bernini is responsible for not only obtaining the commission for Gaulli, but also for inspiring some of the designs. If not for Bernini's illusionistic merging of architecture and sculpture, in the Ecstasy of Saint Teresa at the Cornaro Chapel in Santa Maria Della Vittoria, Gaulli's ceiling fresco may have turned out quite differently. The illusionistic heavens upon the ceiling of the Gesu emphasizes how the church is seen as an intermediary between the mortal world and eternal salvation. Gaulli also enacts a certain level of theatrics to the scene, yet again, similar to that found in the Cornaro Chapel.
|
[
"Santa Maria Della Vittoria",
"Ecstasy of Saint Teresa",
"Cornaro Chapel",
"Gian Paolo Oliva",
"Gian Lorenzo Bernini",
"Giovanni Battista Gaulli"
] |
|
14613_NT
|
Triumph of the Name of Jesus
|
How does this artwork elucidate its Bernini's involvement?
|
Giovanni Battista Gaulli owes a great deal of his success on the ceiling fresco to Gian Lorenzo Bernini. Several other artists were considered for the job of painting the ceiling. Gian Paolo Oliva relied on Bernini's opinion when selecting the artist for the ceiling. Bernini is responsible for not only obtaining the commission for Gaulli, but also for inspiring some of the designs. If not for Bernini's illusionistic merging of architecture and sculpture, in the Ecstasy of Saint Teresa at the Cornaro Chapel in Santa Maria Della Vittoria, Gaulli's ceiling fresco may have turned out quite differently. The illusionistic heavens upon the ceiling of the Gesu emphasizes how the church is seen as an intermediary between the mortal world and eternal salvation. Gaulli also enacts a certain level of theatrics to the scene, yet again, similar to that found in the Cornaro Chapel.
|
[
"Santa Maria Della Vittoria",
"Ecstasy of Saint Teresa",
"Cornaro Chapel",
"Gian Paolo Oliva",
"Gian Lorenzo Bernini",
"Giovanni Battista Gaulli"
] |
|
14614_T
|
Triumph of the Name of Jesus
|
Focus on Triumph of the Name of Jesus and analyze the Triumph of the Name of Jesus.
|
The subject of Gaulli's ceiling fresco is the Adoration of the Name of Jesus, the story is taken from Saint Paul's Epistle to the Philippians. His words are written on a ribbon, just outside the architectural frame. These words set the scene for Gaulli's fresco and focus on the spreading of faith. The Jesuits wanted to enhance the religious experience, with an almost meditative, emotional peace. The high vaulted ceiling was not constructed merely for its grand and impressive appearance, but to enhance the experience during mass. The Jesuits relied heavily on the acoustics of the church; they wanted their faithful to clearly hear the words of the sermon. This is why the church was constructed with a single nave, and a dome at the nave, transept intersection. One of Gaulli's best innovations is the dramatic breaking of the three-dimensional frame. This gives the impression that the heavenly figures above have a true presence in the church, as if they are floating directly over the viewers' heads. The depth achieved in the fresco extends past the physical ceiling, drawing the blessed upward into the infinite sky. Gaulli adds a pronounced, stucco, frame around his fresco; emphasizing the illusionistic division of the vault's interior and exterior space. When the viewer gazes upon the fresco it is almost impossible to differentiate between fresco and stucco molding. This adds to the illusion of the scene, making it more believable that there are souls ascending and descending in front of the viewer.There are minute details within the fresco. Gaulli took into consideration the perspective viewers would have, looking up at the ceiling, and painted the saved in an extremely foreshortened fashion to give the false illusion that they were truly floating above the viewers. This draws the viewer in, allowing the viewer's eyes to move upward through the ascending angels. It also tricks the viewer into thinking the fresco has some dimension to it; evoking a sense of spiritual nature. At the apex of the heavenly light there is an almost hidden inscription of IHS, the first three letters of Jesus's name in Greek. This is the only representation of Christ in the ceiling painting. Christ is considered the light of the world; Gaulli took this literally when choosing to depict Christ by his initials and the heavenly light.
Another detail within the fresco is Gaulli's attention to shadowing. The damned fall out of the frame, with the illusion that they are falling into the church. While the heavenly golden light falls upon the saved, “the illusionistic clouds” block this light from the damned; “indicat[ing] that the {damned are} destined for eternal damnation.” There is an evident difference between the depicted angels and the damned. Gaulli's angels are flawless creatures; each kissed by the golden light of heaven. The pigment in their clothes, would resonate with the earthly clothes of the viewers. Their faces adoringly look upward towards the light of heaven. Meanwhile, the damned fall from heaven, faces pained, screaming, some too ashamed they look away. Their bodies cast under a dark shadow, while their bodies slowly morph. Some age drastically, while other are transformed into monsters. The damned, outside of the frame, are presented nude, representing the idea that nudity is to be considered shameful.Gaulli's fresco can be broken up into three different parts. There is the heavenly light and Christ's initials at the center, the arc of clouds the separate the saved from the damned, and the damned figures falling out of the scene. The blessed that rest upon the clouds hang just elbow the frame, giving the illusion that have not yet ascended outside the church into the heavens above. They all still resemble the human form; these qualities give hope to the viewers that salvation is not impossible. The damned greatly contrast that with their corrupted human form. Some of the damned are depicted with wings, claws, and horns. Others are in the process of transforming into hound-like creatures. They have tormented faces, some shielding their faces from the harsh heavenly light.
Gaulli has adapted the Triumph of the Name of Jesus to extend both downward to the viewers and upward into the illusionistic heavens, relying on his friend Bernini to influence and inspire one of his greatest works. Illusionistic ceiling paintings began to move in new directions after the completion of this piece. Gaulli's fresco has a complexity to it, making it a work worthy of a High Baroque status.
|
[
"Adoration of the Name of Jesus",
"IHS",
"Epistle to the Philippians",
"nave"
] |
|
14614_NT
|
Triumph of the Name of Jesus
|
Focus on this artwork and analyze the Triumph of the Name of Jesus.
|
The subject of Gaulli's ceiling fresco is the Adoration of the Name of Jesus, the story is taken from Saint Paul's Epistle to the Philippians. His words are written on a ribbon, just outside the architectural frame. These words set the scene for Gaulli's fresco and focus on the spreading of faith. The Jesuits wanted to enhance the religious experience, with an almost meditative, emotional peace. The high vaulted ceiling was not constructed merely for its grand and impressive appearance, but to enhance the experience during mass. The Jesuits relied heavily on the acoustics of the church; they wanted their faithful to clearly hear the words of the sermon. This is why the church was constructed with a single nave, and a dome at the nave, transept intersection. One of Gaulli's best innovations is the dramatic breaking of the three-dimensional frame. This gives the impression that the heavenly figures above have a true presence in the church, as if they are floating directly over the viewers' heads. The depth achieved in the fresco extends past the physical ceiling, drawing the blessed upward into the infinite sky. Gaulli adds a pronounced, stucco, frame around his fresco; emphasizing the illusionistic division of the vault's interior and exterior space. When the viewer gazes upon the fresco it is almost impossible to differentiate between fresco and stucco molding. This adds to the illusion of the scene, making it more believable that there are souls ascending and descending in front of the viewer.There are minute details within the fresco. Gaulli took into consideration the perspective viewers would have, looking up at the ceiling, and painted the saved in an extremely foreshortened fashion to give the false illusion that they were truly floating above the viewers. This draws the viewer in, allowing the viewer's eyes to move upward through the ascending angels. It also tricks the viewer into thinking the fresco has some dimension to it; evoking a sense of spiritual nature. At the apex of the heavenly light there is an almost hidden inscription of IHS, the first three letters of Jesus's name in Greek. This is the only representation of Christ in the ceiling painting. Christ is considered the light of the world; Gaulli took this literally when choosing to depict Christ by his initials and the heavenly light.
Another detail within the fresco is Gaulli's attention to shadowing. The damned fall out of the frame, with the illusion that they are falling into the church. While the heavenly golden light falls upon the saved, “the illusionistic clouds” block this light from the damned; “indicat[ing] that the {damned are} destined for eternal damnation.” There is an evident difference between the depicted angels and the damned. Gaulli's angels are flawless creatures; each kissed by the golden light of heaven. The pigment in their clothes, would resonate with the earthly clothes of the viewers. Their faces adoringly look upward towards the light of heaven. Meanwhile, the damned fall from heaven, faces pained, screaming, some too ashamed they look away. Their bodies cast under a dark shadow, while their bodies slowly morph. Some age drastically, while other are transformed into monsters. The damned, outside of the frame, are presented nude, representing the idea that nudity is to be considered shameful.Gaulli's fresco can be broken up into three different parts. There is the heavenly light and Christ's initials at the center, the arc of clouds the separate the saved from the damned, and the damned figures falling out of the scene. The blessed that rest upon the clouds hang just elbow the frame, giving the illusion that have not yet ascended outside the church into the heavens above. They all still resemble the human form; these qualities give hope to the viewers that salvation is not impossible. The damned greatly contrast that with their corrupted human form. Some of the damned are depicted with wings, claws, and horns. Others are in the process of transforming into hound-like creatures. They have tormented faces, some shielding their faces from the harsh heavenly light.
Gaulli has adapted the Triumph of the Name of Jesus to extend both downward to the viewers and upward into the illusionistic heavens, relying on his friend Bernini to influence and inspire one of his greatest works. Illusionistic ceiling paintings began to move in new directions after the completion of this piece. Gaulli's fresco has a complexity to it, making it a work worthy of a High Baroque status.
|
[
"Adoration of the Name of Jesus",
"IHS",
"Epistle to the Philippians",
"nave"
] |
|
14615_T
|
The Defense of Champigny
|
In The Defense of Champigny, how is the abstract discussed?
|
The Defense of Champigny is a late-19th-century painting by Édouard Detaille. The painting, done in oil on canvas, depicts the Battle of Villiers during the Franco-Prussian War. The painting is in the collection of the Metropolitan Museum of Art.
|
[
"Édouard Detaille",
"Franco-Prussian War",
"oil on canvas",
"Battle of Villiers",
"Metropolitan Museum of Art"
] |
|
14615_NT
|
The Defense of Champigny
|
In this artwork, how is the abstract discussed?
|
The Defense of Champigny is a late-19th-century painting by Édouard Detaille. The painting, done in oil on canvas, depicts the Battle of Villiers during the Franco-Prussian War. The painting is in the collection of the Metropolitan Museum of Art.
|
[
"Édouard Detaille",
"Franco-Prussian War",
"oil on canvas",
"Battle of Villiers",
"Metropolitan Museum of Art"
] |
|
14616_T
|
The Defense of Champigny
|
Focus on The Defense of Champigny and explore the History.
|
The Defense of Champigny depicts a scene from the Battle of Villiers (also referred to as the Battle of Champingny) during the Franco-Prussian War of 1870–1871. The battle was fought as part of a series of attempts by the French Army to disrupt the Prussian Army's siege of Paris. At Villiers, what the French intended to be a small reconnaissance sortie turned into a pitched battle with the Prussians; this fighting in turn caused thousands of casualties on both sides, the partial destruction of the villages of Villiers-sur-Marne and Champigny-sur-Marne, and the retreat of the French army to Paris.The Franco-Prussian War, which caused the collapse of the Second French Empire, was a military and political disaster for France. In the post-war period, the idea that France should rise to meet the challenge posed by the German Empire gained traction in French society. This desire for vengeance – revanchism – was reflected in the art of several prominent French painters, including that of Detaille. Such art commonly depicted the seemingly dilapidated state of the French army during the Franco-Prussian War, with the intent being to show that a revitalized national army was needed to project French power.Detaille, who came from a military family, served in the French army during the Siege of Paris.
|
[
"Villiers-sur-Marne",
"revanchism",
"Franco-Prussian War",
"French Army",
"Champigny-sur-Marne",
"siege of Paris",
"Second French Empire",
"Prussian Army",
"Battle of Villiers",
"German Empire"
] |
|
14616_NT
|
The Defense of Champigny
|
Focus on this artwork and explore the History.
|
The Defense of Champigny depicts a scene from the Battle of Villiers (also referred to as the Battle of Champingny) during the Franco-Prussian War of 1870–1871. The battle was fought as part of a series of attempts by the French Army to disrupt the Prussian Army's siege of Paris. At Villiers, what the French intended to be a small reconnaissance sortie turned into a pitched battle with the Prussians; this fighting in turn caused thousands of casualties on both sides, the partial destruction of the villages of Villiers-sur-Marne and Champigny-sur-Marne, and the retreat of the French army to Paris.The Franco-Prussian War, which caused the collapse of the Second French Empire, was a military and political disaster for France. In the post-war period, the idea that France should rise to meet the challenge posed by the German Empire gained traction in French society. This desire for vengeance – revanchism – was reflected in the art of several prominent French painters, including that of Detaille. Such art commonly depicted the seemingly dilapidated state of the French army during the Franco-Prussian War, with the intent being to show that a revitalized national army was needed to project French power.Detaille, who came from a military family, served in the French army during the Siege of Paris.
|
[
"Villiers-sur-Marne",
"revanchism",
"Franco-Prussian War",
"French Army",
"Champigny-sur-Marne",
"siege of Paris",
"Second French Empire",
"Prussian Army",
"Battle of Villiers",
"German Empire"
] |
|
14617_T
|
The Defense of Champigny
|
In the context of The Defense of Champigny, explain the On display of the History.
|
Detaille originally painted his scene of the battle as part of a wider project to produce a panoramic painting of the battle. His preliminary painting from 1879, titled The Defense of Champigny, is in the collection of the Metropolitan Museum of Art in New York City. Detaille successfully completed a massive 52 × 400 ft panorama (titled the Battle of Champigny) in 1882, but over the years said work was divided into multiple smaller paintings. The fragment of the panorama that mirrors The Defense of Champigny was auctioned off to a private buyer in 2012.
|
[
"New York City",
"New York",
"Metropolitan Museum of Art"
] |
|
14617_NT
|
The Defense of Champigny
|
In the context of this artwork, explain the On display of the History.
|
Detaille originally painted his scene of the battle as part of a wider project to produce a panoramic painting of the battle. His preliminary painting from 1879, titled The Defense of Champigny, is in the collection of the Metropolitan Museum of Art in New York City. Detaille successfully completed a massive 52 × 400 ft panorama (titled the Battle of Champigny) in 1882, but over the years said work was divided into multiple smaller paintings. The fragment of the panorama that mirrors The Defense of Champigny was auctioned off to a private buyer in 2012.
|
[
"New York City",
"New York",
"Metropolitan Museum of Art"
] |
|
14618_T
|
Outsider (painting)
|
Explore the abstract of this artwork, Outsider (painting).
|
Outsider is a 1988 oil and acrylic painting by post-modern Indigenous Australian artist Gordon Bennett. The painting focuses on issues of the increasing isolation Indigenous Australians feel in their own country, with the date the painting was painted in (1988) being the bicentennial anniversary of white settlement in Australia.
The painting depicts an Indigenous Australian with a severed head along with two classical and sculptural heads and reflects a lone culturally marginal figure who exists outside the social contexts of the mainstream world and art world. Outsider has been appropriated and is intended to be interpreted through the lens of the 'other', otherwise known as those who exist to a subordinate social category under the dominant and westernised culture. It is charged with the feelings of frustration and confusion of Indigenous Australians.
Within this painting Bennett has appropriated famous works of Van Gogh, including Bedroom in Arles (1888) and The Starry Night (1889) and uses the paintings to represent his own life. The interpretation of Outsider varies between critics but is mainly suggested to be reflective of a man divided by the ideology of his upbringing and of his place.
|
[
"Australia",
"Gordon Bennett",
"The Starry Night (1889)",
"other",
"Indigenous Australian art",
"The Starry Night",
"Bedroom in Arles",
"Indigenous Australians",
"Bedroom in Arles (1888)",
"Indigenous Australian",
"bicentennial anniversary",
"oil",
"social context",
"acrylic",
"Van Gogh",
"acrylic paint"
] |
|
14618_NT
|
Outsider (painting)
|
Explore the abstract of this artwork.
|
Outsider is a 1988 oil and acrylic painting by post-modern Indigenous Australian artist Gordon Bennett. The painting focuses on issues of the increasing isolation Indigenous Australians feel in their own country, with the date the painting was painted in (1988) being the bicentennial anniversary of white settlement in Australia.
The painting depicts an Indigenous Australian with a severed head along with two classical and sculptural heads and reflects a lone culturally marginal figure who exists outside the social contexts of the mainstream world and art world. Outsider has been appropriated and is intended to be interpreted through the lens of the 'other', otherwise known as those who exist to a subordinate social category under the dominant and westernised culture. It is charged with the feelings of frustration and confusion of Indigenous Australians.
Within this painting Bennett has appropriated famous works of Van Gogh, including Bedroom in Arles (1888) and The Starry Night (1889) and uses the paintings to represent his own life. The interpretation of Outsider varies between critics but is mainly suggested to be reflective of a man divided by the ideology of his upbringing and of his place.
|
[
"Australia",
"Gordon Bennett",
"The Starry Night (1889)",
"other",
"Indigenous Australian art",
"The Starry Night",
"Bedroom in Arles",
"Indigenous Australians",
"Bedroom in Arles (1888)",
"Indigenous Australian",
"bicentennial anniversary",
"oil",
"social context",
"acrylic",
"Van Gogh",
"acrylic paint"
] |
|
14619_T
|
Outsider (painting)
|
Focus on Outsider (painting) and discuss the Description.
|
Outsider measures 290 x 180 cm and is published as a collection within the University of Queensland's Art Museum. Bennett's subject is depicted through the central figure of an Indigenous Australian man's decapitated torso in of Van Gogh's Bedroom in Arles (1888) with blood spurting from his gaping neck. The upright torso leans over the yellow-brown bed in Van Gogh's Bedroom in Arles while two white decapitated classical sculptural heads are lolling dumbly on the bed as opposed to the empty bed of Van Gogh's. The walls are covered with red hand marks which are assumed to be the bloodshed of the decapitated figure. Along the top half of the painting, the spurting blood from the neck leads into and blends with the sky which has stylised strokes of Van Gogh's The Starry Night (1889) painted with the same colour scheme but with darker hues of blue, yellow, and black. It is suggested that the dots and dashes in the sky reflect Western Desert Aboriginal 'dot paintings' which is the first instance in which Bennett makes these allusions in his work. These dots provide a connection to Bennett's Indigenous heritage.
|
[
"University of Queensland",
"Australia",
"classical sculptural",
"The Starry Night (1889)",
"The Starry Night",
"Bedroom in Arles",
"Bedroom in Arles (1888)",
"dot painting",
"Indigenous Australian",
"University of Queensland's",
"collection",
"Van Gogh"
] |
|
14619_NT
|
Outsider (painting)
|
Focus on this artwork and discuss the Description.
|
Outsider measures 290 x 180 cm and is published as a collection within the University of Queensland's Art Museum. Bennett's subject is depicted through the central figure of an Indigenous Australian man's decapitated torso in of Van Gogh's Bedroom in Arles (1888) with blood spurting from his gaping neck. The upright torso leans over the yellow-brown bed in Van Gogh's Bedroom in Arles while two white decapitated classical sculptural heads are lolling dumbly on the bed as opposed to the empty bed of Van Gogh's. The walls are covered with red hand marks which are assumed to be the bloodshed of the decapitated figure. Along the top half of the painting, the spurting blood from the neck leads into and blends with the sky which has stylised strokes of Van Gogh's The Starry Night (1889) painted with the same colour scheme but with darker hues of blue, yellow, and black. It is suggested that the dots and dashes in the sky reflect Western Desert Aboriginal 'dot paintings' which is the first instance in which Bennett makes these allusions in his work. These dots provide a connection to Bennett's Indigenous heritage.
|
[
"University of Queensland",
"Australia",
"classical sculptural",
"The Starry Night (1889)",
"The Starry Night",
"Bedroom in Arles",
"Bedroom in Arles (1888)",
"dot painting",
"Indigenous Australian",
"University of Queensland's",
"collection",
"Van Gogh"
] |
|
14620_T
|
Outsider (painting)
|
How does Outsider (painting) elucidate its Background?
|
'Outsider' is considered an example of Outsider Art and Indigenous Australian Art. Bennett practices Outsider art to represent his experiences as a bi-cultural Australian of both Aboriginal and Anglo-Celtic descent. His painting confronts the idea of cultural identity within his artwork where he has stated that his feelings of alienation are through his Australian education system and the representation of Indigenous Australians in Western culture. Outsider, along with many of Bennett's other works is concerned with exploring Australian's colonial past and postcolonial present. The painting explores issues associated with the dominant role that white, Western culture has played in constructing the social and cultural landscape of the nation. Bennett had painted Outsider during his education at the Queensland College of Art in 1988, his final year. His two electives, Classicism and Aboriginal Art and Culture had heavily influenced Outsider's conception within the same year.
The unveiling of trauma was a common subject for Bennett. Outsider avoids the glorification of Australia's history and instead focuses on the depiction of violence to reflect the effects of colonisation. In painting the composition of Outsider during 1988, Bennett attempted to realistically depict the marginal effect of the First Fleet and "to question the way power is exercised (by) disputing claims to domination". He came to learn about Australian history and Indigenous Australians through a Eurocentric bias that had "colonised my mind and body". The Eurocentric perspective was particularly evident for Bennett in the 1988 bicentennial celebrations that had glorified the First Fleet and their pillage. During the 1988 celebrations, Bennett had expressed disapproval in "the grip of bicentennial celebrations that… set out to retrace the journey of the ‘first (European) fleet’ to Australia". Historical events were re-enacted by individuals in period costume and were broadcast on television, commemorated in books and reproduced in magazine. Bennett feared that the romanticised images of ships, danger and adventure faced by the First Fleet were contributing to the reinforcement of Australia's colonial identity through the lens of a selective history and to be deemed as the mainstream. He sought to create a field of disturbance and to necessitate the ‘re-reading’ of Australian history through his painting of Outsider (1988). Critic McLean purports that Outsider could be considered Bennett's unofficial and ironic contribution to Australia's bicentenary celebrations in 1988.Bennett has intended to portray his main subject within Outsider, Indigenous Australia as victims, a way in which Bennett could come to terms with his own alienating experiences. He sought to display the extent of their pain to the point of self-mutilation rather than portraying a display of resistance or strength in opposition to their colonisation. The decapitated Indigenous Australian figure is looking for a head to replace his missing one and Bennett parallels this process to a "transplantation of culture".Outsider is one of Bennett's many works that features criticism on Captain James Cook's positioning of Indigenous Australians as 'savages', 'primitives' and therefore as 'ahistorical' which Bennett claims is nothing more than a distorted "mirror reflection of European societies". Bennett expresses a degree of discontent toward 'white' Australia and has stated that it has proven to be a "master of moralising" in his own experiences. Some individuals have come to regard his expression of an Aboriginal point of view as a 'guilt trip' designed to make non-Indigenous Australians feel guilty about Australia's past. In other instances, some have derided his works as existing within the 'guilt industry' and derogatorily denoted as being 'politically correct'.
|
[
"Australia",
"bi-cultural",
"Eurocentric bias",
"ahistorical",
"period costume",
"postcolonial",
"Australian history",
"guilt trip",
"other",
"Classicism",
"Queensland College of Art",
"Indigenous Australian Art",
"Indigenous Australians",
"cultural identity",
"bicentennial celebrations",
"Aboriginal Art",
"Indigenous Australian",
"Outsider Art",
"self-mutilation",
"resistance",
"colonial",
"politically correct",
"Western culture",
"First Fleet",
"colonisation",
"Culture",
"Outsider art",
"James Cook",
"romanticised",
"identity"
] |
|
14620_NT
|
Outsider (painting)
|
How does this artwork elucidate its Background?
|
'Outsider' is considered an example of Outsider Art and Indigenous Australian Art. Bennett practices Outsider art to represent his experiences as a bi-cultural Australian of both Aboriginal and Anglo-Celtic descent. His painting confronts the idea of cultural identity within his artwork where he has stated that his feelings of alienation are through his Australian education system and the representation of Indigenous Australians in Western culture. Outsider, along with many of Bennett's other works is concerned with exploring Australian's colonial past and postcolonial present. The painting explores issues associated with the dominant role that white, Western culture has played in constructing the social and cultural landscape of the nation. Bennett had painted Outsider during his education at the Queensland College of Art in 1988, his final year. His two electives, Classicism and Aboriginal Art and Culture had heavily influenced Outsider's conception within the same year.
The unveiling of trauma was a common subject for Bennett. Outsider avoids the glorification of Australia's history and instead focuses on the depiction of violence to reflect the effects of colonisation. In painting the composition of Outsider during 1988, Bennett attempted to realistically depict the marginal effect of the First Fleet and "to question the way power is exercised (by) disputing claims to domination". He came to learn about Australian history and Indigenous Australians through a Eurocentric bias that had "colonised my mind and body". The Eurocentric perspective was particularly evident for Bennett in the 1988 bicentennial celebrations that had glorified the First Fleet and their pillage. During the 1988 celebrations, Bennett had expressed disapproval in "the grip of bicentennial celebrations that… set out to retrace the journey of the ‘first (European) fleet’ to Australia". Historical events were re-enacted by individuals in period costume and were broadcast on television, commemorated in books and reproduced in magazine. Bennett feared that the romanticised images of ships, danger and adventure faced by the First Fleet were contributing to the reinforcement of Australia's colonial identity through the lens of a selective history and to be deemed as the mainstream. He sought to create a field of disturbance and to necessitate the ‘re-reading’ of Australian history through his painting of Outsider (1988). Critic McLean purports that Outsider could be considered Bennett's unofficial and ironic contribution to Australia's bicentenary celebrations in 1988.Bennett has intended to portray his main subject within Outsider, Indigenous Australia as victims, a way in which Bennett could come to terms with his own alienating experiences. He sought to display the extent of their pain to the point of self-mutilation rather than portraying a display of resistance or strength in opposition to their colonisation. The decapitated Indigenous Australian figure is looking for a head to replace his missing one and Bennett parallels this process to a "transplantation of culture".Outsider is one of Bennett's many works that features criticism on Captain James Cook's positioning of Indigenous Australians as 'savages', 'primitives' and therefore as 'ahistorical' which Bennett claims is nothing more than a distorted "mirror reflection of European societies". Bennett expresses a degree of discontent toward 'white' Australia and has stated that it has proven to be a "master of moralising" in his own experiences. Some individuals have come to regard his expression of an Aboriginal point of view as a 'guilt trip' designed to make non-Indigenous Australians feel guilty about Australia's past. In other instances, some have derided his works as existing within the 'guilt industry' and derogatorily denoted as being 'politically correct'.
|
[
"Australia",
"bi-cultural",
"Eurocentric bias",
"ahistorical",
"period costume",
"postcolonial",
"Australian history",
"guilt trip",
"other",
"Classicism",
"Queensland College of Art",
"Indigenous Australian Art",
"Indigenous Australians",
"cultural identity",
"bicentennial celebrations",
"Aboriginal Art",
"Indigenous Australian",
"Outsider Art",
"self-mutilation",
"resistance",
"colonial",
"politically correct",
"Western culture",
"First Fleet",
"colonisation",
"Culture",
"Outsider art",
"James Cook",
"romanticised",
"identity"
] |
|
14621_T
|
Outsider (painting)
|
Describe the characteristics of the Vincent Van Gogh in Outsider (painting)'s Sources of Inspiration.
|
Outsider is one of the first paintings to register Bennett's shift toward a more deconstructive mode. It is a homage and a deconstruction of Vincent Van Gogh's Bedroom in Arles (1888) and The Starry Night (1889).
Outsider was inspired by the 1988 bicentennial anniversary of Australia since the arrival of the first British convict ships. It was also painted in 1988 which marked a centennial anniversary since Van Gogh's Bedroom in Arles in 1888. He describes this coincidental and parallel relationship as a decision to reflect "what was happening in Australia [and] to Van Gogh in his own particular situation". This was to show both the isolation of Indigenous Australians and Van Gogh.
Bennett also drew inspiration from Van Gogh's The Starry Night (1889) and its conception within an asylum. In an interview with Pat Hoffie, Bennett describes this as an interest in the "pain and frustration" of Van Gogh. He articulates a mood of displacement within Outsider through combining the decapitated torso with the spurting blood turning into the spirals of Van Gogh's sky. By appropriating famous works of Van Gogh, Bennett posits that his painting is inspired and informed by "postmodern deconstruction and… strategies of appropriation" to produce an ironic strategy of ‘history’ paintings. His goal is to draw on the iconographical paradigm of Australia and by extension Europe, to investigate Euro-Australian representation but with a particular focus on Aboriginal people. By recontextualising images Bennett seeks to incite change and to create a "turbulence in the complacent sense of identification with… history" where new possibilities for representation can arise.
|
[
"Australia",
"iconographical",
"The Starry Night (1889)",
"‘history’ paintings.",
"postmodern",
"displacement",
"recontextualising",
"deconstructive",
"The Starry Night",
"Bedroom in Arles",
"Indigenous Australians",
"Bedroom in Arles (1888)",
"Indigenous Australian",
"bicentennial anniversary",
"Van Gogh",
"Vincent Van Gogh's Bedroom in Arles (1888)",
"appropriation"
] |
|
14621_NT
|
Outsider (painting)
|
Describe the characteristics of the Vincent Van Gogh in this artwork's Sources of Inspiration.
|
Outsider is one of the first paintings to register Bennett's shift toward a more deconstructive mode. It is a homage and a deconstruction of Vincent Van Gogh's Bedroom in Arles (1888) and The Starry Night (1889).
Outsider was inspired by the 1988 bicentennial anniversary of Australia since the arrival of the first British convict ships. It was also painted in 1988 which marked a centennial anniversary since Van Gogh's Bedroom in Arles in 1888. He describes this coincidental and parallel relationship as a decision to reflect "what was happening in Australia [and] to Van Gogh in his own particular situation". This was to show both the isolation of Indigenous Australians and Van Gogh.
Bennett also drew inspiration from Van Gogh's The Starry Night (1889) and its conception within an asylum. In an interview with Pat Hoffie, Bennett describes this as an interest in the "pain and frustration" of Van Gogh. He articulates a mood of displacement within Outsider through combining the decapitated torso with the spurting blood turning into the spirals of Van Gogh's sky. By appropriating famous works of Van Gogh, Bennett posits that his painting is inspired and informed by "postmodern deconstruction and… strategies of appropriation" to produce an ironic strategy of ‘history’ paintings. His goal is to draw on the iconographical paradigm of Australia and by extension Europe, to investigate Euro-Australian representation but with a particular focus on Aboriginal people. By recontextualising images Bennett seeks to incite change and to create a "turbulence in the complacent sense of identification with… history" where new possibilities for representation can arise.
|
[
"Australia",
"iconographical",
"The Starry Night (1889)",
"‘history’ paintings.",
"postmodern",
"displacement",
"recontextualising",
"deconstructive",
"The Starry Night",
"Bedroom in Arles",
"Indigenous Australians",
"Bedroom in Arles (1888)",
"Indigenous Australian",
"bicentennial anniversary",
"Van Gogh",
"Vincent Van Gogh's Bedroom in Arles (1888)",
"appropriation"
] |
|
14622_T
|
Outsider (painting)
|
In the context of Outsider (painting), explore the The grotesque of the Sources of Inspiration.
|
The grotesque inspired Bennett to disrupt the serene quality of colonial images and the complacent acceptance of Australia's glorified history which had untruthfully glamorised and depicted the peaceful settlement of the Australian landscape. Bennett's use of the grotesque is seen within Outsider through a decapitated torso, stained blood and disembodied heads. Bennett specifically quotes Philip Thomson's passage The Critical Idiom: The Grotesque as a source of his inspiration:The characteristic impact of the grotesque, the shock which it causes, may be used to bewilder and disorient the spectator, jeopardise or shatter their conventions by opening up onto vertiginous new perspectives characterised by the deconstruction of logic and regression... thus the spectator may be jolted out of accustomed ways of perceiving the world and confronted by radically different and disturbing perspectives .
Bennett has also drawn inspiration from other artists such as Lucio Fontana and his cut canvases which Bennett interprets in a grotesque manner akin to mutilation. His inspiration for the depictions of spurting blood is also sourced through Aboriginal funeral ceremonies in which ritualised public displays of grief and mourning can involve blood-letting and the cutting of one own's body.
|
[
"Lucio Fontana",
"Australia",
"grotesque",
"canvas",
"other",
"colonial",
"Grotesque"
] |
|
14622_NT
|
Outsider (painting)
|
In the context of this artwork, explore the The grotesque of the Sources of Inspiration.
|
The grotesque inspired Bennett to disrupt the serene quality of colonial images and the complacent acceptance of Australia's glorified history which had untruthfully glamorised and depicted the peaceful settlement of the Australian landscape. Bennett's use of the grotesque is seen within Outsider through a decapitated torso, stained blood and disembodied heads. Bennett specifically quotes Philip Thomson's passage The Critical Idiom: The Grotesque as a source of his inspiration:The characteristic impact of the grotesque, the shock which it causes, may be used to bewilder and disorient the spectator, jeopardise or shatter their conventions by opening up onto vertiginous new perspectives characterised by the deconstruction of logic and regression... thus the spectator may be jolted out of accustomed ways of perceiving the world and confronted by radically different and disturbing perspectives .
Bennett has also drawn inspiration from other artists such as Lucio Fontana and his cut canvases which Bennett interprets in a grotesque manner akin to mutilation. His inspiration for the depictions of spurting blood is also sourced through Aboriginal funeral ceremonies in which ritualised public displays of grief and mourning can involve blood-letting and the cutting of one own's body.
|
[
"Lucio Fontana",
"Australia",
"grotesque",
"canvas",
"other",
"colonial",
"Grotesque"
] |
|
14623_T
|
Outsider (painting)
|
Focus on Outsider (painting) and explain the Interpretations and symbolism.
|
Outsider opens interpretations to a broad range of philosophical ideas related to the construction of identity and perception through Bennett's experiences of Australia's colonial past and postcolonial present. Critics of Bennett's work, Bob Lingard and Fazal Rizvi interpret that Bennett fragments historical images and recontextualises them in order to nuance postcolonial possibilities. This is in line with Bennett's purpose to deconstruct Eurocentric conditioning which is seen within Outsider.
Hugh Ramsey Chair of Australian Art History, Ian McLean expands on Bennett's appropriations by calling Outsider a "metaphysical quest for meaning and identity". Outsider could be interpreted in such a way that the decapitated figure could symbolise either Bennett or Van Gogh. Professor of philosophy, Melvin Rader has commented on the manifestoes of recent (art) schools and expresses how those within, such as Van Gogh, face feelings of "opposition and estrangement" as well as "madness and suicide" which is what Bennett sought to explore and display within his painting of Outsider. Though Van Gogh was an outsider to the art world, Bennett's decapitated figure is an outsider to his own country of origin and upbringing. Outsider reflects Van Gogh's realistic and humble "self-portrait full of prophecy and psychoanalytical premonitions". However Bennett's own appropriation is a violent ritual rather than Van Gogh's one of tense calmness, which McLean claims is "transparently staged, his mutilation is a public theatre rather than a private act of desperation". It is a blatantly shocking visualisation of the trauma which Van Gogh's Bedroom in Arles only symbolises and keeps invisible. According to Ian McLean, Bennett identified with Van Gogh's own tortured life and had a compulsion to show the "darkness in light"- where Van Gogh's work had been "interrupted by madness", Bennett's Outsider "interrupts the madness of the world" in order to reframe the role of identity in self-portraiture.The walls of the room are occasionally spattered with red hand marks which artist Adam Gezcy interprets to be "the most venerable Aboriginal sign of both presence and absence". He suggests that it is a harrowing and an "audacious work that places the pain of the Aboriginal peoples at the centre of the West's own mythologies". Bennett deconstructs the history of Australian colonialism and is understood by Gezcy as an artistic form of ‘payback’ and the Aboriginal version of ‘eye for an eye’- rather than being combative in nature, Outsider seeks to find a middle ground of redemption and peace. Another critic, Art Historian Jeanette Hoorn suggests that Van Gogh's Bedroom at Arles and The Starry Night are "modern icons of Europeanness" and are objects of admiration by cultures of the West which Bennett appropriates against "black memories of violence and mutilation". The mutilation is interpreted to be an allusion toward bounty hunters in early colonial Australia who decapitated black men in exchange for money in Europe. Bolstering her claim are the spirals in Bennett's own 'Starry Night' which are interpreted to be a gruesome reference to the vanishing of Indigenous Australian culture. The spurting blood from the neck of the Indigenous Australian has assimilated into and has been replaced by the culture of the West's 'Starry Night' which Hoorn suggests is reinforced by the "representation of classical statuary" in the painting.
|
[
"Australia",
"self-portrait",
"postcolonial",
"art) schools",
"other",
"The Starry Night",
"Bedroom in Arles",
"Indigenous Australian",
"colonial",
"classical statuary",
"Van Gogh",
"Melvin Rader",
"appropriation",
"identity"
] |
|
14623_NT
|
Outsider (painting)
|
Focus on this artwork and explain the Interpretations and symbolism.
|
Outsider opens interpretations to a broad range of philosophical ideas related to the construction of identity and perception through Bennett's experiences of Australia's colonial past and postcolonial present. Critics of Bennett's work, Bob Lingard and Fazal Rizvi interpret that Bennett fragments historical images and recontextualises them in order to nuance postcolonial possibilities. This is in line with Bennett's purpose to deconstruct Eurocentric conditioning which is seen within Outsider.
Hugh Ramsey Chair of Australian Art History, Ian McLean expands on Bennett's appropriations by calling Outsider a "metaphysical quest for meaning and identity". Outsider could be interpreted in such a way that the decapitated figure could symbolise either Bennett or Van Gogh. Professor of philosophy, Melvin Rader has commented on the manifestoes of recent (art) schools and expresses how those within, such as Van Gogh, face feelings of "opposition and estrangement" as well as "madness and suicide" which is what Bennett sought to explore and display within his painting of Outsider. Though Van Gogh was an outsider to the art world, Bennett's decapitated figure is an outsider to his own country of origin and upbringing. Outsider reflects Van Gogh's realistic and humble "self-portrait full of prophecy and psychoanalytical premonitions". However Bennett's own appropriation is a violent ritual rather than Van Gogh's one of tense calmness, which McLean claims is "transparently staged, his mutilation is a public theatre rather than a private act of desperation". It is a blatantly shocking visualisation of the trauma which Van Gogh's Bedroom in Arles only symbolises and keeps invisible. According to Ian McLean, Bennett identified with Van Gogh's own tortured life and had a compulsion to show the "darkness in light"- where Van Gogh's work had been "interrupted by madness", Bennett's Outsider "interrupts the madness of the world" in order to reframe the role of identity in self-portraiture.The walls of the room are occasionally spattered with red hand marks which artist Adam Gezcy interprets to be "the most venerable Aboriginal sign of both presence and absence". He suggests that it is a harrowing and an "audacious work that places the pain of the Aboriginal peoples at the centre of the West's own mythologies". Bennett deconstructs the history of Australian colonialism and is understood by Gezcy as an artistic form of ‘payback’ and the Aboriginal version of ‘eye for an eye’- rather than being combative in nature, Outsider seeks to find a middle ground of redemption and peace. Another critic, Art Historian Jeanette Hoorn suggests that Van Gogh's Bedroom at Arles and The Starry Night are "modern icons of Europeanness" and are objects of admiration by cultures of the West which Bennett appropriates against "black memories of violence and mutilation". The mutilation is interpreted to be an allusion toward bounty hunters in early colonial Australia who decapitated black men in exchange for money in Europe. Bolstering her claim are the spirals in Bennett's own 'Starry Night' which are interpreted to be a gruesome reference to the vanishing of Indigenous Australian culture. The spurting blood from the neck of the Indigenous Australian has assimilated into and has been replaced by the culture of the West's 'Starry Night' which Hoorn suggests is reinforced by the "representation of classical statuary" in the painting.
|
[
"Australia",
"self-portrait",
"postcolonial",
"art) schools",
"other",
"The Starry Night",
"Bedroom in Arles",
"Indigenous Australian",
"colonial",
"classical statuary",
"Van Gogh",
"Melvin Rader",
"appropriation",
"identity"
] |
|
14624_T
|
Outsider (painting)
|
Explore the Reception of this artwork, Outsider (painting).
|
In an exhibition at the inaugural Adelaide Biennial of Australian Art in 1990 Bennett was subjected to a racist verbal attack in an Adelaide restaurant by a woman who "could not handle" his painting.Within an art program, Painting: [Traces of Place] between Bennett and Pat Hoffie, Pat describes it as a violent image but one which has a sense of rightness. She praises Bennett's work as being "informed by history, by politics, by a whole number of subjects".
|
[
"Australia",
"Adelaide"
] |
|
14624_NT
|
Outsider (painting)
|
Explore the Reception of this artwork.
|
In an exhibition at the inaugural Adelaide Biennial of Australian Art in 1990 Bennett was subjected to a racist verbal attack in an Adelaide restaurant by a woman who "could not handle" his painting.Within an art program, Painting: [Traces of Place] between Bennett and Pat Hoffie, Pat describes it as a violent image but one which has a sense of rightness. She praises Bennett's work as being "informed by history, by politics, by a whole number of subjects".
|
[
"Australia",
"Adelaide"
] |
|
14625_T
|
Statue of James Outram, London
|
Focus on Statue of James Outram, London and discuss the abstract.
|
The statue of James Outram, a work by Matthew Noble, stands in Whitehall Gardens in London, south of Hungerford Bridge. It is a Grade II listed structure.
Unusually, the plan to erect the statue began in Outram's own lifetime, at a public meeting held in Willis's Rooms, London, on 5 March 1861. The general had recently returned to Britain from India, the stage on which his military career had been played out, due to poor health. It was decided to erect an equestrian monument in Calcutta, with J. H. Foley as the sculptor, and a standing design by Matthew Noble in London, "near [the statue] of his illustrious comrade, Sir Henry Havelock", on Trafalgar Square. Permission for this site was refused by the First Commissioner of Works, who subsequently offered a site in the yet-to-be-created Embankment Gardens. The statue was unveiled by Lord Halifax, a former Secretary of State for India, on 17 August 1871.The bronze statue rests on a granite pedestal.
|
[
"India",
"Lord Halifax",
"Secretary of State for India",
"James Outram",
"Grade II listed",
"Calcutta",
"Trafalgar Square",
"Matthew Noble",
"[the statue",
"J. H. Foley",
"London",
"Hungerford Bridge",
"Henry Havelock"
] |
|
14625_NT
|
Statue of James Outram, London
|
Focus on this artwork and discuss the abstract.
|
The statue of James Outram, a work by Matthew Noble, stands in Whitehall Gardens in London, south of Hungerford Bridge. It is a Grade II listed structure.
Unusually, the plan to erect the statue began in Outram's own lifetime, at a public meeting held in Willis's Rooms, London, on 5 March 1861. The general had recently returned to Britain from India, the stage on which his military career had been played out, due to poor health. It was decided to erect an equestrian monument in Calcutta, with J. H. Foley as the sculptor, and a standing design by Matthew Noble in London, "near [the statue] of his illustrious comrade, Sir Henry Havelock", on Trafalgar Square. Permission for this site was refused by the First Commissioner of Works, who subsequently offered a site in the yet-to-be-created Embankment Gardens. The statue was unveiled by Lord Halifax, a former Secretary of State for India, on 17 August 1871.The bronze statue rests on a granite pedestal.
|
[
"India",
"Lord Halifax",
"Secretary of State for India",
"James Outram",
"Grade II listed",
"Calcutta",
"Trafalgar Square",
"Matthew Noble",
"[the statue",
"J. H. Foley",
"London",
"Hungerford Bridge",
"Henry Havelock"
] |
|
14626_T
|
Colossus of Constantine
|
How does Colossus of Constantine elucidate its abstract?
|
The Colossus of Constantine (Italian: Statua Colossale di Costantino I) was a many times life-size acrolithic early-4th-century statue depicting the Roman emperor Constantine the Great (c. 280–337), commissioned by himself, which originally occupied the west apse of the Basilica of Maxentius on the Via Sacra, near the Forum Romanum in Rome. Surviving portions of the Colossus now reside in the courtyard of the Palazzo dei Conservatori, now part of the Capitoline Museums, on the Capitoline Hill, above the west end of the Forum.
|
[
"apse",
"Capitoline Hill",
"Forum Romanum",
"Constantine the Great",
"Rome",
"Maxentius",
"Palazzo dei Conservatori",
"acrolithic",
"Via Sacra",
"Roman emperor",
"Basilica of Maxentius",
"Capitoline Museums"
] |
|
14626_NT
|
Colossus of Constantine
|
How does this artwork elucidate its abstract?
|
The Colossus of Constantine (Italian: Statua Colossale di Costantino I) was a many times life-size acrolithic early-4th-century statue depicting the Roman emperor Constantine the Great (c. 280–337), commissioned by himself, which originally occupied the west apse of the Basilica of Maxentius on the Via Sacra, near the Forum Romanum in Rome. Surviving portions of the Colossus now reside in the courtyard of the Palazzo dei Conservatori, now part of the Capitoline Museums, on the Capitoline Hill, above the west end of the Forum.
|
[
"apse",
"Capitoline Hill",
"Forum Romanum",
"Constantine the Great",
"Rome",
"Maxentius",
"Palazzo dei Conservatori",
"acrolithic",
"Via Sacra",
"Roman emperor",
"Basilica of Maxentius",
"Capitoline Museums"
] |
|
14627_T
|
Colossus of Constantine
|
Focus on Colossus of Constantine and analyze the Description.
|
The great head, arms and legs of the Colossus were carved from white marble, while the rest of the body consisted of a brick core and wooden framework, possibly covered with gilded bronze. Judging by the size of the remaining pieces, the seated, enthroned figure would have been about 12 meters (40 feet) high. The head is about 21⁄2 meters tall and each foot is over 2 meters long. The statue's right hand is said by Eusebius to have held "a trophy of the Saviour's passion with the saving sign of the Cross", possibly therefore in the form of a staff with the sacred monogram XP affixed to it. Medals minted by Constantine at about this time show him so decorated. Eusebius further records the Latin inscription engraved below the statue, which may be translated as follows:Through this sign of salvation, which is the true symbol of goodness, I rescued your city and freed it from the tyrant's yoke, and through my act of liberation I restored the Senate and People of Rome to their ancient renown and splendour.
The great head is carved in a typical, abstract, Constantinian style ('hieratic emperor style') of late Roman portrait statues, whereas the other body parts are naturalistic, even down to callused toes and bulging forearm veins. The head was perhaps meant to convey the transcendence of the other-worldly nature of the Emperor over the human sphere, notable in its larger-than-life-size eyes which gaze toward eternity from a rigidly impersonal, frontal face. The treatment of the head shows a synthesis of individualistic portraiture: aquiline nose, deep jaw and prominent chin characteristic of all images of Constantine, with the trends of late Roman portraiture which focus on symbolism and abstraction rather than detail.
In this great public work, Constantine is portrayed in unapproachable grandeur, like the effigy of a god, although he is really intended to reflect the Christian deity. According to Michael Grant:Here was the man at whose court...writers felt it appropriate to speak of the 'Divine Face' and 'Sacred Countenance'. The sculptor has conceived this countenance as a holy mask, an overpowering cult object resembling, though on a far greater scale, the icons of future Byzantium: an idol animated with the divine presence, and with the power to repel the demons lurking in pagan images.
|
[
"brick",
"Rome",
"Michael Grant",
"Christ",
"Saviour's",
"Senate and People of Rome",
"Roman portraiture",
"Eusebius",
"wood",
"bronze",
"aquiline nose",
"Byzantium"
] |
|
14627_NT
|
Colossus of Constantine
|
Focus on this artwork and analyze the Description.
|
The great head, arms and legs of the Colossus were carved from white marble, while the rest of the body consisted of a brick core and wooden framework, possibly covered with gilded bronze. Judging by the size of the remaining pieces, the seated, enthroned figure would have been about 12 meters (40 feet) high. The head is about 21⁄2 meters tall and each foot is over 2 meters long. The statue's right hand is said by Eusebius to have held "a trophy of the Saviour's passion with the saving sign of the Cross", possibly therefore in the form of a staff with the sacred monogram XP affixed to it. Medals minted by Constantine at about this time show him so decorated. Eusebius further records the Latin inscription engraved below the statue, which may be translated as follows:Through this sign of salvation, which is the true symbol of goodness, I rescued your city and freed it from the tyrant's yoke, and through my act of liberation I restored the Senate and People of Rome to their ancient renown and splendour.
The great head is carved in a typical, abstract, Constantinian style ('hieratic emperor style') of late Roman portrait statues, whereas the other body parts are naturalistic, even down to callused toes and bulging forearm veins. The head was perhaps meant to convey the transcendence of the other-worldly nature of the Emperor over the human sphere, notable in its larger-than-life-size eyes which gaze toward eternity from a rigidly impersonal, frontal face. The treatment of the head shows a synthesis of individualistic portraiture: aquiline nose, deep jaw and prominent chin characteristic of all images of Constantine, with the trends of late Roman portraiture which focus on symbolism and abstraction rather than detail.
In this great public work, Constantine is portrayed in unapproachable grandeur, like the effigy of a god, although he is really intended to reflect the Christian deity. According to Michael Grant:Here was the man at whose court...writers felt it appropriate to speak of the 'Divine Face' and 'Sacred Countenance'. The sculptor has conceived this countenance as a holy mask, an overpowering cult object resembling, though on a far greater scale, the icons of future Byzantium: an idol animated with the divine presence, and with the power to repel the demons lurking in pagan images.
|
[
"brick",
"Rome",
"Michael Grant",
"Christ",
"Saviour's",
"Senate and People of Rome",
"Roman portraiture",
"Eusebius",
"wood",
"bronze",
"aquiline nose",
"Byzantium"
] |
|
14628_T
|
Colossus of Constantine
|
In Colossus of Constantine, how is the History discussed?
|
The Basilica of Maxentius, on the northern boundary of the Forum, was begun in 307 by co-Emperor Maxentius. Constantine completed the Basilica after he defeated Maxentius at the Battle of the Milvian Bridge in 312. Constantine seems to have reorientated the building, changing the site of the principal entrance and adding a new northern apse. With these changes, including the great statue in the west apse, Constantine publicly and visibly declared his overthrow of his vanquished adversary. Precise dating of the statue itself is problematical; it has been suggested that a date of 312–315 for the initial creation of the statue is likely from political considerations, whilst a substantial reworking of the features some time after 325 is indicated on art-historical grounds.
The Colossus was pillaged sometime in Late Antiquity, most likely for the bronze body portions. The marble portions of the statue were brought to light in 1486. The surviving remnants were later removed from the Basilica and placed in the nearby Palazzo dei Conservatori Courtyard by Michelangelo, who was working in the area. Strangely, there are two right hands (with upraised index fingers) amongst the remains of the statue, which differ slightly. It has been proposed that the statue was re-worked at some time late in Constantine's reign and a hand holding a sceptre was replaced by a hand holding a Christian symbol.The marble fragments underwent restoration during 2000–2001. Between 6 and 10 February 2006, a 3D laser scan of the fragments was carried out on behalf of the Land of Rhineland-Palatinate in collaboration with the Capitoline Museums in Rome. Both reconstruction and castings were displayed from 2 June to 4 November 2007 as part of the major cultural and historical "Constantine the Great" Exhibition in Trier, Germany.
|
[
"apse",
"Trier",
"Late Antiquity",
"Constantine the Great",
"Rome",
"Christ",
"Maxentius",
"Palazzo dei Conservatori",
"Battle of the Milvian Bridge",
"bronze",
"Basilica of Maxentius",
"Capitoline Museums",
"Michelangelo",
"Land",
"Rhineland-Palatinate"
] |
|
14628_NT
|
Colossus of Constantine
|
In this artwork, how is the History discussed?
|
The Basilica of Maxentius, on the northern boundary of the Forum, was begun in 307 by co-Emperor Maxentius. Constantine completed the Basilica after he defeated Maxentius at the Battle of the Milvian Bridge in 312. Constantine seems to have reorientated the building, changing the site of the principal entrance and adding a new northern apse. With these changes, including the great statue in the west apse, Constantine publicly and visibly declared his overthrow of his vanquished adversary. Precise dating of the statue itself is problematical; it has been suggested that a date of 312–315 for the initial creation of the statue is likely from political considerations, whilst a substantial reworking of the features some time after 325 is indicated on art-historical grounds.
The Colossus was pillaged sometime in Late Antiquity, most likely for the bronze body portions. The marble portions of the statue were brought to light in 1486. The surviving remnants were later removed from the Basilica and placed in the nearby Palazzo dei Conservatori Courtyard by Michelangelo, who was working in the area. Strangely, there are two right hands (with upraised index fingers) amongst the remains of the statue, which differ slightly. It has been proposed that the statue was re-worked at some time late in Constantine's reign and a hand holding a sceptre was replaced by a hand holding a Christian symbol.The marble fragments underwent restoration during 2000–2001. Between 6 and 10 February 2006, a 3D laser scan of the fragments was carried out on behalf of the Land of Rhineland-Palatinate in collaboration with the Capitoline Museums in Rome. Both reconstruction and castings were displayed from 2 June to 4 November 2007 as part of the major cultural and historical "Constantine the Great" Exhibition in Trier, Germany.
|
[
"apse",
"Trier",
"Late Antiquity",
"Constantine the Great",
"Rome",
"Christ",
"Maxentius",
"Palazzo dei Conservatori",
"Battle of the Milvian Bridge",
"bronze",
"Basilica of Maxentius",
"Capitoline Museums",
"Michelangelo",
"Land",
"Rhineland-Palatinate"
] |
|
14629_T
|
The Large Plane Trees
|
Focus on The Large Plane Trees and explore the abstract.
|
The Large Plane Trees, also called Road Menders at Saint-Rémy is an oil painting by Vincent van Gogh. Painted in 1889 in Saint-Rémy, France, the painting depicts roadwork underneath autumn trees with yellow leaves. In actuality, "The Large Plane Trees" and the "Road Menders of Saint-Rémy" are two different paintings and are sometimes confused as one. Van Gogh painted "The Large Plane Trees" first on a red and white checkered table cloth. He later returned and painted it again on an art canvas.
It is in the collection of the Cleveland Museum of Art.
|
[
"Saint-Rémy",
"Cleveland Museum of Art",
"Vincent van Gogh"
] |
|
14629_NT
|
The Large Plane Trees
|
Focus on this artwork and explore the abstract.
|
The Large Plane Trees, also called Road Menders at Saint-Rémy is an oil painting by Vincent van Gogh. Painted in 1889 in Saint-Rémy, France, the painting depicts roadwork underneath autumn trees with yellow leaves. In actuality, "The Large Plane Trees" and the "Road Menders of Saint-Rémy" are two different paintings and are sometimes confused as one. Van Gogh painted "The Large Plane Trees" first on a red and white checkered table cloth. He later returned and painted it again on an art canvas.
It is in the collection of the Cleveland Museum of Art.
|
[
"Saint-Rémy",
"Cleveland Museum of Art",
"Vincent van Gogh"
] |
|
14630_T
|
The Large Plane Trees
|
Focus on The Large Plane Trees and explain the Description.
|
The Large Plane Trees is an oil painting on a 73.4 by 91.8 cm canvas. Van Gogh depicted road work in Saint-Rémy, and the autumn yellow leaves of plane trees.
This scene was repeated in The Road Menders, part of the Philips Collection in Washington D.C. In 2013, the two paintings were displayed together as part of the Van Gogh Repetitions exhibition at the Phillips Collection before The Large Plane Trees was moved to the Cleveland Museum of Art. Analysis shows that The Large Plane Trees was created first, with The Road Menders being a copy with virtually identical outlines.
|
[
"Saint-Rémy",
"Cleveland Museum of Art",
"Philips Collection"
] |
|
14630_NT
|
The Large Plane Trees
|
Focus on this artwork and explain the Description.
|
The Large Plane Trees is an oil painting on a 73.4 by 91.8 cm canvas. Van Gogh depicted road work in Saint-Rémy, and the autumn yellow leaves of plane trees.
This scene was repeated in The Road Menders, part of the Philips Collection in Washington D.C. In 2013, the two paintings were displayed together as part of the Van Gogh Repetitions exhibition at the Phillips Collection before The Large Plane Trees was moved to the Cleveland Museum of Art. Analysis shows that The Large Plane Trees was created first, with The Road Menders being a copy with virtually identical outlines.
|
[
"Saint-Rémy",
"Cleveland Museum of Art",
"Philips Collection"
] |
|
14631_T
|
Lady the Lambovitissa
|
Explore the abstract of this artwork, Lady the Lambovitissa.
|
Lady the Lambovitissa is a tempera painting by Emmanuel Tzanes. Tzanes was a Greek painter active from 1625 to 1690. His artistic periods can be broken into three parts. The Cretan Period (1625-1647), The Corfu Period (1647-1655), and the Venetian Period (1655-1690). He was a prominent member of the Late Cretan School. His art was heavily influenced by Greek painter Michael Damaskinos. His brothers Marinos Tzanes and Konstantinos Tzanes were both painters. Tzanes has a massive art collection attributed to him nearing over one hundred thirty works. During the Corfu Period (1647-1655), Konstantinos Tzanes and Emmanuel were heavily active. They painted many works on the island.The Virgin and Child enthroned was a popular theme painted by both Greek and Italian Byzantine painters. One of the most famous renditions is in Hagia Sophia. Cretan Painters adopted the theme. Georgios Klontzas and Andreas Ritzos both have notable versions. Lady the Lambovitissa was completed 1684. Konstantinos also created a similar version of the Virgin and Child Enthroned in Corfu around 1654. The Konstantinos version is still in Corfu at the Cathedral of Saint James and Saint Christopher. Lady the Lambovitissa features similarities to the style of Nikolaos Tzafouris. Lady the Lambovitissa derived its name from the Lambovitissa Monastery in Corfu. The painting is part of the Dionysios Loverdos Collection at the Byzantine and Christian Museum.
|
[
"Georgios Klontzas",
"Konstantinos",
"Konstantinos Tzanes",
"Andreas Ritzos",
"Emmanuel Tzanes",
"Marinos Tzanes",
"Byzantine and Christian Museum",
"Tzanes",
"Cathedral of Saint James and Saint Christopher",
"Emmanuel",
"Cretan School",
"Nikolaos Tzafouris",
"Late Cretan School",
"Konstantino",
"Hagia Sophia",
"Tzafouris",
"Ritzos",
"Michael Damaskinos"
] |
|
14631_NT
|
Lady the Lambovitissa
|
Explore the abstract of this artwork.
|
Lady the Lambovitissa is a tempera painting by Emmanuel Tzanes. Tzanes was a Greek painter active from 1625 to 1690. His artistic periods can be broken into three parts. The Cretan Period (1625-1647), The Corfu Period (1647-1655), and the Venetian Period (1655-1690). He was a prominent member of the Late Cretan School. His art was heavily influenced by Greek painter Michael Damaskinos. His brothers Marinos Tzanes and Konstantinos Tzanes were both painters. Tzanes has a massive art collection attributed to him nearing over one hundred thirty works. During the Corfu Period (1647-1655), Konstantinos Tzanes and Emmanuel were heavily active. They painted many works on the island.The Virgin and Child enthroned was a popular theme painted by both Greek and Italian Byzantine painters. One of the most famous renditions is in Hagia Sophia. Cretan Painters adopted the theme. Georgios Klontzas and Andreas Ritzos both have notable versions. Lady the Lambovitissa was completed 1684. Konstantinos also created a similar version of the Virgin and Child Enthroned in Corfu around 1654. The Konstantinos version is still in Corfu at the Cathedral of Saint James and Saint Christopher. Lady the Lambovitissa features similarities to the style of Nikolaos Tzafouris. Lady the Lambovitissa derived its name from the Lambovitissa Monastery in Corfu. The painting is part of the Dionysios Loverdos Collection at the Byzantine and Christian Museum.
|
[
"Georgios Klontzas",
"Konstantinos",
"Konstantinos Tzanes",
"Andreas Ritzos",
"Emmanuel Tzanes",
"Marinos Tzanes",
"Byzantine and Christian Museum",
"Tzanes",
"Cathedral of Saint James and Saint Christopher",
"Emmanuel",
"Cretan School",
"Nikolaos Tzafouris",
"Late Cretan School",
"Konstantino",
"Hagia Sophia",
"Tzafouris",
"Ritzos",
"Michael Damaskinos"
] |
|
14632_T
|
Lady the Lambovitissa
|
Focus on Lady the Lambovitissa and discuss the Description.
|
The materials used for the massive icon were egg tempera paint on wood. The painter also used gold leaf. The painting was completed in 1684. The height is 60.2 in (152.9 cm) and the width is 40.6 in (103.1 cm) exactly five feet tall. The Virgin is seated within a niche. Many painters used the niche in their works. The Madonna and Child by Filippo Lippi also features a similar shell-like niche behind the Virgin Mary. The Virgin is seated in a niche-like throne in Emmanuel's painting. The throne is elaborately decorated. Both Konstantinos and Emmanuel painted a similar throne. Konstantino's version lacks the shell like niche. In Emmanuel's version the Theotokos is crowned by a white dove while in Konstantino's version the Theotokos is crowned by two angels. Emmanuel's angels marvel at the Virgin and Child. The majestic throne features two symmetric decorative round orbs. Above the orbs follow two symmetric corinthian-like columns. The Virgin's heavenly crown is adorned with precious jewels.The Virgin's face is very natural. The child is looking at the viewer. The child holds a banner in his left hand versus the typical scroll prevalent in Cretan paintings. The child is seated on an elaborately decorated pillow. Both the Virgin and Child are dressed in majestic attire. The artist's color palette for the main figures features red, blue, green, and orange. The painter presents luxuriant patterns and
brilliant colors. The folds of fabric and shadows are clearly evident. Konstantinos uses more shadows to provide a sense of realism. The detail in Emmanuel's work is featured around the Virgin's legs. Brilliant diagonal lines, patterns, and shadows are present. The shadows illustrate a three-dimensional throne. Both brothers elevated the Greek style to another level defining the Late Cretan School.
|
[
"Konstantinos",
"Emmanuel",
"Cretan School",
"white dove",
"Theotokos",
"Late Cretan School",
"Konstantino",
"Filippo Lippi"
] |
|
14632_NT
|
Lady the Lambovitissa
|
Focus on this artwork and discuss the Description.
|
The materials used for the massive icon were egg tempera paint on wood. The painter also used gold leaf. The painting was completed in 1684. The height is 60.2 in (152.9 cm) and the width is 40.6 in (103.1 cm) exactly five feet tall. The Virgin is seated within a niche. Many painters used the niche in their works. The Madonna and Child by Filippo Lippi also features a similar shell-like niche behind the Virgin Mary. The Virgin is seated in a niche-like throne in Emmanuel's painting. The throne is elaborately decorated. Both Konstantinos and Emmanuel painted a similar throne. Konstantino's version lacks the shell like niche. In Emmanuel's version the Theotokos is crowned by a white dove while in Konstantino's version the Theotokos is crowned by two angels. Emmanuel's angels marvel at the Virgin and Child. The majestic throne features two symmetric decorative round orbs. Above the orbs follow two symmetric corinthian-like columns. The Virgin's heavenly crown is adorned with precious jewels.The Virgin's face is very natural. The child is looking at the viewer. The child holds a banner in his left hand versus the typical scroll prevalent in Cretan paintings. The child is seated on an elaborately decorated pillow. Both the Virgin and Child are dressed in majestic attire. The artist's color palette for the main figures features red, blue, green, and orange. The painter presents luxuriant patterns and
brilliant colors. The folds of fabric and shadows are clearly evident. Konstantinos uses more shadows to provide a sense of realism. The detail in Emmanuel's work is featured around the Virgin's legs. Brilliant diagonal lines, patterns, and shadows are present. The shadows illustrate a three-dimensional throne. Both brothers elevated the Greek style to another level defining the Late Cretan School.
|
[
"Konstantinos",
"Emmanuel",
"Cretan School",
"white dove",
"Theotokos",
"Late Cretan School",
"Konstantino",
"Filippo Lippi"
] |
|
14633_T
|
Men in Her Life (painting)
|
How does Men in Her Life (painting) elucidate its Painting style?
|
It is a series of photos picturing the most important men in the life of Elizabeth Taylor, including her third husband Mike Todd and her future husband Eddie Fisher.
|
[
"Eddie Fisher",
"Mike Todd",
"Elizabeth Taylor"
] |
|
14633_NT
|
Men in Her Life (painting)
|
How does this artwork elucidate its Painting style?
|
It is a series of photos picturing the most important men in the life of Elizabeth Taylor, including her third husband Mike Todd and her future husband Eddie Fisher.
|
[
"Eddie Fisher",
"Mike Todd",
"Elizabeth Taylor"
] |
|
14634_T
|
Men in Her Life (painting)
|
Focus on Men in Her Life (painting) and analyze the History and price.
|
The painting was sold for $63,362,500 in 2010 by Phillips de Pury & Co. The final sum was a surprise even for the organizers, which evaluated the painting at 40 million dollars initially. The name of the buyer was not disclosed to the public - though it has been reported to be Sheikh Hamad bin Khalifa Al-Thani.
|
[
"Sheikh Hamad bin Khalifa Al-Thani"
] |
|
14634_NT
|
Men in Her Life (painting)
|
Focus on this artwork and analyze the History and price.
|
The painting was sold for $63,362,500 in 2010 by Phillips de Pury & Co. The final sum was a surprise even for the organizers, which evaluated the painting at 40 million dollars initially. The name of the buyer was not disclosed to the public - though it has been reported to be Sheikh Hamad bin Khalifa Al-Thani.
|
[
"Sheikh Hamad bin Khalifa Al-Thani"
] |
|
14635_T
|
The Holy Family and the Family of Saint John the Baptist
|
In The Holy Family and the Family of Saint John the Baptist, how is the abstract discussed?
|
The Holy Family and the Family of Saint John the Baptist is a casein tempera on canvas painting with gilding, measuring 40 by 169 cm and dating to around 1504-1506. It was painted by Andrea Mantegna and was mentioned by his second son Francesco as still being in Andrea's studio on his death in 1506. According to Andrea's wishes, both it and Baptism of Christ were assigned to his funerary chapel in the Basilica of Sant'Andrea, Mantua, where they still hang. The choice of theme is linked to the chapel's dedication to John the Baptist.On the left are Saint Joseph, the Virgin Mary and the Christ Child and on the right are the infant John the Baptist with his parents Saint Elizabeth and Saint Zacharias. Zacharias holds a strange ampulla, possibly a censor. In the background is a hedge bearing lemons, as also seen in the same artist's Trivulzio Madonna (1497).
|
[
"Basilica of Sant'Andrea",
"Mantegna",
"1504",
"Basilica of Sant'Andrea, Mantua",
"Saint Elizabeth",
"Saint Zacharias",
"John the Baptist",
"casein tempera",
"Baptism of Christ",
"Mantua",
"Andrea Mantegna",
"Saint Joseph",
"Trivulzio Madonna",
"1506"
] |
|
14635_NT
|
The Holy Family and the Family of Saint John the Baptist
|
In this artwork, how is the abstract discussed?
|
The Holy Family and the Family of Saint John the Baptist is a casein tempera on canvas painting with gilding, measuring 40 by 169 cm and dating to around 1504-1506. It was painted by Andrea Mantegna and was mentioned by his second son Francesco as still being in Andrea's studio on his death in 1506. According to Andrea's wishes, both it and Baptism of Christ were assigned to his funerary chapel in the Basilica of Sant'Andrea, Mantua, where they still hang. The choice of theme is linked to the chapel's dedication to John the Baptist.On the left are Saint Joseph, the Virgin Mary and the Christ Child and on the right are the infant John the Baptist with his parents Saint Elizabeth and Saint Zacharias. Zacharias holds a strange ampulla, possibly a censor. In the background is a hedge bearing lemons, as also seen in the same artist's Trivulzio Madonna (1497).
|
[
"Basilica of Sant'Andrea",
"Mantegna",
"1504",
"Basilica of Sant'Andrea, Mantua",
"Saint Elizabeth",
"Saint Zacharias",
"John the Baptist",
"casein tempera",
"Baptism of Christ",
"Mantua",
"Andrea Mantegna",
"Saint Joseph",
"Trivulzio Madonna",
"1506"
] |
|
14636_T
|
Christ of the Lanterns
|
Focus on Christ of the Lanterns and explore the abstract.
|
The Christ of Atonement and Mercy, popularly known as the Christ of the Lanterns (Spanish: Cristo de los Faroles), is a large Crucifix located at the Plaza de los Capuchinos in Cordoba, Spain.
The sculpture was created in 1794 by the sculptor Juan Navarro León under a commission by the Capuchin friar Diego José de Cádiz. Its popular name comes from the eight lanterns set on iron mounts that illuminate it. The current appearance of the sculpture has developed with the construction of a fence in the 20th century and the replacement of the lanterns with darker ones in 1984.
|
[
"Cordoba",
"Plaza de los Capuchinos",
"Crucifix",
"Spain",
"Juan Navarro León",
"Diego José de Cádiz",
"Capuchin"
] |
|
14636_NT
|
Christ of the Lanterns
|
Focus on this artwork and explore the abstract.
|
The Christ of Atonement and Mercy, popularly known as the Christ of the Lanterns (Spanish: Cristo de los Faroles), is a large Crucifix located at the Plaza de los Capuchinos in Cordoba, Spain.
The sculpture was created in 1794 by the sculptor Juan Navarro León under a commission by the Capuchin friar Diego José de Cádiz. Its popular name comes from the eight lanterns set on iron mounts that illuminate it. The current appearance of the sculpture has developed with the construction of a fence in the 20th century and the replacement of the lanterns with darker ones in 1984.
|
[
"Cordoba",
"Plaza de los Capuchinos",
"Crucifix",
"Spain",
"Juan Navarro León",
"Diego José de Cádiz",
"Capuchin"
] |
|
14637_T
|
Wasahaban
|
Focus on Wasahaban and explain the abstract.
|
Wasahaban is a 1978 painted aluminum sculpture by Robert Murray, installed outside the Columbus Museum of Art in Columbus, Ohio, United States. The abstract artwork, painted blue-green, is 7 ft., 6 in. tall and 6 ft. wide. It was fabricated by Lippincott, Inc., and acquired by the museum in 1979 with funds provided by the Hattie W. and Robert Lazarus Fund of The Columbus Foundation, as well as the National Endowment for the Arts.
|
[
"National Endowment for the Arts",
"Columbus Museum of Art",
"Robert Murray",
"Columbus, Ohio"
] |
|
14637_NT
|
Wasahaban
|
Focus on this artwork and explain the abstract.
|
Wasahaban is a 1978 painted aluminum sculpture by Robert Murray, installed outside the Columbus Museum of Art in Columbus, Ohio, United States. The abstract artwork, painted blue-green, is 7 ft., 6 in. tall and 6 ft. wide. It was fabricated by Lippincott, Inc., and acquired by the museum in 1979 with funds provided by the Hattie W. and Robert Lazarus Fund of The Columbus Foundation, as well as the National Endowment for the Arts.
|
[
"National Endowment for the Arts",
"Columbus Museum of Art",
"Robert Murray",
"Columbus, Ohio"
] |
|
14638_T
|
Five Bathing Women at a Lake
|
Explore the abstract of this artwork, Five Bathing Women at a Lake.
|
Five Bathing at a Lake (German: Fünf badende am See) is a 1911 oil-on-canvas painting by the Expressionist German painter Ernst Ludwig Kirchner. It depicts five nude women, in different poses, near a lake. The painting is in the Brücke Museum in Berlin.
|
[
"Brücke Museum",
"canvas",
"Expressionist",
"German",
"Ernst Ludwig Kirchner",
"Berlin"
] |
|
14638_NT
|
Five Bathing Women at a Lake
|
Explore the abstract of this artwork.
|
Five Bathing at a Lake (German: Fünf badende am See) is a 1911 oil-on-canvas painting by the Expressionist German painter Ernst Ludwig Kirchner. It depicts five nude women, in different poses, near a lake. The painting is in the Brücke Museum in Berlin.
|
[
"Brücke Museum",
"canvas",
"Expressionist",
"German",
"Ernst Ludwig Kirchner",
"Berlin"
] |
|
14639_T
|
The Virgin and Child with Four Holy Virgins
|
Focus on The Virgin and Child with Four Holy Virgins and discuss the abstract.
|
The Virgin and Child with Four Holy Virgins is a 15th-century oil on panel painting by the Dutch artist Master of the Virgo inter Virgines in the collection of the Rijksmuseum.This painting is a former altarpiece of the convent of Koningsveld, near Delft, which was demolished in 1573. It shows the Virgin Mary with Saint Catherine, Saint Cecilia, Saint Ursula, and Saint Barbara in holy communion, or Virgo inter Virgines. The painting is undated, but based on compositional details has been considered a "late work" by the master and therefore dates to the 1490s. This holy communion is often depicted in an enclosed garden or courtyard such as the one in this painting. This courtyard with its open gate has compositional characteristics similar to the ones in the painting by the Master of the Spes Nostra, also in the Rijksmuseum. Unusual is the prominent role of Saint Ursula in the painting, as well as the presence of the two male figures who are difficult to identify.
The painting was attributed to the brothers Jan and Hubert van Eyck until Max J. Friedlander identified it as the work of a different artist in 1903.
|
[
"Master of the Virgo inter Virgines",
"Catherine",
"Delft",
"Hubert van Eyck",
"Saint Barbara",
"Max J. Friedlander",
"Virgo inter Virgines",
"Saint Ursula",
"convent",
"Rijksmuseum",
"oil on panel",
"Saint Cecilia"
] |
|
14639_NT
|
The Virgin and Child with Four Holy Virgins
|
Focus on this artwork and discuss the abstract.
|
The Virgin and Child with Four Holy Virgins is a 15th-century oil on panel painting by the Dutch artist Master of the Virgo inter Virgines in the collection of the Rijksmuseum.This painting is a former altarpiece of the convent of Koningsveld, near Delft, which was demolished in 1573. It shows the Virgin Mary with Saint Catherine, Saint Cecilia, Saint Ursula, and Saint Barbara in holy communion, or Virgo inter Virgines. The painting is undated, but based on compositional details has been considered a "late work" by the master and therefore dates to the 1490s. This holy communion is often depicted in an enclosed garden or courtyard such as the one in this painting. This courtyard with its open gate has compositional characteristics similar to the ones in the painting by the Master of the Spes Nostra, also in the Rijksmuseum. Unusual is the prominent role of Saint Ursula in the painting, as well as the presence of the two male figures who are difficult to identify.
The painting was attributed to the brothers Jan and Hubert van Eyck until Max J. Friedlander identified it as the work of a different artist in 1903.
|
[
"Master of the Virgo inter Virgines",
"Catherine",
"Delft",
"Hubert van Eyck",
"Saint Barbara",
"Max J. Friedlander",
"Virgo inter Virgines",
"Saint Ursula",
"convent",
"Rijksmuseum",
"oil on panel",
"Saint Cecilia"
] |
|
14640_T
|
Statue of George Vancouver (Vancouver, Washington)
|
How does Statue of George Vancouver (Vancouver, Washington) elucidate its abstract?
|
Captain George Vancouver is a 2000 bronze sculpture depicting George Vancouver by Jim Demetro, installed in Vancouver, Washington, United States. The statue, installed at the corner of Sixth and Esther streets near Esther Short Park, is 9 feet (2.7 m) tall and weighs approximately 1,500 lbs. It cost approximately $70,000 and was funded by private donors.
|
[
"bronze sculpture",
"George Vancouver",
"Jim Demetro",
"Esther Short Park",
"Vancouver, Washington"
] |
|
14640_NT
|
Statue of George Vancouver (Vancouver, Washington)
|
How does this artwork elucidate its abstract?
|
Captain George Vancouver is a 2000 bronze sculpture depicting George Vancouver by Jim Demetro, installed in Vancouver, Washington, United States. The statue, installed at the corner of Sixth and Esther streets near Esther Short Park, is 9 feet (2.7 m) tall and weighs approximately 1,500 lbs. It cost approximately $70,000 and was funded by private donors.
|
[
"bronze sculpture",
"George Vancouver",
"Jim Demetro",
"Esther Short Park",
"Vancouver, Washington"
] |
|
14641_T
|
Inversion: Plus Minus
|
Focus on Inversion: Plus Minus and analyze the abstract.
|
Inversion: Plus Minus (sometimes stylized as Inversion +/-) is a pair of outdoor sculptures designed by artists and architects Annie Han and Daniel Mihalyo, located in southeast Portland, Oregon. The sculptures, constructed from weathered steel angle iron, are sited near the Morrison Bridge and Hawthorne Bridge along Southeast Grand Avenue and represent "ghosts" of former buildings. The installation on Belmont Street emphasizes "negative space" while the sculpture on Hawthorne Street appears as a more solid matrix of metal. According to the artists, the works are reminiscent of industrial buildings that existed on the project sites historically. Inversion was funded by the two percent for art ordinance as part of the expansion of the Eastside Portland Streetcar line and is managed by the Regional Arts & Culture Council.
|
[
"Regional Arts & Culture Council",
"Portland, Oregon",
"Morrison Bridge",
"Daniel Mihalyo",
"Portland Streetcar",
"Hawthorne Bridge",
"Annie Han"
] |
|
14641_NT
|
Inversion: Plus Minus
|
Focus on this artwork and analyze the abstract.
|
Inversion: Plus Minus (sometimes stylized as Inversion +/-) is a pair of outdoor sculptures designed by artists and architects Annie Han and Daniel Mihalyo, located in southeast Portland, Oregon. The sculptures, constructed from weathered steel angle iron, are sited near the Morrison Bridge and Hawthorne Bridge along Southeast Grand Avenue and represent "ghosts" of former buildings. The installation on Belmont Street emphasizes "negative space" while the sculpture on Hawthorne Street appears as a more solid matrix of metal. According to the artists, the works are reminiscent of industrial buildings that existed on the project sites historically. Inversion was funded by the two percent for art ordinance as part of the expansion of the Eastside Portland Streetcar line and is managed by the Regional Arts & Culture Council.
|
[
"Regional Arts & Culture Council",
"Portland, Oregon",
"Morrison Bridge",
"Daniel Mihalyo",
"Portland Streetcar",
"Hawthorne Bridge",
"Annie Han"
] |
|
14642_T
|
Inversion: Plus Minus
|
In Inversion: Plus Minus, how is the Description and history discussed?
|
Inversion: Plus Minus was designed by Annie Han and Daniel Mihalyo, artists and architects with Seattle-based Lead Pencil Studio and recipients of the 2007–2008 Rome Prize for Architecture from the American Academy in Rome. Han and Mihalyo had prior connections to Oregon; Han attended Portland's David Douglas High School and both studied at the University of Oregon's School of Architecture and Allied Arts. Inversion consists of two outdoor sculptures representing "ghosts" of former buildings. Both sculptures, constructed from weathered steel angle iron, are sited near the Morrison Bridge and Hawthorne Bridge along Southeast Grand Avenue. The Belmont Street installation features an outline of a "building", highlighting the work's "negative space". Conversely, the Hawthorne Street installation includes a metal matrix, appearing almost solid. According to Han and Mihalyo, "The sculptures reference the outer shells of ordinary industrial buildings found in the Central Eastside Industrial Area like those that once existed on the project sites."Funding for the public art project was provided by the Percent for Art ordinance, which requires that two percent of publicly funded city construction projects be used for public art, as part of the expansion of the eastside Portland Streetcar line. The works were chosen by a panel of local artists and members of the community. According to one panelist, "We were looking for work that not only brought something new and unexpected but had an underlying narrative that spoke to the site—something very specific to the location and overall DNA of the neighborhood." The same panelist appreciated Inversion's historical aspects as well as the ability to interact with each sculpture at different times of the day. Another installation associated with this expansion included Jorge Pardo's sculptural shelter at the east end of the Burnside Bridge featuring "rain on the outside, sunshine on the inside". In August 2012, The Oregonian reported the installations would be completed by the end of the year. Han and Mihalyo resided in Portland and rented a fabrication shop during the project's implementation. Inversion is managed by the Regional Arts & Culture Council.
|
[
"Regional Arts & Culture Council",
"The Oregonian",
"School of Architecture and Allied Arts",
"Morrison Bridge",
"Daniel Mihalyo",
"David Douglas High School",
"University of Oregon",
"Portland Streetcar",
"Burnside Bridge",
"Hawthorne Bridge",
"Rome Prize",
"Annie Han",
"American Academy in Rome"
] |
|
14642_NT
|
Inversion: Plus Minus
|
In this artwork, how is the Description and history discussed?
|
Inversion: Plus Minus was designed by Annie Han and Daniel Mihalyo, artists and architects with Seattle-based Lead Pencil Studio and recipients of the 2007–2008 Rome Prize for Architecture from the American Academy in Rome. Han and Mihalyo had prior connections to Oregon; Han attended Portland's David Douglas High School and both studied at the University of Oregon's School of Architecture and Allied Arts. Inversion consists of two outdoor sculptures representing "ghosts" of former buildings. Both sculptures, constructed from weathered steel angle iron, are sited near the Morrison Bridge and Hawthorne Bridge along Southeast Grand Avenue. The Belmont Street installation features an outline of a "building", highlighting the work's "negative space". Conversely, the Hawthorne Street installation includes a metal matrix, appearing almost solid. According to Han and Mihalyo, "The sculptures reference the outer shells of ordinary industrial buildings found in the Central Eastside Industrial Area like those that once existed on the project sites."Funding for the public art project was provided by the Percent for Art ordinance, which requires that two percent of publicly funded city construction projects be used for public art, as part of the expansion of the eastside Portland Streetcar line. The works were chosen by a panel of local artists and members of the community. According to one panelist, "We were looking for work that not only brought something new and unexpected but had an underlying narrative that spoke to the site—something very specific to the location and overall DNA of the neighborhood." The same panelist appreciated Inversion's historical aspects as well as the ability to interact with each sculpture at different times of the day. Another installation associated with this expansion included Jorge Pardo's sculptural shelter at the east end of the Burnside Bridge featuring "rain on the outside, sunshine on the inside". In August 2012, The Oregonian reported the installations would be completed by the end of the year. Han and Mihalyo resided in Portland and rented a fabrication shop during the project's implementation. Inversion is managed by the Regional Arts & Culture Council.
|
[
"Regional Arts & Culture Council",
"The Oregonian",
"School of Architecture and Allied Arts",
"Morrison Bridge",
"Daniel Mihalyo",
"David Douglas High School",
"University of Oregon",
"Portland Streetcar",
"Burnside Bridge",
"Hawthorne Bridge",
"Rome Prize",
"Annie Han",
"American Academy in Rome"
] |
|
14643_T
|
Jewel of Vicenza
|
Focus on Jewel of Vicenza and explore the abstract.
|
The Jewel of Vicenza (Italian: Gioiello di Vicenza) was a silver model of the city of Vicenza made as an ex-voto in the 16th century and attributed to the architect Andrea Palladio. The Jewel was stolen by the Napoleonic army during the Italian Campaign in the French Revolutionary Wars and subsequently destroyed. A copy was created between 2012 and 2013.
|
[
"Gioiello di Vicenza",
"Andrea Palladio",
"Napoleonic army",
"Vicenza",
"ex-voto",
"Italian Campaign in the French Revolutionary Wars"
] |
|
14643_NT
|
Jewel of Vicenza
|
Focus on this artwork and explore the abstract.
|
The Jewel of Vicenza (Italian: Gioiello di Vicenza) was a silver model of the city of Vicenza made as an ex-voto in the 16th century and attributed to the architect Andrea Palladio. The Jewel was stolen by the Napoleonic army during the Italian Campaign in the French Revolutionary Wars and subsequently destroyed. A copy was created between 2012 and 2013.
|
[
"Gioiello di Vicenza",
"Andrea Palladio",
"Napoleonic army",
"Vicenza",
"ex-voto",
"Italian Campaign in the French Revolutionary Wars"
] |
|
14644_T
|
Jewel of Vicenza
|
Focus on Jewel of Vicenza and explain the History.
|
The precious Jewel was made of silver plates on a wood frame. It was completed in 1578. It's not certain that Andrea Palladio created the model, but the bond between two Bishops of Vicenza (Niccolò Ridolfi and his successor Matteo Priuli) suggests that Palladio's role as director of city life was more important than his role as architect. For him, the Jewel might have represented his mental conception of the city of Vicenza. It can possibly be attributed to a goldsmith of the Capobianco family, as is supported by a document found in 2012 in the "Sanctuary of the Madonna" of Monte Berico.
The citizens offered the Jewel as an ex-voto to the "Madonna of Mount Berico" in order to avoid the Plague of Saint Charles Borromeo that had spread two years before in the Duchy of Milan with some infection cases in the western cities of the Republic of Venice and up to Verona. Despite poor conditions, the citizenship united and provided a modest gift from each family. Vicenza was spared (until the great Italian plague of 1629–1631), so the Jewel was initially displayed in the church of Monte Berico next to the "Santuario della Madonna di Monte Berico".
Between the 17th and the 18th century, six oil paintings were made that represented the first patron saint of the city, Saint Vincent, holding the silver Jewel in his hands. The paintings that portray Saint Vincent holding the precious model are the main evidence we have of the model's appearance. The paintings show the Jewel from different points of view, which provides information about its three-dimensional form. The model is a main element in each of the pictures; Vicenza is seen from the front, offered by Saint Vincent, and enclosed in its medieval walls. In that period, the distinction between the borghi (boroughs) over the walls and the inner part of the city, nowadays the Old Town of Vicenza, already existed.Under the Napoleonic government, the French troops looted Vicenza of cultural artifacts in 1797, as they did throughout most of Italy. The armée française, having seized the Sanctuary, brought the Jewel of Vicenza back to France because they thought it was completely made out of silver. They attempted to melt the model down, but it burned instead, as it was made of wood and only covered by a silver coating. With its destruction, Vicenza lost an important artifact from its century-long history of goldsmithing.
|
[
"Verona",
"Duchy of Milan",
"Milan",
"Matteo Priuli",
"Andrea Palladio",
"Republic of Venice",
"Monte Berico",
"Niccolò Ridolfi",
"Italian plague of 1629–1631",
"Vicenza",
"armée française",
"ex-voto",
"Plague",
"oil painting",
"French troops looted",
"Saint Charles Borromeo",
"Charles Borromeo",
"Saint Vincent"
] |
|
14644_NT
|
Jewel of Vicenza
|
Focus on this artwork and explain the History.
|
The precious Jewel was made of silver plates on a wood frame. It was completed in 1578. It's not certain that Andrea Palladio created the model, but the bond between two Bishops of Vicenza (Niccolò Ridolfi and his successor Matteo Priuli) suggests that Palladio's role as director of city life was more important than his role as architect. For him, the Jewel might have represented his mental conception of the city of Vicenza. It can possibly be attributed to a goldsmith of the Capobianco family, as is supported by a document found in 2012 in the "Sanctuary of the Madonna" of Monte Berico.
The citizens offered the Jewel as an ex-voto to the "Madonna of Mount Berico" in order to avoid the Plague of Saint Charles Borromeo that had spread two years before in the Duchy of Milan with some infection cases in the western cities of the Republic of Venice and up to Verona. Despite poor conditions, the citizenship united and provided a modest gift from each family. Vicenza was spared (until the great Italian plague of 1629–1631), so the Jewel was initially displayed in the church of Monte Berico next to the "Santuario della Madonna di Monte Berico".
Between the 17th and the 18th century, six oil paintings were made that represented the first patron saint of the city, Saint Vincent, holding the silver Jewel in his hands. The paintings that portray Saint Vincent holding the precious model are the main evidence we have of the model's appearance. The paintings show the Jewel from different points of view, which provides information about its three-dimensional form. The model is a main element in each of the pictures; Vicenza is seen from the front, offered by Saint Vincent, and enclosed in its medieval walls. In that period, the distinction between the borghi (boroughs) over the walls and the inner part of the city, nowadays the Old Town of Vicenza, already existed.Under the Napoleonic government, the French troops looted Vicenza of cultural artifacts in 1797, as they did throughout most of Italy. The armée française, having seized the Sanctuary, brought the Jewel of Vicenza back to France because they thought it was completely made out of silver. They attempted to melt the model down, but it burned instead, as it was made of wood and only covered by a silver coating. With its destruction, Vicenza lost an important artifact from its century-long history of goldsmithing.
|
[
"Verona",
"Duchy of Milan",
"Milan",
"Matteo Priuli",
"Andrea Palladio",
"Republic of Venice",
"Monte Berico",
"Niccolò Ridolfi",
"Italian plague of 1629–1631",
"Vicenza",
"armée française",
"ex-voto",
"Plague",
"oil painting",
"French troops looted",
"Saint Charles Borromeo",
"Charles Borromeo",
"Saint Vincent"
] |
|
14645_T
|
Jewel of Vicenza
|
Explore the Reconstruction of this artwork, Jewel of Vicenza.
|
In May 2010, a Committee for the Jewel of Vicenza was founded with the support of the Office of Cultural Heritage and other local institutions. The committee held a competition for a virtual restoration of the Jewel. The competition was won by the architect Romano Concato from Trissino, who compensated for the absence of original drawings by studying two paintings by Francesco Maffei and two others by Alessandro Maganza. The reconstruction was also developed by referencing medieval planimetrics of the city, the Pianta Angelica, designed by Giovanni Pittoni in 1580.In 2011, the Committee began the second part of its project—a collection of silver donations in order to recreate the model for Vicenza, as happened for the ancient ex-voto. The collection had 66 lb (30 kg) as its minimum target. In 2012, more than 110 lb (50 kg) of silver were collected (enough for the project), but ten of the most important goldsmiths of the city went on collecting until 25 December, to create additional funds for the reconstruction and its display.
|
[
"Pianta Angelica",
"Alessandro Maganza",
"Vicenza",
"ex-voto",
"planimetrics",
"Francesco Maffei",
"Trissino"
] |
|
14645_NT
|
Jewel of Vicenza
|
Explore the Reconstruction of this artwork.
|
In May 2010, a Committee for the Jewel of Vicenza was founded with the support of the Office of Cultural Heritage and other local institutions. The committee held a competition for a virtual restoration of the Jewel. The competition was won by the architect Romano Concato from Trissino, who compensated for the absence of original drawings by studying two paintings by Francesco Maffei and two others by Alessandro Maganza. The reconstruction was also developed by referencing medieval planimetrics of the city, the Pianta Angelica, designed by Giovanni Pittoni in 1580.In 2011, the Committee began the second part of its project—a collection of silver donations in order to recreate the model for Vicenza, as happened for the ancient ex-voto. The collection had 66 lb (30 kg) as its minimum target. In 2012, more than 110 lb (50 kg) of silver were collected (enough for the project), but ten of the most important goldsmiths of the city went on collecting until 25 December, to create additional funds for the reconstruction and its display.
|
[
"Pianta Angelica",
"Alessandro Maganza",
"Vicenza",
"ex-voto",
"planimetrics",
"Francesco Maffei",
"Trissino"
] |
|
14646_T
|
Jewel of Vicenza
|
In the context of Jewel of Vicenza, discuss the Features of the Reconstruction.
|
The new Jewel of Vicenza is a large round silver tray with a diameter of 58 cm (23 in) that supports more than 300 models of Vicenza buildings. Sixty-one of the models represent buildings of historical importance, such as the Basilica Palladiana, the Cathedral, the Torre Bissara, and dozens of churches. In the center of Piazza dei Signori, a gold model of the Rua was added, unannounced.The reconstruction of the Jewel was designed by proportioning the models using the golden ratio and studying the size of buildings from the time of its original construction so the three-dimensional reconstruction could be as close to the original as possible. The reconstruction started with small sculptures in modelled wax that served as a model for subsequent casting. The cast elements were then finished and embellished with chiseling and engraving.
The model is made of 925/1000 silver. The final weight was 33 lb (15 kg); and the total effort took around 2,000 hours of work.
|
[
"Torre Bissara",
"Vicenza",
"Basilica Palladiana",
"Cathedral",
"golden ratio",
"Piazza dei Signori"
] |
|
14646_NT
|
Jewel of Vicenza
|
In the context of this artwork, discuss the Features of the Reconstruction.
|
The new Jewel of Vicenza is a large round silver tray with a diameter of 58 cm (23 in) that supports more than 300 models of Vicenza buildings. Sixty-one of the models represent buildings of historical importance, such as the Basilica Palladiana, the Cathedral, the Torre Bissara, and dozens of churches. In the center of Piazza dei Signori, a gold model of the Rua was added, unannounced.The reconstruction of the Jewel was designed by proportioning the models using the golden ratio and studying the size of buildings from the time of its original construction so the three-dimensional reconstruction could be as close to the original as possible. The reconstruction started with small sculptures in modelled wax that served as a model for subsequent casting. The cast elements were then finished and embellished with chiseling and engraving.
The model is made of 925/1000 silver. The final weight was 33 lb (15 kg); and the total effort took around 2,000 hours of work.
|
[
"Torre Bissara",
"Vicenza",
"Basilica Palladiana",
"Cathedral",
"golden ratio",
"Piazza dei Signori"
] |
|
14647_T
|
Jewel of Vicenza
|
In Jewel of Vicenza, how is the Presentation of the Reconstruction elucidated?
|
On 15 June 2012 in Piazza dei Signori an official presentation on the reconstruction was held. Afterwards, the work began, combining the craftsmanship of silversmith Carlo Rossi and the sophisticated laser technology offered by a company in Bressanvido. In September 2012, at the Gallerie di Palazzo Leoni Montanari the finished tray was presented with its first complete building, the Church of San Lorenzo. From 6 April to 9 June 2013, halfway through the reconstruction, the Jewel was exhibited at the Diocesan Museum with the support of FAI. In the summer of 2013 the Jewel was completed; it was returned to the citizens for the town's patronal feast on 7 September. The reconstruction was included in the usual procession to the Basilica of St. Mary of Mount Berico in an official ceremony that had 30,000 participants.The Jewel is now permanently housed at the Diocesan Museum and placed next to the painting by Maffei, San Vincenzo with the model of the city of Vicenza.
In 2015, the Jewel was exhibited at Expo 2015 in Milan. At the exhibition, silversmith Carlo Rossi was awarded the Confartigianato Design Award 2015 for his creation of the reconstruction.
|
[
"FAI",
"Basilica of St. Mary of Mount Berico",
"Milan",
"Expo 2015",
"Vicenza",
"Gallerie di Palazzo Leoni Montanari",
"Confartigianato",
"Piazza dei Signori",
"Bressanvido"
] |
|
14647_NT
|
Jewel of Vicenza
|
In this artwork, how is the Presentation of the Reconstruction elucidated?
|
On 15 June 2012 in Piazza dei Signori an official presentation on the reconstruction was held. Afterwards, the work began, combining the craftsmanship of silversmith Carlo Rossi and the sophisticated laser technology offered by a company in Bressanvido. In September 2012, at the Gallerie di Palazzo Leoni Montanari the finished tray was presented with its first complete building, the Church of San Lorenzo. From 6 April to 9 June 2013, halfway through the reconstruction, the Jewel was exhibited at the Diocesan Museum with the support of FAI. In the summer of 2013 the Jewel was completed; it was returned to the citizens for the town's patronal feast on 7 September. The reconstruction was included in the usual procession to the Basilica of St. Mary of Mount Berico in an official ceremony that had 30,000 participants.The Jewel is now permanently housed at the Diocesan Museum and placed next to the painting by Maffei, San Vincenzo with the model of the city of Vicenza.
In 2015, the Jewel was exhibited at Expo 2015 in Milan. At the exhibition, silversmith Carlo Rossi was awarded the Confartigianato Design Award 2015 for his creation of the reconstruction.
|
[
"FAI",
"Basilica of St. Mary of Mount Berico",
"Milan",
"Expo 2015",
"Vicenza",
"Gallerie di Palazzo Leoni Montanari",
"Confartigianato",
"Piazza dei Signori",
"Bressanvido"
] |
|
14648_T
|
Statue of George Washington (Seattle)
|
Focus on Statue of George Washington (Seattle) and analyze the abstract.
|
George Washington, also known as the President George Washington Monument, is a bronze sculpture of George Washington by Lorado Taft, installed at the University of Washington campus in Seattle's University District, in the U.S. state of Washington.
|
[
"Seattle",
"bronze sculpture",
"University District",
"Washington",
"U.S. state",
"University of Washington",
"George Washington",
"Lorado Taft"
] |
|
14648_NT
|
Statue of George Washington (Seattle)
|
Focus on this artwork and analyze the abstract.
|
George Washington, also known as the President George Washington Monument, is a bronze sculpture of George Washington by Lorado Taft, installed at the University of Washington campus in Seattle's University District, in the U.S. state of Washington.
|
[
"Seattle",
"bronze sculpture",
"University District",
"Washington",
"U.S. state",
"University of Washington",
"George Washington",
"Lorado Taft"
] |
|
14649_T
|
Statue of George Washington (Seattle)
|
In Statue of George Washington (Seattle), how is the History discussed?
|
The statue was dedicated on Flag Day, June 14, 1909, during the Alaska–Yukon–Pacific Exposition. Its permanent 24-foot (7.3 m) pedestal was built by the Works Progress Administration (WPA) and installed in August 1938. The pedestal had been designed by Taft in 1908 but was not funded in time for the exposition.Located a short distance west of Red Square, the statue faces west, toward The Brothers of the Olympic Mountains.
|
[
"Works Progress Administration",
"Olympic Mountains",
"Flag Day",
"Alaska–Yukon–Pacific Exposition",
"Red Square"
] |
|
14649_NT
|
Statue of George Washington (Seattle)
|
In this artwork, how is the History discussed?
|
The statue was dedicated on Flag Day, June 14, 1909, during the Alaska–Yukon–Pacific Exposition. Its permanent 24-foot (7.3 m) pedestal was built by the Works Progress Administration (WPA) and installed in August 1938. The pedestal had been designed by Taft in 1908 but was not funded in time for the exposition.Located a short distance west of Red Square, the statue faces west, toward The Brothers of the Olympic Mountains.
|
[
"Works Progress Administration",
"Olympic Mountains",
"Flag Day",
"Alaska–Yukon–Pacific Exposition",
"Red Square"
] |
|
14650_T
|
Statue of George Washington (Seattle)
|
In the context of Statue of George Washington (Seattle), explore the Calls for removal of the History.
|
A number of student led organizations at the University of Washington have called for the statue's removal. Most notably, the Black Student Union and the Black Lives Matter coalition (UW BLM) have publicly spoken out against the statue. UW BLM staged a month-long protest of the statue in August 2020, spray-painting the statue every day to induce a response from the administration. As of October 16, 2020, there has been no response from university officials regarding the removal of the statue.The university's student newspaper The Daily has also called for the removal of the statue in an op-ed, noting that a petition to remove the statue has reached over 3,000 signatures. This petition is asking for the George Washington statue to be replaced with a Black Power fist and to rename the nearby By George Cafe to the Juneteenth Cafe. According to a 2021 poll conducted by KING 5 News that surveyed 650 Washingtonians, only 29% wanted the statue removed, 59% wanted the statue to remain, and 11% weren't sure.
|
[
"KING 5",
"Washington",
"Black Lives Matter",
"University of Washington",
"Black Student Union",
"The Daily",
"George Washington",
"Black Power",
"Juneteenth"
] |
|
14650_NT
|
Statue of George Washington (Seattle)
|
In the context of this artwork, explore the Calls for removal of the History.
|
A number of student led organizations at the University of Washington have called for the statue's removal. Most notably, the Black Student Union and the Black Lives Matter coalition (UW BLM) have publicly spoken out against the statue. UW BLM staged a month-long protest of the statue in August 2020, spray-painting the statue every day to induce a response from the administration. As of October 16, 2020, there has been no response from university officials regarding the removal of the statue.The university's student newspaper The Daily has also called for the removal of the statue in an op-ed, noting that a petition to remove the statue has reached over 3,000 signatures. This petition is asking for the George Washington statue to be replaced with a Black Power fist and to rename the nearby By George Cafe to the Juneteenth Cafe. According to a 2021 poll conducted by KING 5 News that surveyed 650 Washingtonians, only 29% wanted the statue removed, 59% wanted the statue to remain, and 11% weren't sure.
|
[
"KING 5",
"Washington",
"Black Lives Matter",
"University of Washington",
"Black Student Union",
"The Daily",
"George Washington",
"Black Power",
"Juneteenth"
] |
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