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14651_T | Christ Surrounded by Singing and Music-making Angels | Focus on Christ Surrounded by Singing and Music-making Angels and explain the abstract. | Christ Surrounded by Singing and Music-making Angels or Santa María la Real de Nájera Altarpiece, is a triptych by the Flemish painter of German origin Hans Memling, active in Bruges in the second half of fifteenth-century. The altarpiece was commissioned by wealthy Spanish traders as the high altarpiece for the monastic church of Santa Maria la Real in Nájera. Only three panels of the original altarpiece survive. In the nineteenth century, they were acquired by the Royal Museum of Fine Arts of Antwerp, where they are now exhibited. These panels have been described as an avant-garde work in Renaissance decorative art. | [
"Nájera",
"Bruges",
"Hans Memling",
"decorative art",
"painter",
"Royal Museum of Fine Arts of Antwerp",
" Flemish",
"Bruges ",
"triptych"
] |
|
14651_NT | Christ Surrounded by Singing and Music-making Angels | Focus on this artwork and explain the abstract. | Christ Surrounded by Singing and Music-making Angels or Santa María la Real de Nájera Altarpiece, is a triptych by the Flemish painter of German origin Hans Memling, active in Bruges in the second half of fifteenth-century. The altarpiece was commissioned by wealthy Spanish traders as the high altarpiece for the monastic church of Santa Maria la Real in Nájera. Only three panels of the original altarpiece survive. In the nineteenth century, they were acquired by the Royal Museum of Fine Arts of Antwerp, where they are now exhibited. These panels have been described as an avant-garde work in Renaissance decorative art. | [
"Nájera",
"Bruges",
"Hans Memling",
"decorative art",
"painter",
"Royal Museum of Fine Arts of Antwerp",
" Flemish",
"Bruges ",
"triptych"
] |
|
14652_T | Christ Surrounded by Singing and Music-making Angels | Explore the Historical context of this artwork, Christ Surrounded by Singing and Music-making Angels. | The altarpiece was commissioned in 1487 by the consuls of the Spanish merchants in Bruges, Pedro, and Antonio de Nájera, to decorate the organ of the Santa María la Real of Nájera, the former pantheon of the kings of Navarre. Some of the ornaments of the 17 (larger-than-life) figures depicted bear the arms of Castile and León. The original altarpiece was huge, and the three surviving paintings were likely part of its upper tier. The central panel depicted the Assumption of the Virgin Mary.
This is a rare work in which Christ is depicted surrounded by angelic musicians. After having been abandoned for four centuries, it was bought in 1885 by an art dealer and sold to the Belgian government, which entrusted it to the Royal Museum of Fine Arts of Antwerp. An extensive restoration campaign began in 2001. It took a total of 16 years, due partly to the huge surface area of the work and the complex nature of the treatment. | [
"Nájera",
"Assumption of the Virgin Mary",
"Antonio de Nájera",
"Bruges",
" Christ",
"Santa María la Real of Nájera",
"Royal Museum of Fine Arts of Antwerp",
"Virgin Mary",
"Castile and León"
] |
|
14652_NT | Christ Surrounded by Singing and Music-making Angels | Explore the Historical context of this artwork. | The altarpiece was commissioned in 1487 by the consuls of the Spanish merchants in Bruges, Pedro, and Antonio de Nájera, to decorate the organ of the Santa María la Real of Nájera, the former pantheon of the kings of Navarre. Some of the ornaments of the 17 (larger-than-life) figures depicted bear the arms of Castile and León. The original altarpiece was huge, and the three surviving paintings were likely part of its upper tier. The central panel depicted the Assumption of the Virgin Mary.
This is a rare work in which Christ is depicted surrounded by angelic musicians. After having been abandoned for four centuries, it was bought in 1885 by an art dealer and sold to the Belgian government, which entrusted it to the Royal Museum of Fine Arts of Antwerp. An extensive restoration campaign began in 2001. It took a total of 16 years, due partly to the huge surface area of the work and the complex nature of the treatment. | [
"Nájera",
"Assumption of the Virgin Mary",
"Antonio de Nájera",
"Bruges",
" Christ",
"Santa María la Real of Nájera",
"Royal Museum of Fine Arts of Antwerp",
"Virgin Mary",
"Castile and León"
] |
|
14653_T | Christ Surrounded by Singing and Music-making Angels | Focus on Christ Surrounded by Singing and Music-making Angels and discuss the Composition. | The Christ surrounded by angels stands against a golden background surrounded by black clouds. On his collar are the words Agyos Otheos (Holy God). The three precious stones which adorn the fibula of his mantle evoke the Holy Trinity: God the Father, God the Son and the Holy Spirit. With his crown and his crystal ball surmounted by a cross, he reigns over the Christian kingdom, both celestial and terrestrial. He is flanked by sixteen angels who sing (6) and play music (10). Their instruments are typical of the fifteenth century.
The scene was possibly inspired by the passage from the Gospel according to Matthew, which mentions: "When the Son of man comes in his glory, accompanied by all the angels, then he will sit on his throne of glory" ( Matthew 25: 31-46).
The central panel represents Christ blessing and looking down in the direction of the Virgin Mary, his mother, with three angels on either side. Each group of angels holds a large songbook. On the two side shutters, angels play musical instruments, five on each side. In the left panel the instruments are, from left to right, a psaltery, a tromba marina, a lute, a trumpet and a shawm. In the right panel, from left to right, there are a straight trumpet, a looped trumpet, a portative organ, a harp and a fiddle. The panels are 170 cm (5'6") high, thus the angels, or what we can see of them (the clouds obscure the part of their body below the knee), are life-size.
Many replicas of these panels have been produced. | [
"Holy Spirit",
"God the Son",
"Trinity",
"Holy Trinity",
" Christ",
"Gospel according to Matthew",
"God the Father",
"Virgin Mary"
] |
|
14653_NT | Christ Surrounded by Singing and Music-making Angels | Focus on this artwork and discuss the Composition. | The Christ surrounded by angels stands against a golden background surrounded by black clouds. On his collar are the words Agyos Otheos (Holy God). The three precious stones which adorn the fibula of his mantle evoke the Holy Trinity: God the Father, God the Son and the Holy Spirit. With his crown and his crystal ball surmounted by a cross, he reigns over the Christian kingdom, both celestial and terrestrial. He is flanked by sixteen angels who sing (6) and play music (10). Their instruments are typical of the fifteenth century.
The scene was possibly inspired by the passage from the Gospel according to Matthew, which mentions: "When the Son of man comes in his glory, accompanied by all the angels, then he will sit on his throne of glory" ( Matthew 25: 31-46).
The central panel represents Christ blessing and looking down in the direction of the Virgin Mary, his mother, with three angels on either side. Each group of angels holds a large songbook. On the two side shutters, angels play musical instruments, five on each side. In the left panel the instruments are, from left to right, a psaltery, a tromba marina, a lute, a trumpet and a shawm. In the right panel, from left to right, there are a straight trumpet, a looped trumpet, a portative organ, a harp and a fiddle. The panels are 170 cm (5'6") high, thus the angels, or what we can see of them (the clouds obscure the part of their body below the knee), are life-size.
Many replicas of these panels have been produced. | [
"Holy Spirit",
"God the Son",
"Trinity",
"Holy Trinity",
" Christ",
"Gospel according to Matthew",
"God the Father",
"Virgin Mary"
] |
|
14654_T | Lift Off (sculpture) | How does Lift Off (sculpture) elucidate its abstract? | Lift Off is a public artwork by American artist David Black, located at the CityVista Condominium at the intersection of 5th St NW & K St NW in the Mount Vernon Triangle neighborhood of Washington, D.C., United States. Lift Off was created through DC Commission on the Arts and Humanities. | [
"Washington, D.C.",
"David Black",
"K St NW",
"Mount Vernon Triangle"
] |
|
14654_NT | Lift Off (sculpture) | How does this artwork elucidate its abstract? | Lift Off is a public artwork by American artist David Black, located at the CityVista Condominium at the intersection of 5th St NW & K St NW in the Mount Vernon Triangle neighborhood of Washington, D.C., United States. Lift Off was created through DC Commission on the Arts and Humanities. | [
"Washington, D.C.",
"David Black",
"K St NW",
"Mount Vernon Triangle"
] |
|
14655_T | Lift Off (sculpture) | Focus on Lift Off (sculpture) and analyze the Description. | Lift Off is a yellow, canopy like, abstract sculpture that sits on the corner of the CityVista building in front of Busboys and Poets. A welded (3/8-inch x 1/2-inch) aluminum plate with four crossbeams form the main skeleton of the work. Each crossbeam features a small floodlight on the end which illuminates the scallop like, origami inspired parts.A small love seat is placed at the central base for visitors to relax and immerse themselves within the artwork, which is easily accessible to visitors who are encouraged to interact with the piece. The work was inspired by children flying kites at the Smithsonian Kite Festival. | [
"love seat",
"Smithsonian Kite Festival",
"Busboys and Poets",
"origami",
"floodlight"
] |
|
14655_NT | Lift Off (sculpture) | Focus on this artwork and analyze the Description. | Lift Off is a yellow, canopy like, abstract sculpture that sits on the corner of the CityVista building in front of Busboys and Poets. A welded (3/8-inch x 1/2-inch) aluminum plate with four crossbeams form the main skeleton of the work. Each crossbeam features a small floodlight on the end which illuminates the scallop like, origami inspired parts.A small love seat is placed at the central base for visitors to relax and immerse themselves within the artwork, which is easily accessible to visitors who are encouraged to interact with the piece. The work was inspired by children flying kites at the Smithsonian Kite Festival. | [
"love seat",
"Smithsonian Kite Festival",
"Busboys and Poets",
"origami",
"floodlight"
] |
|
14656_T | Lift Off (sculpture) | In Lift Off (sculpture), how is the Installation discussed? | Concrete footings were installed in 2008 and the sculpture's installation began in November 2009. | [] |
|
14656_NT | Lift Off (sculpture) | In this artwork, how is the Installation discussed? | Concrete footings were installed in 2008 and the sculpture's installation began in November 2009. | [] |
|
14657_T | Lift Off (sculpture) | Focus on Lift Off (sculpture) and explore the Dedication. | The second work of art commissioned for the CityVista condominium complex, Lift Off was dedicated, alongside Inspiration by Ethan Kerber, on April 6, 2010. | [
"Inspiration",
"Ethan Kerber"
] |
|
14657_NT | Lift Off (sculpture) | Focus on this artwork and explore the Dedication. | The second work of art commissioned for the CityVista condominium complex, Lift Off was dedicated, alongside Inspiration by Ethan Kerber, on April 6, 2010. | [
"Inspiration",
"Ethan Kerber"
] |
|
14658_T | Lift Off (sculpture) | Focus on Lift Off (sculpture) and explain the David Black. | Black is known for his pavilion like works, which incorporate architectural design with traditional sculptural methods.
Discussing the work Lift Off, Black stated: "The sculpture appears kinetic as one passes by – reflecting the spirit and vibrancy of the new neighborhood,". | [
"David Black"
] |
|
14658_NT | Lift Off (sculpture) | Focus on this artwork and explain the David Black. | Black is known for his pavilion like works, which incorporate architectural design with traditional sculptural methods.
Discussing the work Lift Off, Black stated: "The sculpture appears kinetic as one passes by – reflecting the spirit and vibrancy of the new neighborhood,". | [
"David Black"
] |
|
14659_T | Lift Off (sculpture) | Explore the Community Reception of this artwork, Lift Off (sculpture). | All Busboys and Poets locations feature public artworks, and when asked about his views on the new artwork, restaurant owner Andy Shallal stated that: Public art is a way to connect those living in a neighborhood with each other's humanity. It soothes the soul, lifts the spirit and touches everyone who passes by in a way nothing else can. Having such grand art next to Busboys and Poets has forever defined the corner of 5th and K, NW in the boldest of terms.
Neighborhood blogs erupted upon the works selection and installation. The work has been described as an "unfinished building construction, clad in taxi cab yellow, on steroids." However, neighborhood response has been generally positive, celebrating the fact that the work helps define the location of CityVista, the Mount Vernon neighborhood, and provides a unique meeting spot. In December 2010, the sculpture was used as the site for children to get photographs with Santa Claus for the holidays. | [
"Busboys and Poets",
"Andy Shallal",
"Santa Claus"
] |
|
14659_NT | Lift Off (sculpture) | Explore the Community Reception of this artwork. | All Busboys and Poets locations feature public artworks, and when asked about his views on the new artwork, restaurant owner Andy Shallal stated that: Public art is a way to connect those living in a neighborhood with each other's humanity. It soothes the soul, lifts the spirit and touches everyone who passes by in a way nothing else can. Having such grand art next to Busboys and Poets has forever defined the corner of 5th and K, NW in the boldest of terms.
Neighborhood blogs erupted upon the works selection and installation. The work has been described as an "unfinished building construction, clad in taxi cab yellow, on steroids." However, neighborhood response has been generally positive, celebrating the fact that the work helps define the location of CityVista, the Mount Vernon neighborhood, and provides a unique meeting spot. In December 2010, the sculpture was used as the site for children to get photographs with Santa Claus for the holidays. | [
"Busboys and Poets",
"Andy Shallal",
"Santa Claus"
] |
|
14660_T | Andrew Jackson Downing Urn | Focus on Andrew Jackson Downing Urn and discuss the abstract. | The Andrew Jackson Downing Urn, also known as the Downing Urn, is a memorial and public artwork located in the Enid A. Haupt Garden of the Smithsonian Institution on the National Mall in Washington, D.C.The outdoor sculpture of a garden vase−urn commemorates Andrew Jackson Downing (1815–1852), an American landscape designer and horticulturalist, and considered to be one of the founders of American landscape architecture. Shortly before dying at the age of 37, Downing developed a landscape plan for the National Mall that the United States government partially implemented until replacing it with the McMillan Plan of 1902 (see History of the National Mall). | [
"landscape designer",
"memorial",
"History of the National Mall",
"horticulturalist",
"Washington, D.C.",
"National Mall",
"landscape architecture",
"Enid A. Haupt Garden",
"Smithsonian Institution",
"Andrew Jackson Downing",
"public art",
"outdoor sculpture",
"McMillan Plan"
] |
|
14660_NT | Andrew Jackson Downing Urn | Focus on this artwork and discuss the abstract. | The Andrew Jackson Downing Urn, also known as the Downing Urn, is a memorial and public artwork located in the Enid A. Haupt Garden of the Smithsonian Institution on the National Mall in Washington, D.C.The outdoor sculpture of a garden vase−urn commemorates Andrew Jackson Downing (1815–1852), an American landscape designer and horticulturalist, and considered to be one of the founders of American landscape architecture. Shortly before dying at the age of 37, Downing developed a landscape plan for the National Mall that the United States government partially implemented until replacing it with the McMillan Plan of 1902 (see History of the National Mall). | [
"landscape designer",
"memorial",
"History of the National Mall",
"horticulturalist",
"Washington, D.C.",
"National Mall",
"landscape architecture",
"Enid A. Haupt Garden",
"Smithsonian Institution",
"Andrew Jackson Downing",
"public art",
"outdoor sculpture",
"McMillan Plan"
] |
|
14661_T | Andrew Jackson Downing Urn | How does Andrew Jackson Downing Urn elucidate its History? | Architect and landscape designer Calvert Vaux designed the memorial urn, which Robert Eberhard Launitz sculpted. The urn was located and dedicated on the National Mall in September 1856, where it stood near the Smithsonian's National Museum of Natural History until 1965, when it was moved to the east entrance of the Smithsonian Institution Building (the "Castle"). In 1972, the urn was restored, moved to the west entrance of the Castle and rededicated. In 1987, it was relocated to the Rose Garden at the Castle's east door. The urn was moved to the Enid A. Haupt Garden in 1989. | [
"landscape designer",
"memorial",
"Robert Eberhard Launitz",
"National Mall",
"Enid A. Haupt Garden",
"National Museum of Natural History",
"Smithsonian Institution",
"Smithsonian Institution Building",
"Calvert Vaux"
] |
|
14661_NT | Andrew Jackson Downing Urn | How does this artwork elucidate its History? | Architect and landscape designer Calvert Vaux designed the memorial urn, which Robert Eberhard Launitz sculpted. The urn was located and dedicated on the National Mall in September 1856, where it stood near the Smithsonian's National Museum of Natural History until 1965, when it was moved to the east entrance of the Smithsonian Institution Building (the "Castle"). In 1972, the urn was restored, moved to the west entrance of the Castle and rededicated. In 1987, it was relocated to the Rose Garden at the Castle's east door. The urn was moved to the Enid A. Haupt Garden in 1989. | [
"landscape designer",
"memorial",
"Robert Eberhard Launitz",
"National Mall",
"Enid A. Haupt Garden",
"National Museum of Natural History",
"Smithsonian Institution",
"Smithsonian Institution Building",
"Calvert Vaux"
] |
|
14662_T | Andrew Jackson Downing Urn | Focus on Andrew Jackson Downing Urn and analyze the Inscription. | The inscription reads,
(on the south face of the base): | [] |
|
14662_NT | Andrew Jackson Downing Urn | Focus on this artwork and analyze the Inscription. | The inscription reads,
(on the south face of the base): | [] |
|
14663_T | Salome (Titian, Rome) | In Salome (Titian, Rome), how is the Salome, Judith, or Herodias? discussed? | The possible provenance of the painting begins in 1533, with a Judith by Titian recorded in the collection of Alfonso I d'Este, Duke of Ferrara, a very important patron of Titian. No other surviving Titian painting seems to fit this record, so if it is not the painting now in Rome, it must be lost. In 1592 Duke Alfonso's granddaughter, Lucrezia d'Este (1535–1598) owned a painting described as a "Herodias" (Salome's mother). What is certainly the Doria Pamphilj painting belonged by 1603 to Cardinal Pietro Aldobrandini before passing to his niece Olimpia Aldobrandini, whose second husband was the ex-cardinal Camillo Pamphilj; since then it has passed by descent through the family. In the 18th century the painting was called a Herodias, but a number of foreign visitors who saw it record thinking the main figure to be Judith.If the painting's main figure was Herodias, traditionally seen as the prime mover of the conspiracy to get John the Baptist executed, the younger woman next to her would be intended to represent her daughter Salome, here shown as a figure in thrall to her more glamorous mother. The identification as Herodias seems to have no recent supporters, but that as Judith does.A medieval addition to the Salome legend held that, as well as her mother's hatred of John for his preaching against her, Salome was also motivated by a frustrated love for John, to which the cupid might refer. Her face is turned away from his head, but her eyes look back to it. Panofsky describes her as: "Meditative, sad and a little benumbed, she seems to recoil from the face of St. John which yet attracts her sidelong glances with irresistible force". Meanwhile, the maid "looks at the heroine with the eyes of a faithful dog who feels and shares his master's distress without comprehending its cause". Thus, in the pyramidal group of figures, the glances flow from the maid on the left, up to Salome at centre, and down to John at right, whose dead eyes are closed.
The use of erotic allure on male figures of power is the core of both stories, but to the church and Titian's contemporaries, Herodias and Salome were bad, but Judith a heroine. Both stories were part of the repertoire of the Power of Women topos, mainly a feature of German art in this period, but whose subjects were also depicted in Italy. The small Cupid at the top of the arch reinforces the eroticism of the treatment, suggesting either Salome's lust for John, (or Herod's implied attraction to Salome) or that of Holfernes for Judith, according to choice. It has also been suggested that the use of cupids on the keystone of arches was common in public buildings of the period in Venice, which "stresses the official nature of St. John's imprisonment and execution".The presence of a maidservant is usual in depictions of Judith (following the Book of Judith, which mentions her), but not in those of Salome with the head of John the Baptist. On the other hand, the head on a dish is normally associated with Salome's story, and is mentioned in the gospel, while Judith often puts hers in a sack, or carries it by the hair, both also following the text of their story. A single lock of hair falling over the face was considered highly alluring, and associated with courtesans, perhaps suggesting Salome is indeed the subject, though Judith is described as using every effort to dress seductively.The murky background at the left includes a fitting at the top, between the two women's heads, which is described as a lock by Panofsky, though it might be a hinge also. This marks the vertical edge of a zone with a slightly different tint, perhaps showing the transition from a door to a wall. What could be an iron bar, or door top, is to the left of the fitting. The Pasadena version also shows a fitting and change in colour. This suggests the paintings show the women leaving the prison where John was killed, to return with the head to the head to Herod's feast, a version of the story often shown in art, though not exactly following the gospel, in which a soldier presents the head on a dish to Herod, who gives it to Salome, who in turn gives it to her mother. The biblical text is very clear that Holofernes is assassinated in his tent in his camp, and the scene (rare in art) where Judith shows the head to the people of Bethulia happens at night inside the city gate, so the background of the painting is difficult to reconcile with a depiction of Judith. | [
"Salome",
"Rome",
"provenance",
"Cupid",
"Olimpia Aldobrandini",
"Titian",
"Lucrezia d'Este (1535–1598)",
"Camillo Pamphilj",
"Holofernes",
"Judith",
"Bethulia",
"Book of Judith",
"John the Baptist",
"Pasadena",
"Power of Women",
"Alfonso I d'Este",
"Alfonso I d'Este, Duke of Ferrara",
"Herodias",
"Pietro Aldobrandini"
] |
|
14663_NT | Salome (Titian, Rome) | In this artwork, how is the Salome, Judith, or Herodias? discussed? | The possible provenance of the painting begins in 1533, with a Judith by Titian recorded in the collection of Alfonso I d'Este, Duke of Ferrara, a very important patron of Titian. No other surviving Titian painting seems to fit this record, so if it is not the painting now in Rome, it must be lost. In 1592 Duke Alfonso's granddaughter, Lucrezia d'Este (1535–1598) owned a painting described as a "Herodias" (Salome's mother). What is certainly the Doria Pamphilj painting belonged by 1603 to Cardinal Pietro Aldobrandini before passing to his niece Olimpia Aldobrandini, whose second husband was the ex-cardinal Camillo Pamphilj; since then it has passed by descent through the family. In the 18th century the painting was called a Herodias, but a number of foreign visitors who saw it record thinking the main figure to be Judith.If the painting's main figure was Herodias, traditionally seen as the prime mover of the conspiracy to get John the Baptist executed, the younger woman next to her would be intended to represent her daughter Salome, here shown as a figure in thrall to her more glamorous mother. The identification as Herodias seems to have no recent supporters, but that as Judith does.A medieval addition to the Salome legend held that, as well as her mother's hatred of John for his preaching against her, Salome was also motivated by a frustrated love for John, to which the cupid might refer. Her face is turned away from his head, but her eyes look back to it. Panofsky describes her as: "Meditative, sad and a little benumbed, she seems to recoil from the face of St. John which yet attracts her sidelong glances with irresistible force". Meanwhile, the maid "looks at the heroine with the eyes of a faithful dog who feels and shares his master's distress without comprehending its cause". Thus, in the pyramidal group of figures, the glances flow from the maid on the left, up to Salome at centre, and down to John at right, whose dead eyes are closed.
The use of erotic allure on male figures of power is the core of both stories, but to the church and Titian's contemporaries, Herodias and Salome were bad, but Judith a heroine. Both stories were part of the repertoire of the Power of Women topos, mainly a feature of German art in this period, but whose subjects were also depicted in Italy. The small Cupid at the top of the arch reinforces the eroticism of the treatment, suggesting either Salome's lust for John, (or Herod's implied attraction to Salome) or that of Holfernes for Judith, according to choice. It has also been suggested that the use of cupids on the keystone of arches was common in public buildings of the period in Venice, which "stresses the official nature of St. John's imprisonment and execution".The presence of a maidservant is usual in depictions of Judith (following the Book of Judith, which mentions her), but not in those of Salome with the head of John the Baptist. On the other hand, the head on a dish is normally associated with Salome's story, and is mentioned in the gospel, while Judith often puts hers in a sack, or carries it by the hair, both also following the text of their story. A single lock of hair falling over the face was considered highly alluring, and associated with courtesans, perhaps suggesting Salome is indeed the subject, though Judith is described as using every effort to dress seductively.The murky background at the left includes a fitting at the top, between the two women's heads, which is described as a lock by Panofsky, though it might be a hinge also. This marks the vertical edge of a zone with a slightly different tint, perhaps showing the transition from a door to a wall. What could be an iron bar, or door top, is to the left of the fitting. The Pasadena version also shows a fitting and change in colour. This suggests the paintings show the women leaving the prison where John was killed, to return with the head to the head to Herod's feast, a version of the story often shown in art, though not exactly following the gospel, in which a soldier presents the head on a dish to Herod, who gives it to Salome, who in turn gives it to her mother. The biblical text is very clear that Holofernes is assassinated in his tent in his camp, and the scene (rare in art) where Judith shows the head to the people of Bethulia happens at night inside the city gate, so the background of the painting is difficult to reconcile with a depiction of Judith. | [
"Salome",
"Rome",
"provenance",
"Cupid",
"Olimpia Aldobrandini",
"Titian",
"Lucrezia d'Este (1535–1598)",
"Camillo Pamphilj",
"Holofernes",
"Judith",
"Bethulia",
"Book of Judith",
"John the Baptist",
"Pasadena",
"Power of Women",
"Alfonso I d'Este",
"Alfonso I d'Este, Duke of Ferrara",
"Herodias",
"Pietro Aldobrandini"
] |
|
14664_T | Salome (Titian, Rome) | Focus on Salome (Titian, Rome) and explore the Attribution and date. | As with other small Titians from the 1510s, the attribution has wavered over the centuries, beginning with Titian in early records, but (almost inevitably) becoming attributed to Giorgione by the 19th century, until Crowe and Cavalcaselle attributed it to il Pordenone. By the end of that century it was once again attributed by most to Titian, which has remained the usual view among experts.The Norton Simon Museum version was attributed to Titian in sales in England between 1801 and 1859, but a sale in London in 1891 called it a Giorgione.Though a date of about 1515 has long been the usual view, purely on stylistic grounds, Charles Hope has suggested about 1511. This is partly because of its relationship to Sebastiano del Piombo's Salome of 1510 (National Gallery), where the setting also moves from dark at the left to light at the right. This has also been regarded by some as a "Judith". | [
"Salome",
"Crowe and Cavalcaselle",
"Titian",
"Judith",
"National Gallery",
"Sebastiano del Piombo",
"il Pordenone",
"Charles Hope",
"Giorgione",
"Norton Simon Museum"
] |
|
14664_NT | Salome (Titian, Rome) | Focus on this artwork and explore the Attribution and date. | As with other small Titians from the 1510s, the attribution has wavered over the centuries, beginning with Titian in early records, but (almost inevitably) becoming attributed to Giorgione by the 19th century, until Crowe and Cavalcaselle attributed it to il Pordenone. By the end of that century it was once again attributed by most to Titian, which has remained the usual view among experts.The Norton Simon Museum version was attributed to Titian in sales in England between 1801 and 1859, but a sale in London in 1891 called it a Giorgione.Though a date of about 1515 has long been the usual view, purely on stylistic grounds, Charles Hope has suggested about 1511. This is partly because of its relationship to Sebastiano del Piombo's Salome of 1510 (National Gallery), where the setting also moves from dark at the left to light at the right. This has also been regarded by some as a "Judith". | [
"Salome",
"Crowe and Cavalcaselle",
"Titian",
"Judith",
"National Gallery",
"Sebastiano del Piombo",
"il Pordenone",
"Charles Hope",
"Giorgione",
"Norton Simon Museum"
] |
|
14665_T | Salome (Titian, Rome) | Focus on Salome (Titian, Rome) and explain the Context. | The painting relates to two different types of painting found in Venetian painting in the years dominated by Giorgione, including his posthumous influence. The first is a number of Venetian paintings of the 1510s showing two or three half-length figures with heads close together, often with their expressions and interactions enigmatic. Many of these are "Giorgionesque" genre or tronie subjects where the subjects are anonymous. But Titian's Lucretia and her Husband shows a specific subject, even if views differ as to the point in the story shown. His Bravo may have a specific subject; both of these are now in Vienna. The Lovers (Royal Collection) probably does not. His Tribute Money (Dresden, c. 1516) has a clear subject, also from the New Testament.The other type it relates to is Titian's series of belle donne half-length female figures from the mid-1510s, which also includes Lucretia and her Husband, as well as the single figures of Flora at the Uffizi, the Woman with a Mirror at the Louvre, the Violante and Vanity in Munich. Most of these have the appearance of portraits, and were sometimes regarded as contemporaries as portraits of leading Venetian courtesans, but are best thought of as idealized figures of beautiful women which may only loosely reflect any individual. This type was more long-lived in Venetian painting, and made by many other artists; Palma Vecchio for one made a speciality of them. | [
"Uffizi",
"Titian",
"Vanity",
"Bravo",
"Royal Collection",
"Louvre",
"Palma Vecchio",
"tronie",
"Flora",
"Venetian painting",
"Violante",
"Woman with a Mirror",
"Tribute Money",
"Lucretia and her Husband",
"Giorgione"
] |
|
14665_NT | Salome (Titian, Rome) | Focus on this artwork and explain the Context. | The painting relates to two different types of painting found in Venetian painting in the years dominated by Giorgione, including his posthumous influence. The first is a number of Venetian paintings of the 1510s showing two or three half-length figures with heads close together, often with their expressions and interactions enigmatic. Many of these are "Giorgionesque" genre or tronie subjects where the subjects are anonymous. But Titian's Lucretia and her Husband shows a specific subject, even if views differ as to the point in the story shown. His Bravo may have a specific subject; both of these are now in Vienna. The Lovers (Royal Collection) probably does not. His Tribute Money (Dresden, c. 1516) has a clear subject, also from the New Testament.The other type it relates to is Titian's series of belle donne half-length female figures from the mid-1510s, which also includes Lucretia and her Husband, as well as the single figures of Flora at the Uffizi, the Woman with a Mirror at the Louvre, the Violante and Vanity in Munich. Most of these have the appearance of portraits, and were sometimes regarded as contemporaries as portraits of leading Venetian courtesans, but are best thought of as idealized figures of beautiful women which may only loosely reflect any individual. This type was more long-lived in Venetian painting, and made by many other artists; Palma Vecchio for one made a speciality of them. | [
"Uffizi",
"Titian",
"Vanity",
"Bravo",
"Royal Collection",
"Louvre",
"Palma Vecchio",
"tronie",
"Flora",
"Venetian painting",
"Violante",
"Woman with a Mirror",
"Tribute Money",
"Lucretia and her Husband",
"Giorgione"
] |
|
14666_T | Salome (Titian, Rome) | Explore the Versions of this artwork, Salome (Titian, Rome). | There are several early repetitions that might be by Titian or his workshop, or partly by both. A version in the Norton Simon Museum, Pasadena has been considered to be the best of the workshop versions. It was also in the Doria Pamphilj collection from its ownership by Cardinal Aldobrandini at the start of the 17th century to its sale 1797–98 during the French revolutionary invasion of Italy, when much Italian art was sold, mostly to the English, in anticipation of the French looting it otherwise. William Young Ottley was the initial purchaser, who took it to London and sold it in 1801.Another version that was part of the collections of Prince Salviati, Christina of Sweden and of Prince Odescalchi is now owned by the real estate magnate Luke Brugnara. That Salome was also attributed to il Pordenone and Giorgione, and finally to Titian in the late 19th century; now regarded as a workshop version. | [
"Salome",
"Luke Brugnara",
"Titian",
"Odescalchi",
"Salviati",
"il Pordenone",
"Pasadena",
"William Young Ottley",
"Christina of Sweden",
"Giorgione",
"Norton Simon Museum"
] |
|
14666_NT | Salome (Titian, Rome) | Explore the Versions of this artwork. | There are several early repetitions that might be by Titian or his workshop, or partly by both. A version in the Norton Simon Museum, Pasadena has been considered to be the best of the workshop versions. It was also in the Doria Pamphilj collection from its ownership by Cardinal Aldobrandini at the start of the 17th century to its sale 1797–98 during the French revolutionary invasion of Italy, when much Italian art was sold, mostly to the English, in anticipation of the French looting it otherwise. William Young Ottley was the initial purchaser, who took it to London and sold it in 1801.Another version that was part of the collections of Prince Salviati, Christina of Sweden and of Prince Odescalchi is now owned by the real estate magnate Luke Brugnara. That Salome was also attributed to il Pordenone and Giorgione, and finally to Titian in the late 19th century; now regarded as a workshop version. | [
"Salome",
"Luke Brugnara",
"Titian",
"Odescalchi",
"Salviati",
"il Pordenone",
"Pasadena",
"William Young Ottley",
"Christina of Sweden",
"Giorgione",
"Norton Simon Museum"
] |
|
14667_T | Salome (Titian, Rome) | Focus on Salome (Titian, Rome) and discuss the Other compositions of Salome and Judith. | Titian painted Salome in at least one later composition, from the 1550s, with the dish holding the head held above her head (Prado), possibly using his daughter Lavinia as the model. Another composition has recently resurfaced, which dates from the 1560s; as of 2012, this is in the National Museum of Western Art, Tokyo.About 1570 Titian painted an undoubted Judith with the Head of Holofernes (Detroit Institute of Arts). | [
"Salome",
"Titian",
"Holofernes",
"Judith",
"National Museum of Western Art",
"Prado",
"Judith with the Head of Holofernes",
"Detroit Institute of Arts"
] |
|
14667_NT | Salome (Titian, Rome) | Focus on this artwork and discuss the Other compositions of Salome and Judith. | Titian painted Salome in at least one later composition, from the 1550s, with the dish holding the head held above her head (Prado), possibly using his daughter Lavinia as the model. Another composition has recently resurfaced, which dates from the 1560s; as of 2012, this is in the National Museum of Western Art, Tokyo.About 1570 Titian painted an undoubted Judith with the Head of Holofernes (Detroit Institute of Arts). | [
"Salome",
"Titian",
"Holofernes",
"Judith",
"National Museum of Western Art",
"Prado",
"Judith with the Head of Holofernes",
"Detroit Institute of Arts"
] |
|
14668_T | Dorothy (Chase) | How does Dorothy (Chase) elucidate its abstract? | Dorothy is an oil painting by American artist William Merritt Chase. Created in 1902, it is currently part of the permanent collection in the Indianapolis Museum of Art. | [
"William Merritt Chase",
"American",
"Indianapolis",
"Indianapolis Museum of Art",
"oil painting"
] |
|
14668_NT | Dorothy (Chase) | How does this artwork elucidate its abstract? | Dorothy is an oil painting by American artist William Merritt Chase. Created in 1902, it is currently part of the permanent collection in the Indianapolis Museum of Art. | [
"William Merritt Chase",
"American",
"Indianapolis",
"Indianapolis Museum of Art",
"oil painting"
] |
|
14669_T | Dorothy (Chase) | Focus on Dorothy (Chase) and analyze the Description. | The image's subject is Chase's 11-year-old daughter, Dorothy, wearing a white dress with full-length sleeves, a straw hat with a green bow, a black belt, black tights, and black shoes. She is standing against a brown background without any detail, so the viewer's eye is focused only on her. Dorothy stares straight out at the viewer, engaging them. With a 6' canvas, Dorothy is reminiscent of full-length Baroque paintings of emperors, giving the young girl a grandiose image. | [
"emperors",
"Baroque"
] |
|
14669_NT | Dorothy (Chase) | Focus on this artwork and analyze the Description. | The image's subject is Chase's 11-year-old daughter, Dorothy, wearing a white dress with full-length sleeves, a straw hat with a green bow, a black belt, black tights, and black shoes. She is standing against a brown background without any detail, so the viewer's eye is focused only on her. Dorothy stares straight out at the viewer, engaging them. With a 6' canvas, Dorothy is reminiscent of full-length Baroque paintings of emperors, giving the young girl a grandiose image. | [
"emperors",
"Baroque"
] |
|
14670_T | Dorothy (Chase) | In Dorothy (Chase), how is the Historical information discussed? | Chase's favorite image to paint was his family, including his wife and his daughters, which are also his most well received. Dorothy is a painting in a series of full-length portraits Chase created of his family between 1886 and 1902.Chase was the founder of the Chase School, which eventually became Parsons The New School for Design, one of the most famous art schools in the United States. As a teacher, some of his students include Charles Demuth and Georgia O'Keeffe. | [
"United States",
"Parsons The New School for Design",
"Georgia O'Keeffe",
"Charles Demuth"
] |
|
14670_NT | Dorothy (Chase) | In this artwork, how is the Historical information discussed? | Chase's favorite image to paint was his family, including his wife and his daughters, which are also his most well received. Dorothy is a painting in a series of full-length portraits Chase created of his family between 1886 and 1902.Chase was the founder of the Chase School, which eventually became Parsons The New School for Design, one of the most famous art schools in the United States. As a teacher, some of his students include Charles Demuth and Georgia O'Keeffe. | [
"United States",
"Parsons The New School for Design",
"Georgia O'Keeffe",
"Charles Demuth"
] |
|
14671_T | Dorothy (Chase) | In the context of Dorothy (Chase), explore the Acquisition of the Historical information. | Dorothy was purchased from the artist at the Exhibition of Indiana Art in Tomlinson Hall, in 1903, using the John Herron fund. | [
"Tomlinson Hall"
] |
|
14671_NT | Dorothy (Chase) | In the context of this artwork, explore the Acquisition of the Historical information. | Dorothy was purchased from the artist at the Exhibition of Indiana Art in Tomlinson Hall, in 1903, using the John Herron fund. | [
"Tomlinson Hall"
] |
|
14672_T | Alpine Kitchen | Focus on Alpine Kitchen and explain the abstract. | Alpine Kitchen is an oil painting on canvas by German artist Ernst Ludwig Kirchner, executed in 1918. It was made when the painter was temporarily living in a mountain hut in the Alps, at 1900 meters of height, above Davos. The house still exists almost in his original form. The painting came from Kirchner's estate and today belongs to the collection of the Thyssen-Bornemisza Museum in Madrid. | [
"Thyssen-Bornemisza Museum",
"Davos",
"Alps",
"Ernst Ludwig Kirchner",
"Madrid"
] |
|
14672_NT | Alpine Kitchen | Focus on this artwork and explain the abstract. | Alpine Kitchen is an oil painting on canvas by German artist Ernst Ludwig Kirchner, executed in 1918. It was made when the painter was temporarily living in a mountain hut in the Alps, at 1900 meters of height, above Davos. The house still exists almost in his original form. The painting came from Kirchner's estate and today belongs to the collection of the Thyssen-Bornemisza Museum in Madrid. | [
"Thyssen-Bornemisza Museum",
"Davos",
"Alps",
"Ernst Ludwig Kirchner",
"Madrid"
] |
|
14673_T | Alpine Kitchen | Explore the History and description of this artwork, Alpine Kitchen. | The painting has a square format with the dimensions of 121.5 by 121.5 cm. It is signed, with a small signature at the bottom right that reads EL Kirchner and on the back is the name KN-Da/Ad2. In Donald E. Gordon's catalog raisonné it bears the number 518. It was exhibited in Frankfurt/Main in 1922 and in Berlin in 1926.
The painting depicts a room with several households, in a rustic style. At the table, hunched over, sits a person who Roman Norbert Ketterer, Kirchner's estate administrator, but also Felix Krämer, assume is the artist himself working on a lithographic stone. The British art historian Peter Vergo, however, suspects that it is instead his partner Erna Schilling.
The view falls through the open door over the terrace, further over the other chalets of the Stafelalp and extends to the southwestern Tinzenhorn, which in this canvas forms the perspective vanishing point, and which often appears as a painterly motif in his Davos paintings.
Kirchner rented the small mountain hut from a local farmer and entered it for the first time in the early Summer of 1918. Much was still lacking in terms of furnishings and materials, but it was ready for artistic work. In June 1918 he wrote to his friend Henry van de Velde that "the rooms were very unusual, the cracks between the woods were stuffed with moss, and there was a 'beautiful pot-bellied stove' in the kitchen". The artist lived here in the summers of his first Davos years. After his traumatic experience at World War I, Kirchner felt healthy again and was able to paint. By the Christmas of 1918, however, he felt no longer able to continue working on the paintings he had begun.The art historian Felix Krämer writes that in this painting, in contrast to earlier interior depictions of Kirchner where the figures "dominate their surroundings", there is a difference, because "here the space overlaps with its aligned lines and the strong luminosity of the colors the figure. (...) The room loses its protective function (...), which can be associated with the insecure psyche of the resident." | [
"World War I",
"Frankfurt",
"Davos",
"Erna Schilling",
"Frankfurt/Main",
"Berlin"
] |
|
14673_NT | Alpine Kitchen | Explore the History and description of this artwork. | The painting has a square format with the dimensions of 121.5 by 121.5 cm. It is signed, with a small signature at the bottom right that reads EL Kirchner and on the back is the name KN-Da/Ad2. In Donald E. Gordon's catalog raisonné it bears the number 518. It was exhibited in Frankfurt/Main in 1922 and in Berlin in 1926.
The painting depicts a room with several households, in a rustic style. At the table, hunched over, sits a person who Roman Norbert Ketterer, Kirchner's estate administrator, but also Felix Krämer, assume is the artist himself working on a lithographic stone. The British art historian Peter Vergo, however, suspects that it is instead his partner Erna Schilling.
The view falls through the open door over the terrace, further over the other chalets of the Stafelalp and extends to the southwestern Tinzenhorn, which in this canvas forms the perspective vanishing point, and which often appears as a painterly motif in his Davos paintings.
Kirchner rented the small mountain hut from a local farmer and entered it for the first time in the early Summer of 1918. Much was still lacking in terms of furnishings and materials, but it was ready for artistic work. In June 1918 he wrote to his friend Henry van de Velde that "the rooms were very unusual, the cracks between the woods were stuffed with moss, and there was a 'beautiful pot-bellied stove' in the kitchen". The artist lived here in the summers of his first Davos years. After his traumatic experience at World War I, Kirchner felt healthy again and was able to paint. By the Christmas of 1918, however, he felt no longer able to continue working on the paintings he had begun.The art historian Felix Krämer writes that in this painting, in contrast to earlier interior depictions of Kirchner where the figures "dominate their surroundings", there is a difference, because "here the space overlaps with its aligned lines and the strong luminosity of the colors the figure. (...) The room loses its protective function (...), which can be associated with the insecure psyche of the resident." | [
"World War I",
"Frankfurt",
"Davos",
"Erna Schilling",
"Frankfurt/Main",
"Berlin"
] |
|
14674_T | Equestrian statue of Christian IX, Copenhagen | Focus on Equestrian statue of Christian IX, Copenhagen and discuss the abstract. | The equestrian statue of Christian IX, overlooking Christiansborg Ridebane on Slotsholmen in Copenhagen, Denmark, was created by Anne Marie Carl-Nielsen. Unveiled in 1927, it was the first equestrian statue of a monarch created by a woman sculptor. | [
"Copenhagen",
"Anne Marie Carl-Nielsen",
"equestrian statue",
"Christian IX",
"Denmark",
"Slotsholmen"
] |
|
14674_NT | Equestrian statue of Christian IX, Copenhagen | Focus on this artwork and discuss the abstract. | The equestrian statue of Christian IX, overlooking Christiansborg Ridebane on Slotsholmen in Copenhagen, Denmark, was created by Anne Marie Carl-Nielsen. Unveiled in 1927, it was the first equestrian statue of a monarch created by a woman sculptor. | [
"Copenhagen",
"Anne Marie Carl-Nielsen",
"equestrian statue",
"Christian IX",
"Denmark",
"Slotsholmen"
] |
|
14675_T | Quadrato di Villafranca | How does Quadrato di Villafranca elucidate its abstract? | Il Quadrato di Villafranca or Esercitazione di tiro is a painting by Giovanni Fattori created in 1876–1880 depicting a scene of the Battle of Custoza (1866).
The painting belonged to the Stramezzi collection of Crema and is published in the catalogue of Giovanni Malesci (Ed. De Agostini, Novara) al n° 175 with the title Esercitazione di Tiro. The painting has been exhibited at the Macchiaioli exhibition organized by the Board of the Gallery of Modern Art of Florence in 1956, at the Montecatini Terme exhibition in 1986 and at the Mole Antonelliana in Turin in 1986. | [
"Giovanni Fattori",
"Turin",
"Macchiaioli",
"Florence",
"Battle of Custoza (1866)",
"Mole Antonelliana",
"Montecatini Terme"
] |
|
14675_NT | Quadrato di Villafranca | How does this artwork elucidate its abstract? | Il Quadrato di Villafranca or Esercitazione di tiro is a painting by Giovanni Fattori created in 1876–1880 depicting a scene of the Battle of Custoza (1866).
The painting belonged to the Stramezzi collection of Crema and is published in the catalogue of Giovanni Malesci (Ed. De Agostini, Novara) al n° 175 with the title Esercitazione di Tiro. The painting has been exhibited at the Macchiaioli exhibition organized by the Board of the Gallery of Modern Art of Florence in 1956, at the Montecatini Terme exhibition in 1986 and at the Mole Antonelliana in Turin in 1986. | [
"Giovanni Fattori",
"Turin",
"Macchiaioli",
"Florence",
"Battle of Custoza (1866)",
"Mole Antonelliana",
"Montecatini Terme"
] |
|
14676_T | A Wooded Marsh | Focus on A Wooded Marsh and analyze the abstract. | A Wooded Marsh (c. 1660s) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael. It is an example of Dutch Golden Age painting and is now in the collection of the Hermitage Museum in St. Petersburg, Russia.This painting was documented by Hofstede de Groot in 1911, who wrote; 508. A POOL IN A WOOD. Sm. 306. A stagnant pool, overgrown with flowering water-lilies and other plants, extends from the centre of the distance to the foreground. On either side are beeches and oaks, reflected in the water. In the right foreground is a great withered oak; in front of it lies a felled beech, with the left end in the water. On the left three ducks fly into the bushes at the approach of a man who is seen in the distance. A genuine and very fine picture, but almost all the green has faded from the foliage. Signed in full on the left at foot; canvas, 29 inches by 39 1/2 inches.
Acquired by the Empress Catherine II. of Russia. In the Hermitage Palace, St. Petersburg, 1901 catalogue, No. 1136; it was there in 1835 (Sm., who valued it at £450).
This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of landscape. | [
"Empress Catherine II",
"Hofstede de Groot",
"Jacob van Ruisdael",
"Hermitage Museum",
"Dutch",
"oil",
"Dutch Golden Age painting",
"Catherine II",
"St. Petersburg",
"Sm. 306."
] |
|
14676_NT | A Wooded Marsh | Focus on this artwork and analyze the abstract. | A Wooded Marsh (c. 1660s) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael. It is an example of Dutch Golden Age painting and is now in the collection of the Hermitage Museum in St. Petersburg, Russia.This painting was documented by Hofstede de Groot in 1911, who wrote; 508. A POOL IN A WOOD. Sm. 306. A stagnant pool, overgrown with flowering water-lilies and other plants, extends from the centre of the distance to the foreground. On either side are beeches and oaks, reflected in the water. In the right foreground is a great withered oak; in front of it lies a felled beech, with the left end in the water. On the left three ducks fly into the bushes at the approach of a man who is seen in the distance. A genuine and very fine picture, but almost all the green has faded from the foliage. Signed in full on the left at foot; canvas, 29 inches by 39 1/2 inches.
Acquired by the Empress Catherine II. of Russia. In the Hermitage Palace, St. Petersburg, 1901 catalogue, No. 1136; it was there in 1835 (Sm., who valued it at £450).
This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of landscape. | [
"Empress Catherine II",
"Hofstede de Groot",
"Jacob van Ruisdael",
"Hermitage Museum",
"Dutch",
"oil",
"Dutch Golden Age painting",
"Catherine II",
"St. Petersburg",
"Sm. 306."
] |
|
14677_T | Madonna and Child with Saints (Mantegna) | In Madonna and Child with Saints (Mantegna), how is the abstract discussed? | The Madonna and Child with Saints is a tempera on panel painting, attributed to Andrea Mantegna, dated to around 1500 and now in the Galleria Sabauda in Turin. Its top left hand corner is badly damaged.At the Virgin's knee is the infant John the Baptist, with his cross, camel skin and a scroll reading Ecce Agnus Dei. In the right background are Catherine of Alexandria with her wheel, an old female saint (Anne or Elisabeth) and an old male saint (Joachim or Joseph). On the left are a female saint (possibly Mary Magdalene) and a male saint with a book (possibly John the Evangelist). | [
"Ecce Agnus Dei",
"Mary Magdalene",
"Joseph",
"Turin",
"John the Baptist",
"Anne",
"Joachim",
"1500",
"Andrea Mantegna",
"Catherine of Alexandria",
"Elisabeth",
"Galleria Sabauda",
"Agnus Dei",
"John the Evangelist"
] |
|
14677_NT | Madonna and Child with Saints (Mantegna) | In this artwork, how is the abstract discussed? | The Madonna and Child with Saints is a tempera on panel painting, attributed to Andrea Mantegna, dated to around 1500 and now in the Galleria Sabauda in Turin. Its top left hand corner is badly damaged.At the Virgin's knee is the infant John the Baptist, with his cross, camel skin and a scroll reading Ecce Agnus Dei. In the right background are Catherine of Alexandria with her wheel, an old female saint (Anne or Elisabeth) and an old male saint (Joachim or Joseph). On the left are a female saint (possibly Mary Magdalene) and a male saint with a book (possibly John the Evangelist). | [
"Ecce Agnus Dei",
"Mary Magdalene",
"Joseph",
"Turin",
"John the Baptist",
"Anne",
"Joachim",
"1500",
"Andrea Mantegna",
"Catherine of Alexandria",
"Elisabeth",
"Galleria Sabauda",
"Agnus Dei",
"John the Evangelist"
] |
|
14678_T | Statue of Jayavarma | Focus on Statue of Jayavarma and explore the abstract. | The Statue of Jayavarma (Nepali: जयवर्माको मूर्ति) is a sculpture of King Jayavarma.It was found in 1992 in Maligaon, Kathmandu and it dates back to 184/185 AD. The inscription is written in Gupta style Brahmi script and its the Jayavarma's name and the year.The Statue of Jayavarma is currently kept at the National Museum of Nepal. It is considered that the Statue of Jayavarma is the oldest sandstone sculpture in Nepal.In 2004, the Government of Nepal, issued stamps featuring the Statue of Jayavarma. | [
"sculpture",
"Brahmi script",
"Kathmandu",
"stamps",
"Gupta style",
"National Museum of Nepal"
] |
|
14678_NT | Statue of Jayavarma | Focus on this artwork and explore the abstract. | The Statue of Jayavarma (Nepali: जयवर्माको मूर्ति) is a sculpture of King Jayavarma.It was found in 1992 in Maligaon, Kathmandu and it dates back to 184/185 AD. The inscription is written in Gupta style Brahmi script and its the Jayavarma's name and the year.The Statue of Jayavarma is currently kept at the National Museum of Nepal. It is considered that the Statue of Jayavarma is the oldest sandstone sculpture in Nepal.In 2004, the Government of Nepal, issued stamps featuring the Statue of Jayavarma. | [
"sculpture",
"Brahmi script",
"Kathmandu",
"stamps",
"Gupta style",
"National Museum of Nepal"
] |
|
14679_T | Statue of Jorge Matute Remus (Centro, Guadalajara) | Focus on Statue of Jorge Matute Remus (Centro, Guadalajara) and explain the abstract. | A statue of Jorge Matute Remus is installed in front of a Telmex building on Juárez Avenue, in Centro, Guadalajara, in the Mexican state of Jalisco. An engineer, Matute Remus managed to move the building 12 meters (39 ft) away without affecting the company's operations. The statue simulates Matute Remus pushing the building backwards. In August 2018, its bronze plaque was stolen. | [
"Centro",
"Jorge Matute Remus",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara",
"Telmex"
] |
|
14679_NT | Statue of Jorge Matute Remus (Centro, Guadalajara) | Focus on this artwork and explain the abstract. | A statue of Jorge Matute Remus is installed in front of a Telmex building on Juárez Avenue, in Centro, Guadalajara, in the Mexican state of Jalisco. An engineer, Matute Remus managed to move the building 12 meters (39 ft) away without affecting the company's operations. The statue simulates Matute Remus pushing the building backwards. In August 2018, its bronze plaque was stolen. | [
"Centro",
"Jorge Matute Remus",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara",
"Telmex"
] |
|
14680_T | The New Bonnet | Explore the abstract of this artwork, The New Bonnet. | The New Bonnet is a mid 19th-century painting by American artist Francis William Edmonds. Done in oil on canvas, the painting depicts a woman receiving a new bonnet. The work is on display in the Metropolitan Museum of Art. | [
"bonnet",
"Francis William Edmonds",
"Metropolitan Museum of Art"
] |
|
14680_NT | The New Bonnet | Explore the abstract of this artwork. | The New Bonnet is a mid 19th-century painting by American artist Francis William Edmonds. Done in oil on canvas, the painting depicts a woman receiving a new bonnet. The work is on display in the Metropolitan Museum of Art. | [
"bonnet",
"Francis William Edmonds",
"Metropolitan Museum of Art"
] |
|
14681_T | The New Bonnet | Focus on The New Bonnet and discuss the Description. | Bonnet depicts a familial scene in which a woman opens a new bonnet. Edmonds included a number of specific details in his work to comment on contemporaneous American consumerism; for example, the family (a woman, her mother and father) are shown to be part of the middle class, and are presented as being shocked by the price of the bonnet but oblivious to the poverty of the lower class girl (first from left) who delivered the garment. In addition, the mother (first from right) is implied to be vain as she possess a mirror, while the father (second from right) is implied to be a drunk by the presence of wine bottle and filled glass on the mantel behind him.Edmonds may have modeled his painting on the works of the 17th century Dutch masters. | [
"bonnet"
] |
|
14681_NT | The New Bonnet | Focus on this artwork and discuss the Description. | Bonnet depicts a familial scene in which a woman opens a new bonnet. Edmonds included a number of specific details in his work to comment on contemporaneous American consumerism; for example, the family (a woman, her mother and father) are shown to be part of the middle class, and are presented as being shocked by the price of the bonnet but oblivious to the poverty of the lower class girl (first from left) who delivered the garment. In addition, the mother (first from right) is implied to be vain as she possess a mirror, while the father (second from right) is implied to be a drunk by the presence of wine bottle and filled glass on the mantel behind him.Edmonds may have modeled his painting on the works of the 17th century Dutch masters. | [
"bonnet"
] |
|
14682_T | Madonna of the Cat (Romano) | How does Madonna of the Cat (Romano) elucidate its abstract? | Madonna of the Cat is a 1522-1523 oil on wood painting by Giulio Romano, now in the National Museum of Capodimonte in Naples.
It draws on the pyramidical compositions of Leonardo da Vinci and Raphael and takes its name from the domestic cat in the foreground, which allows it to be identified with a work known as "il quadro della gatta" (the painting of or with the cat) by Vasari, who saw it in Mantua in 1566. The same cat recurs in the artist's 1524-1525 The Lovers.
The work was probably produced for Federico Gonzaga while the artist was still in Rome and thus formed part of the Gonzaga collection for a time. In the late 16th century it is recorded in the collection of Barbara Sanseverino, a noblewoman from Parma and lover and confidant of Vincenzo I Gonzaga. The Farnese family confiscated artworks from several local nobles and thus the work entered the Farnese collection from Sanseverino's collection in 1612. It was one of the works inherited by Charles of Bourbon around 1737 and was then moved to Naples, where it remains. | [
"Vincenzo I Gonzaga",
"Farnese collection",
"The Lovers",
"Raphael",
"Barbara Sanseverino",
"Federico Gonzaga",
"Charles of Bourbon",
"Mantua",
"Leonardo da Vinci",
"Giulio Romano",
"Vasari",
"National Museum of Capodimonte"
] |
|
14682_NT | Madonna of the Cat (Romano) | How does this artwork elucidate its abstract? | Madonna of the Cat is a 1522-1523 oil on wood painting by Giulio Romano, now in the National Museum of Capodimonte in Naples.
It draws on the pyramidical compositions of Leonardo da Vinci and Raphael and takes its name from the domestic cat in the foreground, which allows it to be identified with a work known as "il quadro della gatta" (the painting of or with the cat) by Vasari, who saw it in Mantua in 1566. The same cat recurs in the artist's 1524-1525 The Lovers.
The work was probably produced for Federico Gonzaga while the artist was still in Rome and thus formed part of the Gonzaga collection for a time. In the late 16th century it is recorded in the collection of Barbara Sanseverino, a noblewoman from Parma and lover and confidant of Vincenzo I Gonzaga. The Farnese family confiscated artworks from several local nobles and thus the work entered the Farnese collection from Sanseverino's collection in 1612. It was one of the works inherited by Charles of Bourbon around 1737 and was then moved to Naples, where it remains. | [
"Vincenzo I Gonzaga",
"Farnese collection",
"The Lovers",
"Raphael",
"Barbara Sanseverino",
"Federico Gonzaga",
"Charles of Bourbon",
"Mantua",
"Leonardo da Vinci",
"Giulio Romano",
"Vasari",
"National Museum of Capodimonte"
] |
|
14683_T | The Oath of Leo III | Focus on The Oath of Leo III and analyze the abstract. | The Oath of Leo III is a painting by the workshop of the Italian renaissance artist Raphael. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that was named after The Fire in the Borgo, the Stanza dell'incendio del Borgo. In the fresco, Pope Leo III is seen during the trial on December 23 AD 800 during which he was brought face to face with the nephews of his predecessor Pope Hadrian I, who had accused him of misconduct. The assembled bishops declared that they could not judge the pope, after which Leo took an oath of purgation of his own free will. | [
"The Fire in the Borgo",
"Raphael",
"Apostolic Palace",
"Italian",
"Stanze di Raffaello",
"AD",
"renaissance",
"Vatican",
"painting",
"Pope Leo III",
"fresco",
"Pope Hadrian I"
] |
|
14683_NT | The Oath of Leo III | Focus on this artwork and analyze the abstract. | The Oath of Leo III is a painting by the workshop of the Italian renaissance artist Raphael. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that was named after The Fire in the Borgo, the Stanza dell'incendio del Borgo. In the fresco, Pope Leo III is seen during the trial on December 23 AD 800 during which he was brought face to face with the nephews of his predecessor Pope Hadrian I, who had accused him of misconduct. The assembled bishops declared that they could not judge the pope, after which Leo took an oath of purgation of his own free will. | [
"The Fire in the Borgo",
"Raphael",
"Apostolic Palace",
"Italian",
"Stanze di Raffaello",
"AD",
"renaissance",
"Vatican",
"painting",
"Pope Leo III",
"fresco",
"Pope Hadrian I"
] |
|
14684_T | Dancer in a Café | In Dancer in a Café, how is the abstract discussed? | Dancer in a Café (also known as Danseuse au café or Au Café Concert and Danseuse) is an oil painting created in 1912 by the French artist and theorist Jean Metzinger. The work was created while Metzinger and Albert Gleizes, in preparation for the Salon de la Section d'Or, were publishing, Du "Cubisme", the first major defense of the Cubist movement, and it was first displayed (under the title Danseuse) at the 1912 Salon d'Automne in Paris. The work proved controversial within the Municipal Council of Paris, causing debate in the Chambre des Députés about the use of public funds to exhibit such 'barbaric' art, with the Cubists being defended by the Socialist deputy Marcel Sembat.Dancer in a Café was first reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. The painting is now located at the Albright-Knox Art Gallery, Buffalo New York. | [
"Marcel Sembat",
"Albert Gleizes",
"Chambre des Députés",
"Albright-Knox Art Gallery",
"right",
"Cubist",
"Cubism",
"Salon d'Automne",
"Du \"Cubisme\"",
"Jean Metzinger",
"Section d'Or"
] |
|
14684_NT | Dancer in a Café | In this artwork, how is the abstract discussed? | Dancer in a Café (also known as Danseuse au café or Au Café Concert and Danseuse) is an oil painting created in 1912 by the French artist and theorist Jean Metzinger. The work was created while Metzinger and Albert Gleizes, in preparation for the Salon de la Section d'Or, were publishing, Du "Cubisme", the first major defense of the Cubist movement, and it was first displayed (under the title Danseuse) at the 1912 Salon d'Automne in Paris. The work proved controversial within the Municipal Council of Paris, causing debate in the Chambre des Députés about the use of public funds to exhibit such 'barbaric' art, with the Cubists being defended by the Socialist deputy Marcel Sembat.Dancer in a Café was first reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. The painting is now located at the Albright-Knox Art Gallery, Buffalo New York. | [
"Marcel Sembat",
"Albert Gleizes",
"Chambre des Députés",
"Albright-Knox Art Gallery",
"right",
"Cubist",
"Cubism",
"Salon d'Automne",
"Du \"Cubisme\"",
"Jean Metzinger",
"Section d'Or"
] |
|
14685_T | Dancer in a Café | Focus on Dancer in a Café and explore the Description. | Danseuse au café is an oil painting on canvas with dimensions 146.1 × 114.3 cm (57.5 × 45 in). The painting represents a woman dancing in a café-concert. She is shown on the right half of the canvas wearing an elaborate gown and holding in her right hand a bouquet of flowers. In the café scene, four others, two women and two men, can be observed on the left of the painting, three of whom are seated in front of a table upon which various items are placed (including beverages), and one of whom is placed seemingly in the background (upper left).Metzinger's "enchanting" Dancer in a Café, writes art historian Daniel Robbins, "exults in the exoticism of the moment, playing off the feathers or plumes of fashionable dressed Parisian women in their Worth gowns against an Amerindian pattern on the costume of the dancer, wittily comparing the height of European fashion with the anthropologically arcane."
As in other works by Metzinger of the same period, there are elements to be found of the real world, e.g., lighting fixtures, flowers, feathers and lace. The rest of the canvas consists of a series of crescendos and diminuendos of greater or lesser abstraction, of convex and concave forms, of hyperbolic and spherical surfaces, that stem from the teachings of Georges Seurat and Paul Cézanne. The Divisionist brushwork, mosaic-like 'cubes', present in his Neo-Impressionist phase (circa 1903 through 1907) have returned giving texture and rhythm to vast areas of the canvas, visible both in the figures and background.
Dancer in a café depicts strikingly fashionable women and men at the height of Parisian fashion in 1912. The dancer dressed in a directoire-style beaded and embroidered green silk velvet and chiffon caped evening gown embellished with celluloid sequins and gold trim, her hair coiffed in an elegant chignon, appears on a low stage or table performing for patrons or guests, all fashionably dressed and coiffed in silk and beaded net gowns, silver brocade and lace full-length gowns, ostrich-plumed hats, patterned suit, fedora and black tie. The artist depicts the figures and background as a series of subdivided facets and planes, presenting multiple aspects of the café scene simultaneously. This can be seen in the deliberate positioning of light, shadow, the nonconventional use of chiaroscuro, of form and color, and the way in which Metzinger assimilates the fusion of the background with the figures. The manifold surface has a complex geometry of reticulations with intricate series of (almost mathematical looking) black lines that appear in sections as underdrawing and in others as overdrawing."The style of the clothes is meticulously up-to-the-minute" writes Cottington of Metzinger's three entries at the 1912 Salon d'Automne, "the cut of the dresses, and the relatively uncorseted silhouettes they permitted their weavers to display, owe much more to Poiret than to Worth—indeed the check of one figure in the Dancer and the polka dots of the Woman with a Fan anticipate the post-war geometries, if not the colour harmonies, of Sonia Delaunay's fabrics, while the open-collared sportiness of the dress and cloche-style hat in The Yellow Feather look forward to the 1920s." | [
"Daniel Robbins",
"Georges Seurat",
"Woman with a Fan",
"Paul Cézanne",
"right",
"Sonia Delaunay",
"Salon d'Automne",
"chiaroscuro",
"Divisionist",
"left"
] |
|
14685_NT | Dancer in a Café | Focus on this artwork and explore the Description. | Danseuse au café is an oil painting on canvas with dimensions 146.1 × 114.3 cm (57.5 × 45 in). The painting represents a woman dancing in a café-concert. She is shown on the right half of the canvas wearing an elaborate gown and holding in her right hand a bouquet of flowers. In the café scene, four others, two women and two men, can be observed on the left of the painting, three of whom are seated in front of a table upon which various items are placed (including beverages), and one of whom is placed seemingly in the background (upper left).Metzinger's "enchanting" Dancer in a Café, writes art historian Daniel Robbins, "exults in the exoticism of the moment, playing off the feathers or plumes of fashionable dressed Parisian women in their Worth gowns against an Amerindian pattern on the costume of the dancer, wittily comparing the height of European fashion with the anthropologically arcane."
As in other works by Metzinger of the same period, there are elements to be found of the real world, e.g., lighting fixtures, flowers, feathers and lace. The rest of the canvas consists of a series of crescendos and diminuendos of greater or lesser abstraction, of convex and concave forms, of hyperbolic and spherical surfaces, that stem from the teachings of Georges Seurat and Paul Cézanne. The Divisionist brushwork, mosaic-like 'cubes', present in his Neo-Impressionist phase (circa 1903 through 1907) have returned giving texture and rhythm to vast areas of the canvas, visible both in the figures and background.
Dancer in a café depicts strikingly fashionable women and men at the height of Parisian fashion in 1912. The dancer dressed in a directoire-style beaded and embroidered green silk velvet and chiffon caped evening gown embellished with celluloid sequins and gold trim, her hair coiffed in an elegant chignon, appears on a low stage or table performing for patrons or guests, all fashionably dressed and coiffed in silk and beaded net gowns, silver brocade and lace full-length gowns, ostrich-plumed hats, patterned suit, fedora and black tie. The artist depicts the figures and background as a series of subdivided facets and planes, presenting multiple aspects of the café scene simultaneously. This can be seen in the deliberate positioning of light, shadow, the nonconventional use of chiaroscuro, of form and color, and the way in which Metzinger assimilates the fusion of the background with the figures. The manifold surface has a complex geometry of reticulations with intricate series of (almost mathematical looking) black lines that appear in sections as underdrawing and in others as overdrawing."The style of the clothes is meticulously up-to-the-minute" writes Cottington of Metzinger's three entries at the 1912 Salon d'Automne, "the cut of the dresses, and the relatively uncorseted silhouettes they permitted their weavers to display, owe much more to Poiret than to Worth—indeed the check of one figure in the Dancer and the polka dots of the Woman with a Fan anticipate the post-war geometries, if not the colour harmonies, of Sonia Delaunay's fabrics, while the open-collared sportiness of the dress and cloche-style hat in The Yellow Feather look forward to the 1920s." | [
"Daniel Robbins",
"Georges Seurat",
"Woman with a Fan",
"Paul Cézanne",
"right",
"Sonia Delaunay",
"Salon d'Automne",
"chiaroscuro",
"Divisionist",
"left"
] |
|
14686_T | Dancer in a Café | Focus on Dancer in a Café and explain the Paul Poiret, Isadora Duncan and the art world. | The French fashion designer Paul Poiret actually worked for the House of Worth early in the 20th century, however, the "brazen modernity of his designs" proved too much for Worth's conservative clientele. Poiret established his own house in 1903 and threw spectacular parties to promote his work.In June 1911 Poiret unveiled "Parfums de Rosine" in a grand soirée held at his palatial home (a hôtel particulier avenue d'Antin), a costume ball christened "la mille et deuxième nuit", (the thousand and second night), attended by the Parisian high-society and the artistic world. Raoul Dufy—with whom Metzinger had exhibited at the gallery of Berthe Weill in 1903, the Indépendants of 1905 and Galerie Notre-Dame-des-Champs in 1908—designed the invitation. Gardens were illuminated by lanterns and live tropical birds. His marketing strategy became a sensation and the talk of Paris. A second scent debuted in 1912, "Le Minaret", again emphasizing the harem theme.In 1911, the photographer Edward Steichen was challenged by publisher Lucien Vogel to promote fashion as a fine art by the use of photography. The photographs of Poiret's gowns, published in the April 1911 issue of the magazine Art et Décoration, are now considered to be the first modern fashion photography shoot. In 1912, Vogel began his renowned fashion journal La Gazette du Bon Ton, showcasing Poiret's designs, along with other leading Paris designers such as the House of Charles Worth, Louise Chéruit, Georges Doeuillet, Jeanne Paquin, Redfern & Sons and Jacques Doucet (the Post-Impressionist and Cubist art collector who purchased Les Demoiselles d'Avignon, directly from Picasso's studio).Paul Poiret had a lifelong interest in modern art for the purposes of self-promotion and the benefit of his diverse commercial enterprises. In 1911 he rented and restored a mansion built by the architect Ange-Jacques Gabriel for Louis XV, 1750, called Pavillon du Butard in La Celle-Saint-Cloud (not far from Albert Gleizes' studio and close to the Duchamp residence, where the Section d'Or group gathered) and threw lavish parties, including one of the more famous grandes fêtes dated 20 June 1912, La fête de Bacchus (re-creating the Bacchanalia hosted by Louis XIV at Versailles). Guy-Pierre Fauconnet (1882–1920) designed the invitation. Isadora Duncan, wearing a Hellenic evening gown designed by Poiret, danced on tables among 300 guests and 900 bottles of champagne were consumed until the first light of day.
Isadora Duncan, a girl from California said to have posed for Eadweard Muybridge, placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, and so on in organic succession. Her dancing defined the force of progress, change, abstraction and liberation. In France too Duncan delighted her audience.André Dunoyer de Segonzac, Max Jacob, André Salmon and others such as Kees van Dongen and Raoul Dufy are known to have attended Poiret's balls. Salmon writes about one of them in L'Air de la Butte: 'Poiret who opens his home to artists of his choice, who prepare, in his gardens, a party in the spirit of 1889'. Here Salmon makes reference to the Exposition Universelle (1889).By 1912, Marie Laurencin had entered into an intimate lesbian relationship with the fashion designer Nicole Groult, born Nicole Poiret (the sister of Paul Poiret). In 1906 Nicole Poiret, with her brother Paul and friend Isadora Duncan fought a tense battle for the liberation of women, which began by the abolition of the corset. Laurencin had shown together with Metzinger and other Cubists in Room 41 of the 1911 Salon des Indépendants (at the suggestion of Guillaume Apollinaire), which provoked the 'scandal' out of which Cubism emerged and spread throughout Paris, France, Europe and so on. In the company of her friend Marie Laurencin, Nicole Poiret frequented the bohemian world of Montmartre, Le Bateau-Lavoir and the Cubists.The sculptor Emile-Antoine Bourdelle had met Isadora in 1903 at Auguste Rodin's picnic, and in 1909 he saw her dance on stage. Bourdelle had previously been asked to decorate the façade of the planned Théâtre des Champs-Élysées. When he saw her he realized that Isadora was his muse: "To me it seemed that there, through her, was animated an ineffable frieze wherein divine frescoes slowly became human realities. Each leap, each attitude of the great artist remains in my memory like flashes of lightning." Bourdelle would return from the theatre and sketch for hours. His images of Isadora are the most varied, for they convey not only Isadora but the vast range of emotions she embodied.By 1912 Isadora had become an icon for artists in Paris. Many had first seen her in 1903 when she had gone to the Ecole des Beaux-Arts and distributed complimentary tickets to students. The artist Dunoyer de Segonzac published his first Isadora portfolio in 1910, with a preface in verse by the poet Fernand Divoire. At this time, Dunoyer de Segonzac and Metzinger were both teachers at the Académie de La Palette, 104 Bd de Clichy, Paris 18ème, along with Henri Le Fauconnier.Metzinger's interest in fashion was mirrored by Poiret's interest in modern art. On 18 November 1925 works from the art collection of Paul Poiret were exhibited and sold at a public auction in Paris. Artists in his collection included Derain, van Dongen, Dufresne, Dufy, de La Fresnaye, Othon Friesz, Matisse, Modigliani (Portrait de Max Jacob), Picabia, Picasso, Rouault and Dunoyer de Segonzac.Though it is unclear whether Metzinger attended these parties it would be very unlikely that he and a selected few of his fellow Cubists did not—considering the celebrity status he enjoyed at the forefront of the avant-garde. Three months after La fête de Bacchus Metzinger exhibited Dancer in a café at the Salon d'Automne, held in Paris at the Grand Palais from 1 October to 8 November 1912. | [
"André Salmon",
"Bateau-Lavoir",
"Louis XV",
"Louise Chéruit",
"Raoul Dufy",
"La Gazette du Bon Ton",
"Louis XIV",
"bohemian",
"Eadweard Muybridge",
"Exposition Universelle (1889)",
"Guillaume Apollinaire",
"Albert Gleizes",
"Lucien Vogel",
"Marie Laurencin",
"Jacques Doucet",
"Georges Doeuillet",
"Cubist",
"Redfern & Sons",
"Ange-Jacques Gabriel",
"Edward Steichen",
"Cubism",
"Salon d'Automne",
"Pavillon du Butard",
"Grand Palais",
"Exposition Universelle",
"Emile-Antoine Bourdelle",
"Isadora Duncan",
"Gazette du Bon Ton",
"Bacchanalia",
"Berthe Weill",
"Charles Worth",
"Auguste Rodin",
"Nicole Groult",
"Jeanne Paquin",
"André Dunoyer de Segonzac",
"Les Demoiselles d'Avignon",
"Post-Impressionist",
"Antoine Bourdelle",
"Théâtre des Champs-Élysées",
"Section d'Or",
"Kees van Dongen",
"Académie de La Palette",
"lesbian",
"Le Bateau-Lavoir",
"Henri Le Fauconnier",
"House of Worth",
"Max Jacob",
"Montmartre",
"Paul Poiret",
"La Celle-Saint-Cloud",
"Salon des Indépendants"
] |
|
14686_NT | Dancer in a Café | Focus on this artwork and explain the Paul Poiret, Isadora Duncan and the art world. | The French fashion designer Paul Poiret actually worked for the House of Worth early in the 20th century, however, the "brazen modernity of his designs" proved too much for Worth's conservative clientele. Poiret established his own house in 1903 and threw spectacular parties to promote his work.In June 1911 Poiret unveiled "Parfums de Rosine" in a grand soirée held at his palatial home (a hôtel particulier avenue d'Antin), a costume ball christened "la mille et deuxième nuit", (the thousand and second night), attended by the Parisian high-society and the artistic world. Raoul Dufy—with whom Metzinger had exhibited at the gallery of Berthe Weill in 1903, the Indépendants of 1905 and Galerie Notre-Dame-des-Champs in 1908—designed the invitation. Gardens were illuminated by lanterns and live tropical birds. His marketing strategy became a sensation and the talk of Paris. A second scent debuted in 1912, "Le Minaret", again emphasizing the harem theme.In 1911, the photographer Edward Steichen was challenged by publisher Lucien Vogel to promote fashion as a fine art by the use of photography. The photographs of Poiret's gowns, published in the April 1911 issue of the magazine Art et Décoration, are now considered to be the first modern fashion photography shoot. In 1912, Vogel began his renowned fashion journal La Gazette du Bon Ton, showcasing Poiret's designs, along with other leading Paris designers such as the House of Charles Worth, Louise Chéruit, Georges Doeuillet, Jeanne Paquin, Redfern & Sons and Jacques Doucet (the Post-Impressionist and Cubist art collector who purchased Les Demoiselles d'Avignon, directly from Picasso's studio).Paul Poiret had a lifelong interest in modern art for the purposes of self-promotion and the benefit of his diverse commercial enterprises. In 1911 he rented and restored a mansion built by the architect Ange-Jacques Gabriel for Louis XV, 1750, called Pavillon du Butard in La Celle-Saint-Cloud (not far from Albert Gleizes' studio and close to the Duchamp residence, where the Section d'Or group gathered) and threw lavish parties, including one of the more famous grandes fêtes dated 20 June 1912, La fête de Bacchus (re-creating the Bacchanalia hosted by Louis XIV at Versailles). Guy-Pierre Fauconnet (1882–1920) designed the invitation. Isadora Duncan, wearing a Hellenic evening gown designed by Poiret, danced on tables among 300 guests and 900 bottles of champagne were consumed until the first light of day.
Isadora Duncan, a girl from California said to have posed for Eadweard Muybridge, placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, and so on in organic succession. Her dancing defined the force of progress, change, abstraction and liberation. In France too Duncan delighted her audience.André Dunoyer de Segonzac, Max Jacob, André Salmon and others such as Kees van Dongen and Raoul Dufy are known to have attended Poiret's balls. Salmon writes about one of them in L'Air de la Butte: 'Poiret who opens his home to artists of his choice, who prepare, in his gardens, a party in the spirit of 1889'. Here Salmon makes reference to the Exposition Universelle (1889).By 1912, Marie Laurencin had entered into an intimate lesbian relationship with the fashion designer Nicole Groult, born Nicole Poiret (the sister of Paul Poiret). In 1906 Nicole Poiret, with her brother Paul and friend Isadora Duncan fought a tense battle for the liberation of women, which began by the abolition of the corset. Laurencin had shown together with Metzinger and other Cubists in Room 41 of the 1911 Salon des Indépendants (at the suggestion of Guillaume Apollinaire), which provoked the 'scandal' out of which Cubism emerged and spread throughout Paris, France, Europe and so on. In the company of her friend Marie Laurencin, Nicole Poiret frequented the bohemian world of Montmartre, Le Bateau-Lavoir and the Cubists.The sculptor Emile-Antoine Bourdelle had met Isadora in 1903 at Auguste Rodin's picnic, and in 1909 he saw her dance on stage. Bourdelle had previously been asked to decorate the façade of the planned Théâtre des Champs-Élysées. When he saw her he realized that Isadora was his muse: "To me it seemed that there, through her, was animated an ineffable frieze wherein divine frescoes slowly became human realities. Each leap, each attitude of the great artist remains in my memory like flashes of lightning." Bourdelle would return from the theatre and sketch for hours. His images of Isadora are the most varied, for they convey not only Isadora but the vast range of emotions she embodied.By 1912 Isadora had become an icon for artists in Paris. Many had first seen her in 1903 when she had gone to the Ecole des Beaux-Arts and distributed complimentary tickets to students. The artist Dunoyer de Segonzac published his first Isadora portfolio in 1910, with a preface in verse by the poet Fernand Divoire. At this time, Dunoyer de Segonzac and Metzinger were both teachers at the Académie de La Palette, 104 Bd de Clichy, Paris 18ème, along with Henri Le Fauconnier.Metzinger's interest in fashion was mirrored by Poiret's interest in modern art. On 18 November 1925 works from the art collection of Paul Poiret were exhibited and sold at a public auction in Paris. Artists in his collection included Derain, van Dongen, Dufresne, Dufy, de La Fresnaye, Othon Friesz, Matisse, Modigliani (Portrait de Max Jacob), Picabia, Picasso, Rouault and Dunoyer de Segonzac.Though it is unclear whether Metzinger attended these parties it would be very unlikely that he and a selected few of his fellow Cubists did not—considering the celebrity status he enjoyed at the forefront of the avant-garde. Three months after La fête de Bacchus Metzinger exhibited Dancer in a café at the Salon d'Automne, held in Paris at the Grand Palais from 1 October to 8 November 1912. | [
"André Salmon",
"Bateau-Lavoir",
"Louis XV",
"Louise Chéruit",
"Raoul Dufy",
"La Gazette du Bon Ton",
"Louis XIV",
"bohemian",
"Eadweard Muybridge",
"Exposition Universelle (1889)",
"Guillaume Apollinaire",
"Albert Gleizes",
"Lucien Vogel",
"Marie Laurencin",
"Jacques Doucet",
"Georges Doeuillet",
"Cubist",
"Redfern & Sons",
"Ange-Jacques Gabriel",
"Edward Steichen",
"Cubism",
"Salon d'Automne",
"Pavillon du Butard",
"Grand Palais",
"Exposition Universelle",
"Emile-Antoine Bourdelle",
"Isadora Duncan",
"Gazette du Bon Ton",
"Bacchanalia",
"Berthe Weill",
"Charles Worth",
"Auguste Rodin",
"Nicole Groult",
"Jeanne Paquin",
"André Dunoyer de Segonzac",
"Les Demoiselles d'Avignon",
"Post-Impressionist",
"Antoine Bourdelle",
"Théâtre des Champs-Élysées",
"Section d'Or",
"Kees van Dongen",
"Académie de La Palette",
"lesbian",
"Le Bateau-Lavoir",
"Henri Le Fauconnier",
"House of Worth",
"Max Jacob",
"Montmartre",
"Paul Poiret",
"La Celle-Saint-Cloud",
"Salon des Indépendants"
] |
|
14687_T | Dancer in a Café | Explore the Multiple perspective of this artwork, Dancer in a Café. | Despite Metzinger's conceptualism of Cubist painting—the reflexive function of complex geometry, juxtaposed multiple perspectives, planar fragmentation suggesting motion and rhythmic play with various symmetry types—there does manifest itself in Danseuse a certain spatial depth or perspective reminiscent of the optical illusion of space of the Renaissance; in the way, for example, the wall-mounted lighting fixtures become smaller with distance, and so too the man at the upper left appearing smaller in the background than his counterparts in the foreground. It shows that non-Euclidean geometry does not imply the absolute destruction of classical perspective, or that simply, the breakdown of classical perspective need not be complete. Unlike the flattening of space associated with the Cubist paintings of others, Metzinger had no intention of abolishing depth of field. Of course here perspectival space is only alluded to by changes of scale, not by co-ordinated linear convergence, resulting in a complex space perfectly adapted to a stage-set. This feature is observed not only in Metzinger's Cubist paintings, but also in his Divisionist and proto-Cubist works between 1905 and 1909, as well as in his more figurative works of the 1920s (during the Return to order phase).
There are, however, objective factors that prevent the illusion from succeeding completely: (1) the canvas is two-dimensional while reality is three-dimensional, (2) the uniqueness of the view-point (humans have two eyes). Metzinger compensates for the missing spatiality in his two-dimensional representation by giving other cues for depth, in addition to relative size: shading and shadows, source of light, occlusion (e.g., the stage or table upon which the woman dances cuts 'in front' of the woman sitting at the table). Metzinger represents a subjective effect objectively on the canvas, imitating subjective phenomena (of vision) objectively. Henri Poincaré, in Science and Hypothesis, 1902, discusses 'representative' space (visual, tactile and motor space) versus 'geometrical' space.The painting inscribes an ambivalence in that it expresses both contemporary and classical, modern and traditional, avant-garde and academic connotations, simultaneously. The "busy geometry of planar fragmentation and juxtaposed perspectives has a more than reflexive function," notes Cottington, "for the symmetrical patterning of its reticulations (as in the dancer's décolletage) and their rhythmic parallel repetitions suggest not only movement and diagrams but also, metonymically, the mechanised object-world of modernity."Two works entitled Nu and Landscape, circa 1908 and 1909 respectively, indicate that Metzinger had already departed from his Fauvist brand of Divisionism by 1908. Turning his attention fully towards the geometric abstraction of form, Metzinger allowed the viewer to reconstruct the original volume mentally and to imagine the object depicted within space. But this wasn't the space of Euclidean geometry and its associated classical one-point perspective in use and unquestioned since the onset of the Renaissance. This was an all-out multi-frontal attack on the narrow limitations of academicism, on pre-20th century empiricism, on positivism, determinism and the untenable notions of absolute space, absolute time and absolute truth. It was a revolt inline with those leveled by the mathematician Henri Poincaré and the philosophers William James, Friedrich Nietzsche and Henri Bergson. This was an embrace of Riemannian geometry, of the relativity of knowledge, of realities hidden by human vision, an embrace of the world that surpassed material appearances. Poincaré, in Science & Method, The Relativity of Space (1897), wrote: "Absolute space exists no longer; there is only space relative to a certain initial position of the body."
Thus the characteristic property of space, that of having three dimensions, is only a property of our distribution board, a property residing, so to speak, in the human intelligence. The destruction of some of these connections that is to say of these associations of ideas, would be sufficient to give us a different distribution board, and that might be enough to endow space with a fourth dimension. ... It quite seems, indeed, that it would be possible to translate our physics into the language of geometry of four dimensions.
Albert Gleizes, writing on Metzinger's Cubism in September 1911 (almost a year before the completion of Danseuse au café), identified Metzinger as a follower of Nietzsche who 'invents his own truth' by destroying 'old values'.His concerns for color that had assumed a primary role both as a decorative and expressive device before 1908 had given way to the primacy of form. But his monochromatic tonalities would last only until 1912, when both color and form would boldly combine to produce such works as Danseuse au café. "The works of Jean Metzinger" Guillaume Apollinaire writes in 1912 "have purity. His meditations take on beautiful forms whose harmony tends to approach sublimity. The new structures he is composing are stripped of everything that was known before him."As a resident of la Butte Montmartre in Paris, Metzinger entered the circle of Picasso and Braque (in 1908). "It is to the credit of Jean Metzinger, at the time, to have been the first to recognize the commencement of the Cubist Movement as such" writes S. E. Johnson, "Metzinger's portrait of Apollinaire, the poet of the Cubist Movement, was executed in 1909 and, as Apollinaire himself has pointed out in his book The Cubist Painters (written in 1912 and published in 1913), Metzinger, following Picasso and Braque, was chronologically the third Cubist artist. | [
"Euclidean geometry",
"décolletage",
"Return to order",
"determinism",
"Guillaume Apollinaire",
"Albert Gleizes",
"Friedrich Nietzsche",
"Divisionism",
"positivism",
"Cubist",
"absolute time",
"Cubism",
"William James",
"Henri Bergson",
"geometric abstraction",
"non-Euclidean geometry",
"Jean Metzinger",
"Henri Poincaré",
"Fauvist",
"Divisionist",
"Riemannian geometry",
"Montmartre",
"left",
"absolute space",
"proto-Cubist"
] |
|
14687_NT | Dancer in a Café | Explore the Multiple perspective of this artwork. | Despite Metzinger's conceptualism of Cubist painting—the reflexive function of complex geometry, juxtaposed multiple perspectives, planar fragmentation suggesting motion and rhythmic play with various symmetry types—there does manifest itself in Danseuse a certain spatial depth or perspective reminiscent of the optical illusion of space of the Renaissance; in the way, for example, the wall-mounted lighting fixtures become smaller with distance, and so too the man at the upper left appearing smaller in the background than his counterparts in the foreground. It shows that non-Euclidean geometry does not imply the absolute destruction of classical perspective, or that simply, the breakdown of classical perspective need not be complete. Unlike the flattening of space associated with the Cubist paintings of others, Metzinger had no intention of abolishing depth of field. Of course here perspectival space is only alluded to by changes of scale, not by co-ordinated linear convergence, resulting in a complex space perfectly adapted to a stage-set. This feature is observed not only in Metzinger's Cubist paintings, but also in his Divisionist and proto-Cubist works between 1905 and 1909, as well as in his more figurative works of the 1920s (during the Return to order phase).
There are, however, objective factors that prevent the illusion from succeeding completely: (1) the canvas is two-dimensional while reality is three-dimensional, (2) the uniqueness of the view-point (humans have two eyes). Metzinger compensates for the missing spatiality in his two-dimensional representation by giving other cues for depth, in addition to relative size: shading and shadows, source of light, occlusion (e.g., the stage or table upon which the woman dances cuts 'in front' of the woman sitting at the table). Metzinger represents a subjective effect objectively on the canvas, imitating subjective phenomena (of vision) objectively. Henri Poincaré, in Science and Hypothesis, 1902, discusses 'representative' space (visual, tactile and motor space) versus 'geometrical' space.The painting inscribes an ambivalence in that it expresses both contemporary and classical, modern and traditional, avant-garde and academic connotations, simultaneously. The "busy geometry of planar fragmentation and juxtaposed perspectives has a more than reflexive function," notes Cottington, "for the symmetrical patterning of its reticulations (as in the dancer's décolletage) and their rhythmic parallel repetitions suggest not only movement and diagrams but also, metonymically, the mechanised object-world of modernity."Two works entitled Nu and Landscape, circa 1908 and 1909 respectively, indicate that Metzinger had already departed from his Fauvist brand of Divisionism by 1908. Turning his attention fully towards the geometric abstraction of form, Metzinger allowed the viewer to reconstruct the original volume mentally and to imagine the object depicted within space. But this wasn't the space of Euclidean geometry and its associated classical one-point perspective in use and unquestioned since the onset of the Renaissance. This was an all-out multi-frontal attack on the narrow limitations of academicism, on pre-20th century empiricism, on positivism, determinism and the untenable notions of absolute space, absolute time and absolute truth. It was a revolt inline with those leveled by the mathematician Henri Poincaré and the philosophers William James, Friedrich Nietzsche and Henri Bergson. This was an embrace of Riemannian geometry, of the relativity of knowledge, of realities hidden by human vision, an embrace of the world that surpassed material appearances. Poincaré, in Science & Method, The Relativity of Space (1897), wrote: "Absolute space exists no longer; there is only space relative to a certain initial position of the body."
Thus the characteristic property of space, that of having three dimensions, is only a property of our distribution board, a property residing, so to speak, in the human intelligence. The destruction of some of these connections that is to say of these associations of ideas, would be sufficient to give us a different distribution board, and that might be enough to endow space with a fourth dimension. ... It quite seems, indeed, that it would be possible to translate our physics into the language of geometry of four dimensions.
Albert Gleizes, writing on Metzinger's Cubism in September 1911 (almost a year before the completion of Danseuse au café), identified Metzinger as a follower of Nietzsche who 'invents his own truth' by destroying 'old values'.His concerns for color that had assumed a primary role both as a decorative and expressive device before 1908 had given way to the primacy of form. But his monochromatic tonalities would last only until 1912, when both color and form would boldly combine to produce such works as Danseuse au café. "The works of Jean Metzinger" Guillaume Apollinaire writes in 1912 "have purity. His meditations take on beautiful forms whose harmony tends to approach sublimity. The new structures he is composing are stripped of everything that was known before him."As a resident of la Butte Montmartre in Paris, Metzinger entered the circle of Picasso and Braque (in 1908). "It is to the credit of Jean Metzinger, at the time, to have been the first to recognize the commencement of the Cubist Movement as such" writes S. E. Johnson, "Metzinger's portrait of Apollinaire, the poet of the Cubist Movement, was executed in 1909 and, as Apollinaire himself has pointed out in his book The Cubist Painters (written in 1912 and published in 1913), Metzinger, following Picasso and Braque, was chronologically the third Cubist artist. | [
"Euclidean geometry",
"décolletage",
"Return to order",
"determinism",
"Guillaume Apollinaire",
"Albert Gleizes",
"Friedrich Nietzsche",
"Divisionism",
"positivism",
"Cubist",
"absolute time",
"Cubism",
"William James",
"Henri Bergson",
"geometric abstraction",
"non-Euclidean geometry",
"Jean Metzinger",
"Henri Poincaré",
"Fauvist",
"Divisionist",
"Riemannian geometry",
"Montmartre",
"left",
"absolute space",
"proto-Cubist"
] |
|
14688_T | Dancer in a Café | Focus on Dancer in a Café and discuss the Simultaneity and multiplicity. | With the overthrow of classical perspective and its implicit staticity quasi-complete, the new concept of mobile perspective, first propounded by Metzinger in his 1910 publication Note sur la peinture, implied explicitly the dynamism of motion within multiple-spatial dimensions. In the article Metzinger notes the similarities between Robert Delaunay, Henri Le Fauconnier, Georges Braque and Pablo Picasso, stressing the distance between their works and traditional perspective. These artists, with Metzinger flanked between, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over the course of time.Apollinaire, possibly with the work of Eadweard Muybridge in mind, wrote a year later of this "state of motion" as akin to "cinematic" movement around an object, revealing a "plastic truth" compatible with reality by showing the spectator "all its facets".Gleizes again in 1911 remarks Metzinger is "haunted by the desire to inscribe a total image":He will put down the greatest number of possible planes: to purely objective truth he wishes to add a new truth, born from what his intelligence permits him to know. Thus—and he said himself: to space he will join time. ... he wishes to develop the visual field by multiplying it, to inscribe them all in the space of the same canvas: it is then that the cube will play a role, for Metzinger will utilize this means to reestablish the equilibrium that these audacious inscriptions will have momentarily broken.
Now liberated from the one-to-one relationship between a fixed coordinate in space captured at a single moment in time assumed by classical vanishing-point perspective, the artist became free to explore notions of simultaneity, whereby several positions in space captured at successive time intervals could be depicted within the bounds of a single painting.This picture plane, write Metzinger and Gleizes (in Du "Cubisme", 1912), "reflects the viewer's personality back upon his understanding, pictorial space may be defined as a sensible passage between two subjective spaces." The forms situated within this space, they continue, "spring from a dynamism which we profess to command. In order that our intelligence may possess it, let us first exercise our sensibility."There are two methods of regarding the division of the canvas, according to Metzinger and Gleizes, (1) "all the parts are connected by a rhythmic convention", giving the painting a centre from which the gradations of colour proceed (or towards which they tend), creating spaces of maximum or minimum intensity. (2) "The spectator, himself free to establish unity, may apprehend all the elements in the order assigned to them by creative intuition, the properties of each portion must be left independent, and the plastic continuum must be broken into a thousand surprises of light and shade."There is nothing real outside ourselves; there is nothing real except the coincidence of a sensation and an individual mental direction. Far be it from us to throw any doubts upon the existence of the objects which strike our senses; but, rationally speaking, we can only have certitude with regard to the images which they produce in the mind.
According to the founders of Cubist theory, objects possess no absolute or essential form. "There are as many images of an object as there are eyes which look at it; there are as many essential images of it as there are minds which comprehend it." | [
"Georges Braque",
"Eadweard Muybridge",
"Cubist",
"Cubism",
"Pablo Picasso",
"Du \"Cubisme\"",
"Robert Delaunay",
"Henri Le Fauconnier",
"left"
] |
|
14688_NT | Dancer in a Café | Focus on this artwork and discuss the Simultaneity and multiplicity. | With the overthrow of classical perspective and its implicit staticity quasi-complete, the new concept of mobile perspective, first propounded by Metzinger in his 1910 publication Note sur la peinture, implied explicitly the dynamism of motion within multiple-spatial dimensions. In the article Metzinger notes the similarities between Robert Delaunay, Henri Le Fauconnier, Georges Braque and Pablo Picasso, stressing the distance between their works and traditional perspective. These artists, with Metzinger flanked between, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over the course of time.Apollinaire, possibly with the work of Eadweard Muybridge in mind, wrote a year later of this "state of motion" as akin to "cinematic" movement around an object, revealing a "plastic truth" compatible with reality by showing the spectator "all its facets".Gleizes again in 1911 remarks Metzinger is "haunted by the desire to inscribe a total image":He will put down the greatest number of possible planes: to purely objective truth he wishes to add a new truth, born from what his intelligence permits him to know. Thus—and he said himself: to space he will join time. ... he wishes to develop the visual field by multiplying it, to inscribe them all in the space of the same canvas: it is then that the cube will play a role, for Metzinger will utilize this means to reestablish the equilibrium that these audacious inscriptions will have momentarily broken.
Now liberated from the one-to-one relationship between a fixed coordinate in space captured at a single moment in time assumed by classical vanishing-point perspective, the artist became free to explore notions of simultaneity, whereby several positions in space captured at successive time intervals could be depicted within the bounds of a single painting.This picture plane, write Metzinger and Gleizes (in Du "Cubisme", 1912), "reflects the viewer's personality back upon his understanding, pictorial space may be defined as a sensible passage between two subjective spaces." The forms situated within this space, they continue, "spring from a dynamism which we profess to command. In order that our intelligence may possess it, let us first exercise our sensibility."There are two methods of regarding the division of the canvas, according to Metzinger and Gleizes, (1) "all the parts are connected by a rhythmic convention", giving the painting a centre from which the gradations of colour proceed (or towards which they tend), creating spaces of maximum or minimum intensity. (2) "The spectator, himself free to establish unity, may apprehend all the elements in the order assigned to them by creative intuition, the properties of each portion must be left independent, and the plastic continuum must be broken into a thousand surprises of light and shade."There is nothing real outside ourselves; there is nothing real except the coincidence of a sensation and an individual mental direction. Far be it from us to throw any doubts upon the existence of the objects which strike our senses; but, rationally speaking, we can only have certitude with regard to the images which they produce in the mind.
According to the founders of Cubist theory, objects possess no absolute or essential form. "There are as many images of an object as there are eyes which look at it; there are as many essential images of it as there are minds which comprehend it." | [
"Georges Braque",
"Eadweard Muybridge",
"Cubist",
"Cubism",
"Pablo Picasso",
"Du \"Cubisme\"",
"Robert Delaunay",
"Henri Le Fauconnier",
"left"
] |
|
14689_T | Dancer in a Café | How does Dancer in a Café elucidate its Theoretical underpinnings? | The idea of moving around an object in order to see it from different view-points is treated in Du "Cubisme" (1912). It was also a central idea of Jean Metzinger's Note sur la Peinture, 1910; Indeed, prior to Cubism painters worked from the limiting factor of a single view-point. And it was Metzinger for the first time in Note sur la peinture who enunciated the stimulating interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. It was then that Metzinger discarded traditional perspective and granted himself the liberty of moving around objects. This is the concept of "mobile perspective" that would tend towards the representation of the "total image".Though at first the idea would shock the general public some eventually came to accept it, as they came to accept the 'atomist' representation of the universe as a multitude of dots consisting of primary colors. Just as each color is modified by its relation to adjacent colors within the context of Neo-Impressionist color theory, so too the object is modified by the geometric forms adjacent to it within the context of Cubism. The concept of 'mobile perspective' is essentially an extension of a similar principle stated in Paul Signac's D'Eugène Delacroix au néo-impressionisme, with respect to color. Only now, the idea is extended to deal with questions of form within the context of both space and time. | [
"Paul Signac",
"atomist",
"Cubism",
"Du \"Cubisme\"",
"Jean Metzinger"
] |
|
14689_NT | Dancer in a Café | How does this artwork elucidate its Theoretical underpinnings? | The idea of moving around an object in order to see it from different view-points is treated in Du "Cubisme" (1912). It was also a central idea of Jean Metzinger's Note sur la Peinture, 1910; Indeed, prior to Cubism painters worked from the limiting factor of a single view-point. And it was Metzinger for the first time in Note sur la peinture who enunciated the stimulating interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. It was then that Metzinger discarded traditional perspective and granted himself the liberty of moving around objects. This is the concept of "mobile perspective" that would tend towards the representation of the "total image".Though at first the idea would shock the general public some eventually came to accept it, as they came to accept the 'atomist' representation of the universe as a multitude of dots consisting of primary colors. Just as each color is modified by its relation to adjacent colors within the context of Neo-Impressionist color theory, so too the object is modified by the geometric forms adjacent to it within the context of Cubism. The concept of 'mobile perspective' is essentially an extension of a similar principle stated in Paul Signac's D'Eugène Delacroix au néo-impressionisme, with respect to color. Only now, the idea is extended to deal with questions of form within the context of both space and time. | [
"Paul Signac",
"atomist",
"Cubism",
"Du \"Cubisme\"",
"Jean Metzinger"
] |
|
14690_T | Dancer in a Café | Focus on Dancer in a Café and analyze the Salon d'Automne, 1912. | The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November, saw the Cubists (listed below) regrouped into the same room XI. For the occasion, Danseuse au café was reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism.
The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of Fauvism (with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel. The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI where the Cubists exhibited their works. The resistance to foreigners (dubbed "apaches") and avant-garde artists was just the visible face of a more profound crises: that of defining modern French art, and the dwindling of an artistic system crystallized around the heritage of Impressionism centered in Paris. Burgeoning was a new avant-garde system, the international logic of which—mercantile and médiatique—put into question the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political, and as in the 1905 Salon d'Automne, with his infamous "Donatello chez les fauves", the critic Louis Vauxcelles (Les Arts, 1912) was most implicated in the deliberations. Recall too, it was Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay.The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. On 3 December 1912 the controversy spread to the Municipal Council of Paris. A debate transpired in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.
Jean Metzinger entered three works: Dancer in a café (simply entitled Danseuse), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (now at the Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).
Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)
Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)
Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears), 1912 (Museum of Art, Rhode Island School of Design).
Albert Gleizes, l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud), 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.
André Lhote, Le jugement de Paris, 1912 (Private collection)
František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.
Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)
Alexander Archipenko, Family Life, 1912, sculpture
Amedeo Modigliani, exhibited four elongated and highly stylized heads), sculptures
Joseph Csaky exhibited the sculptures Groupe de femmes, 1911–1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown), and Danseuse (Femme à l'éventail, Femme à la cruche), no. 405 (location unknown)This exhibition also featured La Maison Cubiste. Raymond Duchamp-Villon designed façade of a 10-by-3-metre (32.8 ft × 9.8 ft) house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer, Roger de La Fresnaye, Jacques Villon and Marie Laurencin. In the house were hung cubist paintings by Marcel Duchamp, Albert Gleizes, Fernand Léger, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912).
Reviewing the Salon d'Automne Roger Allard commended Metzinger's 'finesse and distinction of palette'. Maurice Raynal noted the seductive charm and sureness of execution of Metzinger's entries, the refined sensibility of Metzinger himself, the playfulness and grace of whom he compares to Pierre-Auguste Renoir, while singling out Metzinger as "certainly ... the man of our time who knows best how to paint".In a review of the exhibition published in Le Petit Parisien, art critic Jean Claude writes of entries by Léger, Gleizes and Metzinger: "Mr. Léger walked his brush on the canvas after having dipped them in blue, black, red and brown. It is stupefying to look at. The catalog says it's a Woman in blue. Poor woman. Man on a Balcony, by Mr. Gleizes, is more comprehensible. At least in the chaos of cubes and trapezoids we find a man. I will say as much for the entry of Mr. Metzinger, Dancers. It has the effect of a puzzle that is not assembled properly". | [
"photojournalism",
"Jean Pierre Philippe Lampué",
"Woman with a Fan",
"Jacques Villon",
"André Mare",
"l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud)",
"Louis Vauxcelles",
"Amedeo Modigliani",
"Maurice Raynal",
"Danseuse (Femme à l'éventail, Femme à la cruche)",
"Marcel Sembat",
"Femme à l'Éventail (Woman with a Fan)",
"Roger de La Fresnaye",
"Albert Gleizes",
"Chambre des Députés",
"La Maison Cubiste",
"Alexander Archipenko",
"Fauvism",
"Impressionism",
"Marie Laurencin",
"Cubist",
"Salon d'Automne",
"Marcel Duchamp",
"Groupe de femmes",
"Man on a Balcony",
"Grand Palais",
"Roger Allard",
"Femme à l'Éventail",
"Joseph Csaky",
"Solomon R. Guggenheim Museum",
"František Kupka",
"Jean Metzinger",
"Francis Picabia",
"Armory show",
"Fernand Léger",
"Henri Le Fauconnier",
"André Lhote",
"Pierre-Auguste Renoir",
"Salon des Indépendants",
"Raymond Duchamp-Villon"
] |
|
14690_NT | Dancer in a Café | Focus on this artwork and analyze the Salon d'Automne, 1912. | The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November, saw the Cubists (listed below) regrouped into the same room XI. For the occasion, Danseuse au café was reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism.
The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of Fauvism (with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel. The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI where the Cubists exhibited their works. The resistance to foreigners (dubbed "apaches") and avant-garde artists was just the visible face of a more profound crises: that of defining modern French art, and the dwindling of an artistic system crystallized around the heritage of Impressionism centered in Paris. Burgeoning was a new avant-garde system, the international logic of which—mercantile and médiatique—put into question the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political, and as in the 1905 Salon d'Automne, with his infamous "Donatello chez les fauves", the critic Louis Vauxcelles (Les Arts, 1912) was most implicated in the deliberations. Recall too, it was Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay.The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. On 3 December 1912 the controversy spread to the Municipal Council of Paris. A debate transpired in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.
Jean Metzinger entered three works: Dancer in a café (simply entitled Danseuse), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (now at the Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).
Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)
Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)
Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears), 1912 (Museum of Art, Rhode Island School of Design).
Albert Gleizes, l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud), 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913.
André Lhote, Le jugement de Paris, 1912 (Private collection)
František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.
Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)
Alexander Archipenko, Family Life, 1912, sculpture
Amedeo Modigliani, exhibited four elongated and highly stylized heads), sculptures
Joseph Csaky exhibited the sculptures Groupe de femmes, 1911–1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown), and Danseuse (Femme à l'éventail, Femme à la cruche), no. 405 (location unknown)This exhibition also featured La Maison Cubiste. Raymond Duchamp-Villon designed façade of a 10-by-3-metre (32.8 ft × 9.8 ft) house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer, Roger de La Fresnaye, Jacques Villon and Marie Laurencin. In the house were hung cubist paintings by Marcel Duchamp, Albert Gleizes, Fernand Léger, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912).
Reviewing the Salon d'Automne Roger Allard commended Metzinger's 'finesse and distinction of palette'. Maurice Raynal noted the seductive charm and sureness of execution of Metzinger's entries, the refined sensibility of Metzinger himself, the playfulness and grace of whom he compares to Pierre-Auguste Renoir, while singling out Metzinger as "certainly ... the man of our time who knows best how to paint".In a review of the exhibition published in Le Petit Parisien, art critic Jean Claude writes of entries by Léger, Gleizes and Metzinger: "Mr. Léger walked his brush on the canvas after having dipped them in blue, black, red and brown. It is stupefying to look at. The catalog says it's a Woman in blue. Poor woman. Man on a Balcony, by Mr. Gleizes, is more comprehensible. At least in the chaos of cubes and trapezoids we find a man. I will say as much for the entry of Mr. Metzinger, Dancers. It has the effect of a puzzle that is not assembled properly". | [
"photojournalism",
"Jean Pierre Philippe Lampué",
"Woman with a Fan",
"Jacques Villon",
"André Mare",
"l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud)",
"Louis Vauxcelles",
"Amedeo Modigliani",
"Maurice Raynal",
"Danseuse (Femme à l'éventail, Femme à la cruche)",
"Marcel Sembat",
"Femme à l'Éventail (Woman with a Fan)",
"Roger de La Fresnaye",
"Albert Gleizes",
"Chambre des Députés",
"La Maison Cubiste",
"Alexander Archipenko",
"Fauvism",
"Impressionism",
"Marie Laurencin",
"Cubist",
"Salon d'Automne",
"Marcel Duchamp",
"Groupe de femmes",
"Man on a Balcony",
"Grand Palais",
"Roger Allard",
"Femme à l'Éventail",
"Joseph Csaky",
"Solomon R. Guggenheim Museum",
"František Kupka",
"Jean Metzinger",
"Francis Picabia",
"Armory show",
"Fernand Léger",
"Henri Le Fauconnier",
"André Lhote",
"Pierre-Auguste Renoir",
"Salon des Indépendants",
"Raymond Duchamp-Villon"
] |
|
14691_T | Bélizaire and the Frey Children | In Bélizaire and the Frey Children, how is the History of the painting discussed? | Around the turn of the 20th century, a member of the Frey family had the figure of Bélizaire painted out of the composition. When the family donated it to the New Orleans Museum of Art in 1972, the museum was informed that an enslaved person had been painted out, but no action was taken by the museum.The painting was deaccessioned from the museum's collection in 2005, and the acquirer removed the overpaint.The collector Jeremy K. Simien purchased the painting in 2021. Simien had it further restored by Craig Crawford, who removed remaining overpaint. (Crawford had earlier restored another New Orleans painting where lace had been painted over because a restorer had incorrectly determined that the subject would not have worn lace, because of her race.) Simien also commissioned the historian Katy Morlas Shannon to research Bélizaire's identity and history, thus recovering his name and year of birth which was previously unrecorded in the museum documentation. | [
"deaccessioned",
"New Orleans Museum of Art"
] |
|
14691_NT | Bélizaire and the Frey Children | In this artwork, how is the History of the painting discussed? | Around the turn of the 20th century, a member of the Frey family had the figure of Bélizaire painted out of the composition. When the family donated it to the New Orleans Museum of Art in 1972, the museum was informed that an enslaved person had been painted out, but no action was taken by the museum.The painting was deaccessioned from the museum's collection in 2005, and the acquirer removed the overpaint.The collector Jeremy K. Simien purchased the painting in 2021. Simien had it further restored by Craig Crawford, who removed remaining overpaint. (Crawford had earlier restored another New Orleans painting where lace had been painted over because a restorer had incorrectly determined that the subject would not have worn lace, because of her race.) Simien also commissioned the historian Katy Morlas Shannon to research Bélizaire's identity and history, thus recovering his name and year of birth which was previously unrecorded in the museum documentation. | [
"deaccessioned",
"New Orleans Museum of Art"
] |
|
14692_T | Bélizaire and the Frey Children | Focus on Bélizaire and the Frey Children and explore the Significance. | The painting is the "first naturalistic portrait of a named Black subject set in a Southern landscape" in the American Wing of the Metropolitan Museum. Its display is part of a national trend in museums and Southern historic sites to "address their history of slavery and how ... wealth was accumulated". | [] |
|
14692_NT | Bélizaire and the Frey Children | Focus on this artwork and explore the Significance. | The painting is the "first naturalistic portrait of a named Black subject set in a Southern landscape" in the American Wing of the Metropolitan Museum. Its display is part of a national trend in museums and Southern historic sites to "address their history of slavery and how ... wealth was accumulated". | [] |
|
14693_T | Statues of Pegasus, Mexico City | Focus on Statues of Pegasus, Mexico City and explain the abstract. | The statues of Pegasus are installed outside Mexico City's Palacio de Bellas Artes, in Mexico. The four sculptures were designed by Spanish artist Agustí Querol Subirats. | [
"Pegasus",
"Agustí Querol Subirats",
"Palacio de Bellas Artes",
"Mexico City",
"Mexico"
] |
|
14693_NT | Statues of Pegasus, Mexico City | Focus on this artwork and explain the abstract. | The statues of Pegasus are installed outside Mexico City's Palacio de Bellas Artes, in Mexico. The four sculptures were designed by Spanish artist Agustí Querol Subirats. | [
"Pegasus",
"Agustí Querol Subirats",
"Palacio de Bellas Artes",
"Mexico City",
"Mexico"
] |
|
14694_T | Statues of Pegasus, Mexico City | Explore the History of this artwork, Statues of Pegasus, Mexico City. | The sculptures arrived from Spain to Veracruz in 1911 and were installed on each of the four corners of the roof of the National Theater until 1921. They were then moved to the Zócalo (Plaza of the Constitution) in 1922 and installed on large marble bases at four corners of the garden in the square. Then in 1933, they were moved once again and installed in front of the Palacio de Bellas Artes. | [
"Zócalo (Plaza of the Constitution)",
"Palacio de Bellas Artes",
"National Theater",
"Zócalo"
] |
|
14694_NT | Statues of Pegasus, Mexico City | Explore the History of this artwork. | The sculptures arrived from Spain to Veracruz in 1911 and were installed on each of the four corners of the roof of the National Theater until 1921. They were then moved to the Zócalo (Plaza of the Constitution) in 1922 and installed on large marble bases at four corners of the garden in the square. Then in 1933, they were moved once again and installed in front of the Palacio de Bellas Artes. | [
"Zócalo (Plaza of the Constitution)",
"Palacio de Bellas Artes",
"National Theater",
"Zócalo"
] |
|
14695_T | Romulus and Remus (Rubens) | Focus on Romulus and Remus (Rubens) and discuss the abstract. | Romulus and Remus is a painting by the Flemish artist Peter Paul Rubens. It is housed in the Pinacoteca Capitolina in Rome, Italy. It depicts the brothers Romulus and Remus being cared for by a wolf. The painting also shows the god of the Tiber river sitting on his urn, a woodpecker that watched over the twins to bring them food, and a shepherd discovering the infants. | [
"Romulus and Remus",
"Pinacoteca Capitolina",
"Rome",
"Peter Paul Rubens"
] |
|
14695_NT | Romulus and Remus (Rubens) | Focus on this artwork and discuss the abstract. | Romulus and Remus is a painting by the Flemish artist Peter Paul Rubens. It is housed in the Pinacoteca Capitolina in Rome, Italy. It depicts the brothers Romulus and Remus being cared for by a wolf. The painting also shows the god of the Tiber river sitting on his urn, a woodpecker that watched over the twins to bring them food, and a shepherd discovering the infants. | [
"Romulus and Remus",
"Pinacoteca Capitolina",
"Rome",
"Peter Paul Rubens"
] |
|
14696_T | Amistad Memorial (New Haven) | How does Amistad Memorial (New Haven) elucidate its abstract? | The Amistad Memorial in New Haven, Connecticut, is a bronze sculpture created by Ed Hamilton to recognize the events of the 1839 Amistad Affair. The affair was a kidnapping of 53 Africans and their subsequent mutiny aboard La Amistad. It led to a historically significant United States Supreme Court case, in which the Amistad captives were ruled to be acting in self-defense, thereby granting them the right to mutiny.
The memorial sits in front of the New Haven City Hall on Church Street, the location where the Amistad slaves were jailed during their trial. It was dedicated on September 18, 1992. | [
"La Amistad",
"New Haven, Connecticut",
"New Haven City Hall",
"United States Supreme Court",
"Supreme Court",
"New Haven",
"Ed Hamilton",
"1839 Amistad Affair",
"Connecticut"
] |
|
14696_NT | Amistad Memorial (New Haven) | How does this artwork elucidate its abstract? | The Amistad Memorial in New Haven, Connecticut, is a bronze sculpture created by Ed Hamilton to recognize the events of the 1839 Amistad Affair. The affair was a kidnapping of 53 Africans and their subsequent mutiny aboard La Amistad. It led to a historically significant United States Supreme Court case, in which the Amistad captives were ruled to be acting in self-defense, thereby granting them the right to mutiny.
The memorial sits in front of the New Haven City Hall on Church Street, the location where the Amistad slaves were jailed during their trial. It was dedicated on September 18, 1992. | [
"La Amistad",
"New Haven, Connecticut",
"New Haven City Hall",
"United States Supreme Court",
"Supreme Court",
"New Haven",
"Ed Hamilton",
"1839 Amistad Affair",
"Connecticut"
] |
|
14697_T | Amistad Memorial (New Haven) | Describe the characteristics of the Background in Amistad Memorial (New Haven)'s History. |
La Amistad was an American ship owned by a Cuban Spaniard that was retrofitted to carry slaves. It is historically infamous because of the revolt which occurred on board the ship in 1839. The long journey of the 53 Mende captives responsible for the revolt began when they were abducted from their home in present-day Sierra Leone, and forced aboard the Portuguese slave ship Tecora, bound for Cuba to be sold as slaves. Upon their secret arrival in Cuba, the captives were transferred to 'La Amistad'. On July 2, 1839, a revolt was led by Sengbe Pieh (also known as Joseph Cinqué) in which the captives overran the ship, threatening death, and ordered the surviving crew to chart a course back to their native Sierra Leone. In a secret act of defiance, the navigator steered the ship north towards the American coast in hopes of rescue. La Amistad was escorted ashore by USRC Washington after being spotted off the tip of Montauk, Long Island. The slaves were interned in New Haven, Connecticut, to be tried for mutiny and murder.
After the Amistad Africans won their court case, and their freedom, many members of the community volunteered their aid: the residents of New Haven gave them housing, tutoring, and legal aid. Participating residents formed the Amistad Committee, and among them was John Quincy Adams, who defended the Amistad captives in their case in front of the Supreme Court. The Amistad captives assimilated into the community, and would spend time in the town green with the locals. | [
"La Amistad",
"New Haven, Connecticut",
"Joseph Cinqué",
"Montauk",
"John Quincy Adams",
"Sierra Leone",
"Supreme Court",
"Mende",
"New Haven",
"court case",
"Tecora",
"Long Island",
"tip",
"Connecticut"
] |
|
14697_NT | Amistad Memorial (New Haven) | Describe the characteristics of the Background in this artwork's History. |
La Amistad was an American ship owned by a Cuban Spaniard that was retrofitted to carry slaves. It is historically infamous because of the revolt which occurred on board the ship in 1839. The long journey of the 53 Mende captives responsible for the revolt began when they were abducted from their home in present-day Sierra Leone, and forced aboard the Portuguese slave ship Tecora, bound for Cuba to be sold as slaves. Upon their secret arrival in Cuba, the captives were transferred to 'La Amistad'. On July 2, 1839, a revolt was led by Sengbe Pieh (also known as Joseph Cinqué) in which the captives overran the ship, threatening death, and ordered the surviving crew to chart a course back to their native Sierra Leone. In a secret act of defiance, the navigator steered the ship north towards the American coast in hopes of rescue. La Amistad was escorted ashore by USRC Washington after being spotted off the tip of Montauk, Long Island. The slaves were interned in New Haven, Connecticut, to be tried for mutiny and murder.
After the Amistad Africans won their court case, and their freedom, many members of the community volunteered their aid: the residents of New Haven gave them housing, tutoring, and legal aid. Participating residents formed the Amistad Committee, and among them was John Quincy Adams, who defended the Amistad captives in their case in front of the Supreme Court. The Amistad captives assimilated into the community, and would spend time in the town green with the locals. | [
"La Amistad",
"New Haven, Connecticut",
"Joseph Cinqué",
"Montauk",
"John Quincy Adams",
"Sierra Leone",
"Supreme Court",
"Mende",
"New Haven",
"court case",
"Tecora",
"Long Island",
"tip",
"Connecticut"
] |
|
14698_T | Amistad Memorial (New Haven) | In the context of Amistad Memorial (New Haven), explore the Commissioning of the memorial of the History. | In 1988, citizens of New Haven resurrected the Amistad Committee to organize events to commemorate the 150th anniversary of the Amistad affair. Most prominently, the committee raised funds for the New Haven memorial to be constructed, formed an assembly to construct the Amistad replica, and developed the idea for the Connecticut Freedom Trail, which includes the memorial. In 1992, Khalid Lum, a New Haven writer and activist said about the memorial, "many people who are familiar with the Amistad revolt feel it’s not only a matter of commemorating a historical event. It is also a thin hope and chance that some of the spirit that resulted in Cinque’s and his cohorts’ freedom might be generated."The Amistad Committee specifically desired that an African-American artist should design and build the memorial, so it contacted predominantly black schools to find a sculptor. The artist who ended up building the sculpture, Ed Hamilton, was not initially informed of the competition. He found out through his friend Earl J. Hooks while he was on holiday. He and four other artists submitted portfolios, but none of them passed jury approval. After asking the artists to re-submit, three were invited to come to the city. Only Hamilton accepted the invitation.Ed Hamilton, the sculptor of the Amistad Memorial, is an African-American artist, and was born in 1947 in Cincinnati, Ohio, currently residing near Louisville, KY. He attended Spalding University in Louisville, Kentucky, and has been a sculptor and artist for most of his life. His primary works are public sculptures of African-Americans that have made positive contributions to the lives of Americans. One notable work was his Booker T. Washington Memorial, designed and built in 1983-1984.Hamilton designed a plaster model of the Amistad Memorial, which now resides at the African-American Historical Society in New Haven, Connecticut. He then made the armature for the clay sculpture which was cast in bronze in Louisville, Kentucky and set atop a triangular base of granite. | [
"Louisville, KY",
"New Haven, Connecticut",
"Louisville, Kentucky",
"New Haven",
"Ed Hamilton",
"Connecticut",
"Cincinnati, Ohio",
"Cincinnati"
] |
|
14698_NT | Amistad Memorial (New Haven) | In the context of this artwork, explore the Commissioning of the memorial of the History. | In 1988, citizens of New Haven resurrected the Amistad Committee to organize events to commemorate the 150th anniversary of the Amistad affair. Most prominently, the committee raised funds for the New Haven memorial to be constructed, formed an assembly to construct the Amistad replica, and developed the idea for the Connecticut Freedom Trail, which includes the memorial. In 1992, Khalid Lum, a New Haven writer and activist said about the memorial, "many people who are familiar with the Amistad revolt feel it’s not only a matter of commemorating a historical event. It is also a thin hope and chance that some of the spirit that resulted in Cinque’s and his cohorts’ freedom might be generated."The Amistad Committee specifically desired that an African-American artist should design and build the memorial, so it contacted predominantly black schools to find a sculptor. The artist who ended up building the sculpture, Ed Hamilton, was not initially informed of the competition. He found out through his friend Earl J. Hooks while he was on holiday. He and four other artists submitted portfolios, but none of them passed jury approval. After asking the artists to re-submit, three were invited to come to the city. Only Hamilton accepted the invitation.Ed Hamilton, the sculptor of the Amistad Memorial, is an African-American artist, and was born in 1947 in Cincinnati, Ohio, currently residing near Louisville, KY. He attended Spalding University in Louisville, Kentucky, and has been a sculptor and artist for most of his life. His primary works are public sculptures of African-Americans that have made positive contributions to the lives of Americans. One notable work was his Booker T. Washington Memorial, designed and built in 1983-1984.Hamilton designed a plaster model of the Amistad Memorial, which now resides at the African-American Historical Society in New Haven, Connecticut. He then made the armature for the clay sculpture which was cast in bronze in Louisville, Kentucky and set atop a triangular base of granite. | [
"Louisville, KY",
"New Haven, Connecticut",
"Louisville, Kentucky",
"New Haven",
"Ed Hamilton",
"Connecticut",
"Cincinnati, Ohio",
"Cincinnati"
] |
|
14699_T | Amistad Memorial (New Haven) | In the context of Amistad Memorial (New Haven), explain the Dedication of the History. | The memorial was dedicated on September 18, 1992, and an estimated 300 people attended the dedication, despite the fact that it was pouring rain. Clifton H. Johnson, in his lecture "The Legacy of La Amistad" said, "Sculptor Ed Hamilton says in his autobiography that he viewed the rain as symbolic of the tears of all Africans who did not make the final journey home." Among those in attendance was Valentine Strasser, the chairman of the Republic of Sierra Leone. In his speech at the dedication, Strasser said, "I hope all who will come to New Haven and see this statue will remember what it stands for and take with them more than a sense of history.' | [
"La Amistad",
"Sierra Leone",
"New Haven",
"Ed Hamilton"
] |
|
14699_NT | Amistad Memorial (New Haven) | In the context of this artwork, explain the Dedication of the History. | The memorial was dedicated on September 18, 1992, and an estimated 300 people attended the dedication, despite the fact that it was pouring rain. Clifton H. Johnson, in his lecture "The Legacy of La Amistad" said, "Sculptor Ed Hamilton says in his autobiography that he viewed the rain as symbolic of the tears of all Africans who did not make the final journey home." Among those in attendance was Valentine Strasser, the chairman of the Republic of Sierra Leone. In his speech at the dedication, Strasser said, "I hope all who will come to New Haven and see this statue will remember what it stands for and take with them more than a sense of history.' | [
"La Amistad",
"Sierra Leone",
"New Haven",
"Ed Hamilton"
] |
|
14700_T | Amistad Memorial (New Haven) | Explore the Description of this artwork, Amistad Memorial (New Haven). | The memorial is located in front of New Haven City Hall, which sits on the site where the Amistad captives were held during their trial. Each of the three sides of the memorial depicts Joseph Cinqué: on the first side, in his native clothing in Africa, on the second side, in court during his trials, and on the third side, after he won his freedom. The monument has a fourth side, facing up, which is only visible from the upper floors of City Hall. It depicts a face and hands in water. Laura Macaluso, in her book, "Art of the Amistad and the Portrait of Cinque" claims that this fourth side could represent slaves drowning along the Middle Passage. Its artist, Ed Hamilton comments on the meaning of the top side on his website: The top of the Memorial is a result of the emotional level of my personal experiences researching for information about slave trading. From the second floor of City Hall you look down and contemplate this final view of the Memorial. Could this be our brother, Foone, who drowned in the Farmington Canal? Or, you could say that this figure, awash in the vastness of an ocean, represents the souls of the many Africans who did not finish their journey of the Middle Passage. I will let you, as viewer, debate the meaning of this journey.
For the memorial, Hamilton employed a technique known as relief in which the foreground image juts out from the background. Each side demonstrates both high relief (where the projection from the background is much greater than low relief) and low relief to display secondary objects, including the faces of other captives and abolitionists. The three portraits of Cinqué are sculpted in high relief. | [
"New Haven City Hall",
"Joseph Cinqué",
"Middle Passage",
"relief",
"New Haven",
"Ed Hamilton"
] |
|
14700_NT | Amistad Memorial (New Haven) | Explore the Description of this artwork. | The memorial is located in front of New Haven City Hall, which sits on the site where the Amistad captives were held during their trial. Each of the three sides of the memorial depicts Joseph Cinqué: on the first side, in his native clothing in Africa, on the second side, in court during his trials, and on the third side, after he won his freedom. The monument has a fourth side, facing up, which is only visible from the upper floors of City Hall. It depicts a face and hands in water. Laura Macaluso, in her book, "Art of the Amistad and the Portrait of Cinque" claims that this fourth side could represent slaves drowning along the Middle Passage. Its artist, Ed Hamilton comments on the meaning of the top side on his website: The top of the Memorial is a result of the emotional level of my personal experiences researching for information about slave trading. From the second floor of City Hall you look down and contemplate this final view of the Memorial. Could this be our brother, Foone, who drowned in the Farmington Canal? Or, you could say that this figure, awash in the vastness of an ocean, represents the souls of the many Africans who did not finish their journey of the Middle Passage. I will let you, as viewer, debate the meaning of this journey.
For the memorial, Hamilton employed a technique known as relief in which the foreground image juts out from the background. Each side demonstrates both high relief (where the projection from the background is much greater than low relief) and low relief to display secondary objects, including the faces of other captives and abolitionists. The three portraits of Cinqué are sculpted in high relief. | [
"New Haven City Hall",
"Joseph Cinqué",
"Middle Passage",
"relief",
"New Haven",
"Ed Hamilton"
] |
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