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14701_T | Rhein II | Focus on Rhein II and discuss the abstract. | Rhein II is a colour photograph made by German visual artist Andreas Gursky in 1999. In the image, a river (the Lower Rhine) flows horizontally across the field of view, between flat green fields, under an overcast sky. Extraneous details such as dog walkers and a factory building were removed by the artist using digital editing.In 2011, a print was auctioned for $4.3 million (then £2.7m), making it the most expensive photograph sold. Rhein II held the record until 2022, when its price was exceeded by Le Violon d'Ingres. | [
"Rhine",
"$",
"most expensive photograph",
"Lower Rhine",
"Le Violon d'Ingres",
"Andreas Gursky",
"£"
] |
|
14701_NT | Rhein II | Focus on this artwork and discuss the abstract. | Rhein II is a colour photograph made by German visual artist Andreas Gursky in 1999. In the image, a river (the Lower Rhine) flows horizontally across the field of view, between flat green fields, under an overcast sky. Extraneous details such as dog walkers and a factory building were removed by the artist using digital editing.In 2011, a print was auctioned for $4.3 million (then £2.7m), making it the most expensive photograph sold. Rhein II held the record until 2022, when its price was exceeded by Le Violon d'Ingres. | [
"Rhine",
"$",
"most expensive photograph",
"Lower Rhine",
"Le Violon d'Ingres",
"Andreas Gursky",
"£"
] |
|
14702_T | Rhein II | How does Rhein II elucidate its Production? | The photograph was produced as the second (and largest) of a set of six depicting the river Rhine. In the image, the Lower Rhine flows horizontally across the field of view, between flat green fields, under an overcast sky. It was taken near Düsseldorf, at a location Gursky had previously photographed in 1996. Dissatisfied with his earlier image, Gursky "thought about whether I ought perhaps to change my viewpoint ... In the end I decided to digitalise the pictures and leave out the elements that bothered me".Extraneous details such as dog walkers and a factory building were removed by the artist using digital editing. Justifying this manipulation of the image, Gursky said "Paradoxically, this view of the Rhine cannot be obtained in situ, a fictitious construction was required to provide an accurate image of a modern river." Gursky produced a very large chromogenic colour print of the photograph, mounted it onto acrylic glass, and then placed it in a frame. The image itself measures 73 by 143 inches (190 cm × 360 cm), while the frame measures 81 by 151 inches (210 cm × 380 cm). | [
"Rhine",
"previously photographed in 1996",
"Lower Rhine",
"chromogenic",
"acrylic glass",
"Düsseldorf"
] |
|
14702_NT | Rhein II | How does this artwork elucidate its Production? | The photograph was produced as the second (and largest) of a set of six depicting the river Rhine. In the image, the Lower Rhine flows horizontally across the field of view, between flat green fields, under an overcast sky. It was taken near Düsseldorf, at a location Gursky had previously photographed in 1996. Dissatisfied with his earlier image, Gursky "thought about whether I ought perhaps to change my viewpoint ... In the end I decided to digitalise the pictures and leave out the elements that bothered me".Extraneous details such as dog walkers and a factory building were removed by the artist using digital editing. Justifying this manipulation of the image, Gursky said "Paradoxically, this view of the Rhine cannot be obtained in situ, a fictitious construction was required to provide an accurate image of a modern river." Gursky produced a very large chromogenic colour print of the photograph, mounted it onto acrylic glass, and then placed it in a frame. The image itself measures 73 by 143 inches (190 cm × 360 cm), while the frame measures 81 by 151 inches (210 cm × 380 cm). | [
"Rhine",
"previously photographed in 1996",
"Lower Rhine",
"chromogenic",
"acrylic glass",
"Düsseldorf"
] |
|
14703_T | Rhein II | Focus on Rhein II and analyze the Reception and sale. | The print was originally acquired by the Galerie Monika Sprüth in Cologne, and subsequently bought by an anonymous German collector. The collector sold the print by auction at Christie's New York on 8 November 2011, who estimated it would fetch a price of $2.5–3.5m. It actually sold for $4,338,500 (then about £2.7m); the identity of the buyer has not been revealed.The work has been described by arts writer Florence Waters in The Daily Telegraph as a "vibrant, beautiful and memorable – I should say unforgettable – contemporary twist on [...] the romantic landscape" and by journalist Maev Kennedy in The Guardian as "a sludgy image of the grey Rhine under grey skies". | [
"Rhine",
"$",
"Cologne",
"New York",
"Christie's",
"The Guardian",
"Maev Kennedy",
"Galerie Monika Sprüth",
"The Daily Telegraph",
"Christie's New York",
"£"
] |
|
14703_NT | Rhein II | Focus on this artwork and analyze the Reception and sale. | The print was originally acquired by the Galerie Monika Sprüth in Cologne, and subsequently bought by an anonymous German collector. The collector sold the print by auction at Christie's New York on 8 November 2011, who estimated it would fetch a price of $2.5–3.5m. It actually sold for $4,338,500 (then about £2.7m); the identity of the buyer has not been revealed.The work has been described by arts writer Florence Waters in The Daily Telegraph as a "vibrant, beautiful and memorable – I should say unforgettable – contemporary twist on [...] the romantic landscape" and by journalist Maev Kennedy in The Guardian as "a sludgy image of the grey Rhine under grey skies". | [
"Rhine",
"$",
"Cologne",
"New York",
"Christie's",
"The Guardian",
"Maev Kennedy",
"Galerie Monika Sprüth",
"The Daily Telegraph",
"Christie's New York",
"£"
] |
|
14704_T | Rhein II | In Rhein II, how is the Public collections discussed? | Gursky's fifth print of the photograph, which is identical but slightly smaller at 156.4 cm × 308.3 cm (61.6 in × 121.4 in), was acquired in 2000 by Tate, a British group of art museums. It remains in their collection but is not on public display. Another print of the same size is held at the Museum of Modern Art, in New York; it is also not on public display. | [
"Tate",
"New York",
"Museum of Modern Art"
] |
|
14704_NT | Rhein II | In this artwork, how is the Public collections discussed? | Gursky's fifth print of the photograph, which is identical but slightly smaller at 156.4 cm × 308.3 cm (61.6 in × 121.4 in), was acquired in 2000 by Tate, a British group of art museums. It remains in their collection but is not on public display. Another print of the same size is held at the Museum of Modern Art, in New York; it is also not on public display. | [
"Tate",
"New York",
"Museum of Modern Art"
] |
|
14705_T | Eight Stone Lions | Focus on Eight Stone Lions and explore the abstract. | Eight Stone Lions is a set of Bedford limestone or sandstone sculptures by Paul Kupper (?-1908) located in Lake Park in Milwaukee, Wisconsin, United States. | [
"Milwaukee",
"Paul Kupper",
"Wisconsin"
] |
|
14705_NT | Eight Stone Lions | Focus on this artwork and explore the abstract. | Eight Stone Lions is a set of Bedford limestone or sandstone sculptures by Paul Kupper (?-1908) located in Lake Park in Milwaukee, Wisconsin, United States. | [
"Milwaukee",
"Paul Kupper",
"Wisconsin"
] |
|
14706_T | Eight Stone Lions | Focus on Eight Stone Lions and explain the Description. | Eight Stone Lions features eight lions placed at the ends of two bridges. Each lion is signed and dated P. Kupper. Eight Stone Lions is an outdoor sculpture, and therefore a public art piece. The lions are approximately 36 x 30 x 65 inches and their bases are approximately 54 x 36 x 70 inches. | [] |
|
14706_NT | Eight Stone Lions | Focus on this artwork and explain the Description. | Eight Stone Lions features eight lions placed at the ends of two bridges. Each lion is signed and dated P. Kupper. Eight Stone Lions is an outdoor sculpture, and therefore a public art piece. The lions are approximately 36 x 30 x 65 inches and their bases are approximately 54 x 36 x 70 inches. | [] |
|
14707_T | Eight Stone Lions | Explore the History of this artwork, Eight Stone Lions. | Henry Clay Payne donated Eight Stone Lions to the city of Milwaukee. They were placed to guard each end of the two iron bridges in Lake Park. "The bridges were designed by local engineer Oscar Sanne to cross the two branches of the south ravine on either side of the lighthouse, carrying carriage and pedestrian traffic in and out of Lake Park, the original southern entrance to the park. The drive curned north from Park Avenue (now Wahl Avenue) along the bluff overlooking the lake."On November 1, 1897 the sculptures were dedicated at Lake Park, Milwaukee's first planned public park, which was designed by Frederick Law Olmsted. A popular Sunday activity at this time was to take the streetcar to Lake Park, where families would stroll, picnic and listen to a band concert. | [
"Milwaukee",
"Frederick Law Olmsted"
] |
|
14707_NT | Eight Stone Lions | Explore the History of this artwork. | Henry Clay Payne donated Eight Stone Lions to the city of Milwaukee. They were placed to guard each end of the two iron bridges in Lake Park. "The bridges were designed by local engineer Oscar Sanne to cross the two branches of the south ravine on either side of the lighthouse, carrying carriage and pedestrian traffic in and out of Lake Park, the original southern entrance to the park. The drive curned north from Park Avenue (now Wahl Avenue) along the bluff overlooking the lake."On November 1, 1897 the sculptures were dedicated at Lake Park, Milwaukee's first planned public park, which was designed by Frederick Law Olmsted. A popular Sunday activity at this time was to take the streetcar to Lake Park, where families would stroll, picnic and listen to a band concert. | [
"Milwaukee",
"Frederick Law Olmsted"
] |
|
14708_T | Eight Stone Lions | Focus on Eight Stone Lions and discuss the Artist. | Paul Kupper designed two plaster lion casts, which Otto Lachmund, a stonecutter, then cast and carved under Kupper’s direction. Kupper was living in Milwaukee during the 1890s, but had moved to California after 1904. Kupper also created a 1,200 pound badger cast, which is now on display at the State Capitol in Madison, Wisconsin. | [
"Milwaukee",
"Madison, Wisconsin",
"Paul Kupper",
"Wisconsin"
] |
|
14708_NT | Eight Stone Lions | Focus on this artwork and discuss the Artist. | Paul Kupper designed two plaster lion casts, which Otto Lachmund, a stonecutter, then cast and carved under Kupper’s direction. Kupper was living in Milwaukee during the 1890s, but had moved to California after 1904. Kupper also created a 1,200 pound badger cast, which is now on display at the State Capitol in Madison, Wisconsin. | [
"Milwaukee",
"Madison, Wisconsin",
"Paul Kupper",
"Wisconsin"
] |
|
14709_T | Eight Stone Lions | How does Eight Stone Lions elucidate its Condition? | Eight Stones Lions was surveyed in April 1993 and found to need treatment. In 2014, a truck driver, supposedly following his GPS, mistook the pedestrian path for a road and attempted to drive across the two Lion Bridges. The truck became wedged into the second bridge, and parts of the bridges were damaged, but the lions were not harmed. | [] |
|
14709_NT | Eight Stone Lions | How does this artwork elucidate its Condition? | Eight Stones Lions was surveyed in April 1993 and found to need treatment. In 2014, a truck driver, supposedly following his GPS, mistook the pedestrian path for a road and attempted to drive across the two Lion Bridges. The truck became wedged into the second bridge, and parts of the bridges were damaged, but the lions were not harmed. | [] |
|
14710_T | Hercules and Antaeus | Focus on Hercules and Antaeus and analyze the abstract. | Hercules and Antaeus is an early 16th-century bronze sculpture by Pier Jacopo di Antonio Alari-Bonacolsi. The Gonzaga family court sculptor based this group on a classical marble of Hercules and Antaeus which is now in the Pitti Palace in Florence. The statue was given to the Victoria and Albert Museum by Dr. Walter Leo Hildburgh, F. S. A., in 1956. | [
"bronze sculpture",
"Victoria and Albert Museum",
"Florence",
"Pier Jacopo di Antonio Alari-Bonacolsi",
"Walter Leo Hildburgh",
"Pitti Palace",
"Gonzaga family",
"Hercules"
] |
|
14710_NT | Hercules and Antaeus | Focus on this artwork and analyze the abstract. | Hercules and Antaeus is an early 16th-century bronze sculpture by Pier Jacopo di Antonio Alari-Bonacolsi. The Gonzaga family court sculptor based this group on a classical marble of Hercules and Antaeus which is now in the Pitti Palace in Florence. The statue was given to the Victoria and Albert Museum by Dr. Walter Leo Hildburgh, F. S. A., in 1956. | [
"bronze sculpture",
"Victoria and Albert Museum",
"Florence",
"Pier Jacopo di Antonio Alari-Bonacolsi",
"Walter Leo Hildburgh",
"Pitti Palace",
"Gonzaga family",
"Hercules"
] |
|
14711_T | The Soul of the Soulless City | In The Soul of the Soulless City, how is the Creation discussed? | Nevinson visited New York City for the first time in 1919 and was immediately impressed by the city. He made many sketches of which some were turned into paintings. He painted New York – an Abstraction after his return to London and before his second visit to New York in October 1920. The second visit however left him embittered, possibly due to the poor reviews of his exhibition at Frederick Keppel & Co. | [] |
|
14711_NT | The Soul of the Soulless City | In this artwork, how is the Creation discussed? | Nevinson visited New York City for the first time in 1919 and was immediately impressed by the city. He made many sketches of which some were turned into paintings. He painted New York – an Abstraction after his return to London and before his second visit to New York in October 1920. The second visit however left him embittered, possibly due to the poor reviews of his exhibition at Frederick Keppel & Co. | [] |
|
14712_T | The Soul of the Soulless City | Focus on The Soul of the Soulless City and explore the Provenance. | New York – an Abstraction was first exhibited at the Bourgeois Galleries in New York in 1920. When it was exhibited at the Faculty of Arts Exhibition in London in 1925, Nevinson's disillusionment with the city had caused him to rename it The Soul of the Soulless City.The painting was acquired by Tate in 1998 and is on display at Tate Britain. In 2014 Tate presented a virtual version of the painting in the video game Minecraft. | [
"Minecraft",
"Tate",
"Tate Britain"
] |
|
14712_NT | The Soul of the Soulless City | Focus on this artwork and explore the Provenance. | New York – an Abstraction was first exhibited at the Bourgeois Galleries in New York in 1920. When it was exhibited at the Faculty of Arts Exhibition in London in 1925, Nevinson's disillusionment with the city had caused him to rename it The Soul of the Soulless City.The painting was acquired by Tate in 1998 and is on display at Tate Britain. In 2014 Tate presented a virtual version of the painting in the video game Minecraft. | [
"Minecraft",
"Tate",
"Tate Britain"
] |
|
14713_T | Le Lanceur De Couteaux | Focus on Le Lanceur De Couteaux and explain the abstract. | Le Lanceur De Couteaux is a paper cut by Henri Matisse from 1947. It is from Jazz, 1947. | [
"Henri Matisse",
"Jazz"
] |
|
14713_NT | Le Lanceur De Couteaux | Focus on this artwork and explain the abstract. | Le Lanceur De Couteaux is a paper cut by Henri Matisse from 1947. It is from Jazz, 1947. | [
"Henri Matisse",
"Jazz"
] |
|
14714_T | Le Lanceur De Couteaux | Explore the History of this artwork, Le Lanceur De Couteaux. | Tériade, a noted 20th-century art publisher, arranged to have Matisse's cutouts rendered as pochoir (stencil) prints. The Knife Thrower was a popular print from Henri Matisse's Jazz portfolio of pochoir prints. | [
"publisher",
"Henri Matisse",
"stencil",
"pochoir",
"Jazz",
"20th-century art",
"Tériade"
] |
|
14714_NT | Le Lanceur De Couteaux | Explore the History of this artwork. | Tériade, a noted 20th-century art publisher, arranged to have Matisse's cutouts rendered as pochoir (stencil) prints. The Knife Thrower was a popular print from Henri Matisse's Jazz portfolio of pochoir prints. | [
"publisher",
"Henri Matisse",
"stencil",
"pochoir",
"Jazz",
"20th-century art",
"Tériade"
] |
|
14715_T | Hand of Irulegi | Focus on Hand of Irulegi and discuss the abstract. | The Hand of Irulegi is a late Iron Age archaeological artifact unearthed in 2021 during excavations in the archaeological site of Irulegi (Navarre), next to the medieval castle of Irulegi, located in the municipality of Aranguren, Spain. The bronze artifact has the distinctive shape of a right hand with extended fingers. It has five separate strings of letters, probably corresponding to five or more words, carved on the side that represents the back of a hand. At the time of its discovery, it constituted the earliest known attestation of a Basque word (with the exception of proper names) by around 1000 years. | [
"Aranguren",
"bronze",
"proper names",
"Basque",
"artifact",
"Irulegi (Navarre)",
"Iron Age"
] |
|
14715_NT | Hand of Irulegi | Focus on this artwork and discuss the abstract. | The Hand of Irulegi is a late Iron Age archaeological artifact unearthed in 2021 during excavations in the archaeological site of Irulegi (Navarre), next to the medieval castle of Irulegi, located in the municipality of Aranguren, Spain. The bronze artifact has the distinctive shape of a right hand with extended fingers. It has five separate strings of letters, probably corresponding to five or more words, carved on the side that represents the back of a hand. At the time of its discovery, it constituted the earliest known attestation of a Basque word (with the exception of proper names) by around 1000 years. | [
"Aranguren",
"bronze",
"proper names",
"Basque",
"artifact",
"Irulegi (Navarre)",
"Iron Age"
] |
|
14716_T | Hand of Irulegi | How does Hand of Irulegi elucidate its Context and form? | The "Hand of Irulegi" has been a working title assigned to the archaeological find. It dates from the 1st century BC. At the time, during the period of Sertorian Wars, the native population took sides and the settlement came under attack, extending the fire throughout the fortified town as a result. As outlined by Juantxo Agirre Mauleon, secretary of the Science Society Aranzadi, which conducted the excavation, the roof of the dwelling collapsed, which allowed for the preservation of archaeological remains under the debris. The hand may have hung from the door, where it provided protection for the house. According to a report in The Economist, 'such striking hand-shaped designs are unknown in Spanish or neighbouring cultures'.
It has been linked to Iberian and Celtiberian trophies representing the cut hand of a defeated enemy.
However, similar objects known as hamsa are found in various cultures of the Middle East and North Africa, including Phoenician colonies in the Iberian peninsula. | [
"hamsa",
"Celtiberian",
"Aranzadi",
"Sertorian War",
"Sertorian Wars"
] |
|
14716_NT | Hand of Irulegi | How does this artwork elucidate its Context and form? | The "Hand of Irulegi" has been a working title assigned to the archaeological find. It dates from the 1st century BC. At the time, during the period of Sertorian Wars, the native population took sides and the settlement came under attack, extending the fire throughout the fortified town as a result. As outlined by Juantxo Agirre Mauleon, secretary of the Science Society Aranzadi, which conducted the excavation, the roof of the dwelling collapsed, which allowed for the preservation of archaeological remains under the debris. The hand may have hung from the door, where it provided protection for the house. According to a report in The Economist, 'such striking hand-shaped designs are unknown in Spanish or neighbouring cultures'.
It has been linked to Iberian and Celtiberian trophies representing the cut hand of a defeated enemy.
However, similar objects known as hamsa are found in various cultures of the Middle East and North Africa, including Phoenician colonies in the Iberian peninsula. | [
"hamsa",
"Celtiberian",
"Aranzadi",
"Sertorian War",
"Sertorian Wars"
] |
|
14717_T | Hand of Irulegi | Focus on Hand of Irulegi and analyze the Inscription. | The inscription was incised and later marked over with dots.
The letters do not match exactly in the scratched and the dotted version.
It is unclear if both versions are from the same author or the dotted version is from a second author.The text as published before cleaning can be transliterated from Northeastern Iberian script as:After cleaning, the texts are transliterated as:The dotted text differs in the use of ⟨·⟩.
While it could have been used as a word divider, it is used at the end of the lines 1 and 4, where the line break would already signal a different word.
On line 3 it has a different aspect, leading to questions about its use.
The symbol transliterated as ⟨ř⟩ corresponds to the Iberian letter usually transliterated as ⟨ŕ⟩ but with a horizontal line across the descender.
This is the first time this shape is found.
It may represent a multiple alveolar consonant.
A symbol scratched in line 2 as ⟨ř⟩ is dotted as be, perhaps by the dotting author misreading the incision.The first string of letters was initially read as sorioneku, echoed in the present-day Basque language by the widely used zorioneko, a declined word meaning "(of) good fortune(s)", that however is not attested in Basque before the 18th century.
The word is accompanied by at least four other words whose meaning is not as apparent. The Hand of Irulegi is the oldest surviving example of the Basque language, written in Iberian script, and adapted to allow for the language's own characteristics. The inscription contains a ⟨⟩-shaped letter that has only been found in Vasconic areas, previously seen on two coins. The phonetic value of this letter is unknown, so it is left untransliterated as capital ⟨T⟩ above.
Two unpublished coins found at the same location are minted in oTtikes. | [
"Basque language",
"alveolar consonant",
"Basque",
"declined word",
"Iberian script",
"word divider",
"Northeastern Iberian script"
] |
|
14717_NT | Hand of Irulegi | Focus on this artwork and analyze the Inscription. | The inscription was incised and later marked over with dots.
The letters do not match exactly in the scratched and the dotted version.
It is unclear if both versions are from the same author or the dotted version is from a second author.The text as published before cleaning can be transliterated from Northeastern Iberian script as:After cleaning, the texts are transliterated as:The dotted text differs in the use of ⟨·⟩.
While it could have been used as a word divider, it is used at the end of the lines 1 and 4, where the line break would already signal a different word.
On line 3 it has a different aspect, leading to questions about its use.
The symbol transliterated as ⟨ř⟩ corresponds to the Iberian letter usually transliterated as ⟨ŕ⟩ but with a horizontal line across the descender.
This is the first time this shape is found.
It may represent a multiple alveolar consonant.
A symbol scratched in line 2 as ⟨ř⟩ is dotted as be, perhaps by the dotting author misreading the incision.The first string of letters was initially read as sorioneku, echoed in the present-day Basque language by the widely used zorioneko, a declined word meaning "(of) good fortune(s)", that however is not attested in Basque before the 18th century.
The word is accompanied by at least four other words whose meaning is not as apparent. The Hand of Irulegi is the oldest surviving example of the Basque language, written in Iberian script, and adapted to allow for the language's own characteristics. The inscription contains a ⟨⟩-shaped letter that has only been found in Vasconic areas, previously seen on two coins. The phonetic value of this letter is unknown, so it is left untransliterated as capital ⟨T⟩ above.
Two unpublished coins found at the same location are minted in oTtikes. | [
"Basque language",
"alveolar consonant",
"Basque",
"declined word",
"Iberian script",
"word divider",
"Northeastern Iberian script"
] |
|
14718_T | Hand of Irulegi | In Hand of Irulegi, how is the Discovery discussed? | Although announced on 14 November 2022, with the intervention of the regional president of Navarre, the unearthing goes back to June 2021, when the excavating team led by Mattin Aiestaran found it. The piece was then handed over to researchers for their consideration, who have hailed it as highly important.On 18 January 2022, during the cleaning process, Carmen Usua, the restorer, noticed that there was writing present. Epigraphers found that the hand had a natural downward position. | [
"Epigrapher"
] |
|
14718_NT | Hand of Irulegi | In this artwork, how is the Discovery discussed? | Although announced on 14 November 2022, with the intervention of the regional president of Navarre, the unearthing goes back to June 2021, when the excavating team led by Mattin Aiestaran found it. The piece was then handed over to researchers for their consideration, who have hailed it as highly important.On 18 January 2022, during the cleaning process, Carmen Usua, the restorer, noticed that there was writing present. Epigraphers found that the hand had a natural downward position. | [
"Epigrapher"
] |
|
14719_T | Antinous Farnese | Focus on Antinous Farnese and explore the abstract. | The Antinous Farnese is a marble sculptural representation of Antinous that was sculpted between 130 and 137 CE. Antinous was the lover to Roman Emperor Hadrian; the emperor who, after Antinous's death, perpetuated the image of Antinous as a Roman god within the Roman empire. This sculpture is a part of the Roman Imperial style and was sculpted during a revival of Greek culture, initiated by Hadrian's philhellenism. Its found spot and provenance are unknown, but this sculpture is currently a part of the Farnese Collection in the Naples National Archaeological Museum. | [
"philhellenism",
"Naples National Archaeological Museum",
"Hadrian",
"Farnese",
"Antinous",
"Farnese Collection"
] |
|
14719_NT | Antinous Farnese | Focus on this artwork and explore the abstract. | The Antinous Farnese is a marble sculptural representation of Antinous that was sculpted between 130 and 137 CE. Antinous was the lover to Roman Emperor Hadrian; the emperor who, after Antinous's death, perpetuated the image of Antinous as a Roman god within the Roman empire. This sculpture is a part of the Roman Imperial style and was sculpted during a revival of Greek culture, initiated by Hadrian's philhellenism. Its found spot and provenance are unknown, but this sculpture is currently a part of the Farnese Collection in the Naples National Archaeological Museum. | [
"philhellenism",
"Naples National Archaeological Museum",
"Hadrian",
"Farnese",
"Antinous",
"Farnese Collection"
] |
|
14720_T | Antinous Farnese | Focus on Antinous Farnese and explain the History. | Antinous was the Greek lover to the Roman emperor Hadrian in the second century CE. Often referenced to as Hadrian's favorite, or more affectionately Hadrian's boyfriend, Antinous was born a slave in Bithynium 110 CE and is speculated to have drowned in the river Nile before his twentieth birthday in 130 CE. The circumstances of Antinous's death vary by account, though the most popular theories range from accidental, to suicide, and even those that are sacrificial in nature. In honor of his lover, Hadrian established the city of Antinoopolis in Egypt the same year Antinous drowned. Hadrian also went on to deify Antinous postmortem by including him as a figure of the Roman imperial cult; because of this, sculptures of Antinous were produced in large quantities for cult worship.Upon Antinous's death in 130 CE, Hadrian sought to revitalize Classical Greek sculpture tradition with Roman subject matter. Hadrian's appreciation for Greek art and culture is known as philhellenism, and that love for all things Greek awarded him the nickname "The Greekling." Within Hadrian's lifetime he had visited Greece on three separate occasions, participated in the Greek Olympics, and founded a Greek city-state alliance known as the Panhellenion the year of Antinous's death. | [
"Antinoopolis",
"Bithynium",
"philhellenism",
"Hadrian",
"Nile",
"Antinous",
"Classical",
"Panhellenion",
"Roman imperial cult"
] |
|
14720_NT | Antinous Farnese | Focus on this artwork and explain the History. | Antinous was the Greek lover to the Roman emperor Hadrian in the second century CE. Often referenced to as Hadrian's favorite, or more affectionately Hadrian's boyfriend, Antinous was born a slave in Bithynium 110 CE and is speculated to have drowned in the river Nile before his twentieth birthday in 130 CE. The circumstances of Antinous's death vary by account, though the most popular theories range from accidental, to suicide, and even those that are sacrificial in nature. In honor of his lover, Hadrian established the city of Antinoopolis in Egypt the same year Antinous drowned. Hadrian also went on to deify Antinous postmortem by including him as a figure of the Roman imperial cult; because of this, sculptures of Antinous were produced in large quantities for cult worship.Upon Antinous's death in 130 CE, Hadrian sought to revitalize Classical Greek sculpture tradition with Roman subject matter. Hadrian's appreciation for Greek art and culture is known as philhellenism, and that love for all things Greek awarded him the nickname "The Greekling." Within Hadrian's lifetime he had visited Greece on three separate occasions, participated in the Greek Olympics, and founded a Greek city-state alliance known as the Panhellenion the year of Antinous's death. | [
"Antinoopolis",
"Bithynium",
"philhellenism",
"Hadrian",
"Nile",
"Antinous",
"Classical",
"Panhellenion",
"Roman imperial cult"
] |
|
14721_T | Antinous Farnese | Explore the Description of this artwork, Antinous Farnese. | Antinous is a free standing marble sculpture in the round. The philhellenic elements of this statue are drawn from its visual style, while the Farnese Antinous was sculpted in the Roman period, Antinous emulates an athlete in the Classical Greek style. Specifically, this sculpture is emulated after Polykleitos' statue Doryphoros. The most discernible difference between the two is that Antinous is an adolescent youth, while Doryphorus is sculpted as a young adult. Similarities between Antinous and Doryphorus can be drawn with the nude form, use of contrapposto, the stoic expression, as well as the outstretched arm. Doryphorus holds a spear, and Antinous appears to hold something himself in his right hand.
The Antinous Farnese can be identified as a Roman imperial piece rather than Greek Classical by noting the engraved pupils, which was a trend set in Roman sculpture by Hadrian himself. Other Hadrianic-Imperial details of this statue can be seen in the volume of the hair and carved out nostrils, as these features were formed with a drilling techniques that allowed the Romans to explore texture differences in the hair versus skin in ways that had not been possible before. Another indication that this sculpture is Roman, not Greek, is the inclusion of a structural support on the back right leg, casually disguised as a log. This structural support, also known as a strut, may have helped further identify Antinous within the context of its time. | [
"Polykleitos",
"Doryphoros",
"strut",
"contrapposto",
"in the round",
"Hadrian",
"Farnese",
"Antinous",
"Classical"
] |
|
14721_NT | Antinous Farnese | Explore the Description of this artwork. | Antinous is a free standing marble sculpture in the round. The philhellenic elements of this statue are drawn from its visual style, while the Farnese Antinous was sculpted in the Roman period, Antinous emulates an athlete in the Classical Greek style. Specifically, this sculpture is emulated after Polykleitos' statue Doryphoros. The most discernible difference between the two is that Antinous is an adolescent youth, while Doryphorus is sculpted as a young adult. Similarities between Antinous and Doryphorus can be drawn with the nude form, use of contrapposto, the stoic expression, as well as the outstretched arm. Doryphorus holds a spear, and Antinous appears to hold something himself in his right hand.
The Antinous Farnese can be identified as a Roman imperial piece rather than Greek Classical by noting the engraved pupils, which was a trend set in Roman sculpture by Hadrian himself. Other Hadrianic-Imperial details of this statue can be seen in the volume of the hair and carved out nostrils, as these features were formed with a drilling techniques that allowed the Romans to explore texture differences in the hair versus skin in ways that had not been possible before. Another indication that this sculpture is Roman, not Greek, is the inclusion of a structural support on the back right leg, casually disguised as a log. This structural support, also known as a strut, may have helped further identify Antinous within the context of its time. | [
"Polykleitos",
"Doryphoros",
"strut",
"contrapposto",
"in the round",
"Hadrian",
"Farnese",
"Antinous",
"Classical"
] |
|
14722_T | Antinous Farnese | In the context of Antinous Farnese, discuss the Identifying Antinous of the Description. | There are three styles in which Antinous is traditionally depicted: the Mondragone style, the Egyptianizing style, and the Haupttypus style. The Haupttypus style is also known as the main or original style because it is the most popular style of Antinous sculpture. The Farnese sculpture falls within the Haupttypus style. Within the Haupttypus style there are two variations, the first Haupttypus variation depicts Antinous with a curl over his brow, and the other does without it.By sculpting Antinous with consistent conventions artists could delineate Antinous from other Greek mythological figures. The body and face of this sculpture are in idealized youth, with plump cheeks and round face, and his hair is usually unkempt. Antinous's hair has also been described as artificial looking, even wig-like, because of how similar the placement of his hair is across statues. His youthful appearance, large eyes, pouting lips, and layered locks of hair over his forehead are some of the iconography that can be used to identify him. The iconography of Antinous' appearance is so steady across mediums that portraits of Antinous on coins were used in attributing this sculpture as himself. This uniformity, particularly in the uniform layout of his curled locks, implies this portrait was made en masse for artists in the Roman empire to make further copies of.
The extensive deification of Antinous as a cult figure has made his likeness the third most common recovered portrait type from Classical Antiquity, following portrait recoveries from Augustus and Hadrian. Despite the large quantity of Antinous statues available for viewing, art historians do not actually know what Antinous looks like because of how heavily he is idealized in his portraits. It was expected that Antinous be sculpted as a deity rather than a man, and by conforming to those standards, it's unknown whether this marble depiction of him, or any depiction of him, is accurate or not. | [
"iconography",
"Mondragone style",
"Hadrian",
"Farnese",
"Augustus",
"Antinous",
"Classical"
] |
|
14722_NT | Antinous Farnese | In the context of this artwork, discuss the Identifying Antinous of the Description. | There are three styles in which Antinous is traditionally depicted: the Mondragone style, the Egyptianizing style, and the Haupttypus style. The Haupttypus style is also known as the main or original style because it is the most popular style of Antinous sculpture. The Farnese sculpture falls within the Haupttypus style. Within the Haupttypus style there are two variations, the first Haupttypus variation depicts Antinous with a curl over his brow, and the other does without it.By sculpting Antinous with consistent conventions artists could delineate Antinous from other Greek mythological figures. The body and face of this sculpture are in idealized youth, with plump cheeks and round face, and his hair is usually unkempt. Antinous's hair has also been described as artificial looking, even wig-like, because of how similar the placement of his hair is across statues. His youthful appearance, large eyes, pouting lips, and layered locks of hair over his forehead are some of the iconography that can be used to identify him. The iconography of Antinous' appearance is so steady across mediums that portraits of Antinous on coins were used in attributing this sculpture as himself. This uniformity, particularly in the uniform layout of his curled locks, implies this portrait was made en masse for artists in the Roman empire to make further copies of.
The extensive deification of Antinous as a cult figure has made his likeness the third most common recovered portrait type from Classical Antiquity, following portrait recoveries from Augustus and Hadrian. Despite the large quantity of Antinous statues available for viewing, art historians do not actually know what Antinous looks like because of how heavily he is idealized in his portraits. It was expected that Antinous be sculpted as a deity rather than a man, and by conforming to those standards, it's unknown whether this marble depiction of him, or any depiction of him, is accurate or not. | [
"iconography",
"Mondragone style",
"Hadrian",
"Farnese",
"Augustus",
"Antinous",
"Classical"
] |
|
14723_T | Antinous Farnese | How does Antinous Farnese elucidate its Provenance? | The Farnese Antinous was named after its one-time owners the Farnese family.The original provenance for this work of art is unknown, however, there are works of art within the Farnese collection that have some provenance established, such as the Farnese Hercules and the Farnese Bull. It was once displayed at the entrance to the Carracci Gallery in the Palazzo Farnese in Rome, from which it was taken to Naples to the Royal Borbonic Museum (Reale Museo Borbonico), now the Naples National Archaeological Museum (a replica was put in place in the Palazzo in the 1970s). | [
"Naples National Archaeological Museum",
"Farnese",
"Farnese Hercules",
"Antinous",
"Palazzo Farnese",
"Farnese Bull"
] |
|
14723_NT | Antinous Farnese | How does this artwork elucidate its Provenance? | The Farnese Antinous was named after its one-time owners the Farnese family.The original provenance for this work of art is unknown, however, there are works of art within the Farnese collection that have some provenance established, such as the Farnese Hercules and the Farnese Bull. It was once displayed at the entrance to the Carracci Gallery in the Palazzo Farnese in Rome, from which it was taken to Naples to the Royal Borbonic Museum (Reale Museo Borbonico), now the Naples National Archaeological Museum (a replica was put in place in the Palazzo in the 1970s). | [
"Naples National Archaeological Museum",
"Farnese",
"Farnese Hercules",
"Antinous",
"Palazzo Farnese",
"Farnese Bull"
] |
|
14724_T | Statue of Henry Havelock, Trafalgar Square | Focus on Statue of Henry Havelock, Trafalgar Square and analyze the abstract. | A bronze statue of Henry Havelock by the sculptor William Behnes, stands in Trafalgar Square in London, United Kingdom. It occupies one of the four plinths in Trafalgar Square, the one to the southeast of Nelson's Column. | [
"Trafalgar Square",
"Nelson's Column",
"William Behnes",
"London",
"Henry Havelock"
] |
|
14724_NT | Statue of Henry Havelock, Trafalgar Square | Focus on this artwork and analyze the abstract. | A bronze statue of Henry Havelock by the sculptor William Behnes, stands in Trafalgar Square in London, United Kingdom. It occupies one of the four plinths in Trafalgar Square, the one to the southeast of Nelson's Column. | [
"Trafalgar Square",
"Nelson's Column",
"William Behnes",
"London",
"Henry Havelock"
] |
|
14725_T | Statue of Henry Havelock, Trafalgar Square | In Statue of Henry Havelock, Trafalgar Square, how is the Description and history discussed? | The bronze statue depicts Major General Sir Henry Havelock KCB as a standing figure in military uniform, with a cloak. Havelock was born in 1795 and died in 1857. He served in the First Anglo-Burmese War in the 1820s and the First Anglo-Afghan War in the 1840s. He recaptured Cawnpore and Lucknow during the Indian Mutiny in 1857, shortly before he died of dysentery.
The statue was reputedly one of the first statues to be made from a photograph. It was erected by public subscription in 1861, on a granite plinth, matching the statue of General Charles James Napier erected to the west in 1855–1856. A copy in Mowbray Park in Sunderland was also erected by public subscription and unveiled in 1861.In 1936, it was suggested that the statues of Generals Havelock and Napier in Trafalgar Square should be replaced by statues of Admirals Beatty and Jellicoe, the naval commanders at the Battle of Jutland in 1916, but a place was eventually found for bronze busts of the Edwardian admirals (and later for Admiral Cunningham) against the north wall of the square, without removing the statues of the Victorian generals from their plinths.
The monument became a Grade II listed building in 1970. Trafalgar Square is itself Grade I listed.
In 2000, the Mayor of London Ken Livingstone suggested that the statues of Havelock and General Charles James Napier should be removed from Trafalgar Square, because he had no idea who they were. | [
"Cawnpore",
"Mayor of London",
"dysentery",
"listed building",
"Beatty",
"Mowbray Park",
"Indian Mutiny",
"Napier",
"First Anglo-Burmese War",
"Trafalgar Square",
"Ken Livingstone",
"Charles James Napier",
"First Anglo-Afghan War",
"Jellicoe",
"Admiral Cunningham",
"Lucknow",
"London",
"Battle of Jutland",
"Henry Havelock"
] |
|
14725_NT | Statue of Henry Havelock, Trafalgar Square | In this artwork, how is the Description and history discussed? | The bronze statue depicts Major General Sir Henry Havelock KCB as a standing figure in military uniform, with a cloak. Havelock was born in 1795 and died in 1857. He served in the First Anglo-Burmese War in the 1820s and the First Anglo-Afghan War in the 1840s. He recaptured Cawnpore and Lucknow during the Indian Mutiny in 1857, shortly before he died of dysentery.
The statue was reputedly one of the first statues to be made from a photograph. It was erected by public subscription in 1861, on a granite plinth, matching the statue of General Charles James Napier erected to the west in 1855–1856. A copy in Mowbray Park in Sunderland was also erected by public subscription and unveiled in 1861.In 1936, it was suggested that the statues of Generals Havelock and Napier in Trafalgar Square should be replaced by statues of Admirals Beatty and Jellicoe, the naval commanders at the Battle of Jutland in 1916, but a place was eventually found for bronze busts of the Edwardian admirals (and later for Admiral Cunningham) against the north wall of the square, without removing the statues of the Victorian generals from their plinths.
The monument became a Grade II listed building in 1970. Trafalgar Square is itself Grade I listed.
In 2000, the Mayor of London Ken Livingstone suggested that the statues of Havelock and General Charles James Napier should be removed from Trafalgar Square, because he had no idea who they were. | [
"Cawnpore",
"Mayor of London",
"dysentery",
"listed building",
"Beatty",
"Mowbray Park",
"Indian Mutiny",
"Napier",
"First Anglo-Burmese War",
"Trafalgar Square",
"Ken Livingstone",
"Charles James Napier",
"First Anglo-Afghan War",
"Jellicoe",
"Admiral Cunningham",
"Lucknow",
"London",
"Battle of Jutland",
"Henry Havelock"
] |
|
14726_T | Statue of Standing Bear | Focus on Statue of Standing Bear and explore the abstract. | In 2019, the U.S. state of Nebraska donated a bronze sculpture of Standing Bear by Benjamin Victor to the National Statuary Hall Collection. The statue is installed in the United States Capitol's National Statuary Hall, in Washington, D.C.The statue of Standing Bear replaced a statue of William Jennings Bryan by Rudulph Evans, which was similarly donated to the National Statuary Hall Collection in 1937, but relocated in 2019 to the Nebraska National Guard Museum in Seward, Nebraska. | [
"Nebraska National Guard Museum",
"statue",
"Rudulph Evans",
"National Statuary Hall Collection",
"Benjamin Victor",
"bronze sculpture",
"Washington, D.C.",
"Nebraska",
"National Statuary Hall",
"Seward, Nebraska",
"U.S. state",
"United States Capitol",
"Standing Bear",
"William Jennings Bryan"
] |
|
14726_NT | Statue of Standing Bear | Focus on this artwork and explore the abstract. | In 2019, the U.S. state of Nebraska donated a bronze sculpture of Standing Bear by Benjamin Victor to the National Statuary Hall Collection. The statue is installed in the United States Capitol's National Statuary Hall, in Washington, D.C.The statue of Standing Bear replaced a statue of William Jennings Bryan by Rudulph Evans, which was similarly donated to the National Statuary Hall Collection in 1937, but relocated in 2019 to the Nebraska National Guard Museum in Seward, Nebraska. | [
"Nebraska National Guard Museum",
"statue",
"Rudulph Evans",
"National Statuary Hall Collection",
"Benjamin Victor",
"bronze sculpture",
"Washington, D.C.",
"Nebraska",
"National Statuary Hall",
"Seward, Nebraska",
"U.S. state",
"United States Capitol",
"Standing Bear",
"William Jennings Bryan"
] |
|
14727_T | Statue of Standing Bear | Focus on Statue of Standing Bear and explain the Background. | Standing Bear (Ponca official orthography: Maⁿchú-Naⁿzhíⁿ/Macunajin) was forcibly relocated with the Ponca tribe from their lands in Nebraska to the Indian Territory (now Oklahoma) in 1878. His first son Bear Shield died at the reservation, so Standing Bear set out with several others to bury his son's remains at his birthplace in Nebraska. The group was arrested and detained by Brigadier General George Crook at Fort Omaha for having left the reservation without permission from the U.S. government. Standing Bear brought a legal case in the U.S. District Court in Omaha, but the U.S. government argued that as a Native American "Indian", he was not a "person" under the meaning of the law. In United States ex rel. Standing Bear v. Crook, Judge Elmer Dundy ruled on 12 May 1879 that "an Indian is a PERSON", and ordered the group to be released. | [
"Standing Bear v. Crook",
"Nebraska",
"U.S. District Court",
"Indian Territory",
"Oklahoma",
"Elmer Dundy",
"Fort Omaha",
"Standing Bear",
"United States ex rel. Standing Bear v. Crook",
"Ponca",
"George Crook"
] |
|
14727_NT | Statue of Standing Bear | Focus on this artwork and explain the Background. | Standing Bear (Ponca official orthography: Maⁿchú-Naⁿzhíⁿ/Macunajin) was forcibly relocated with the Ponca tribe from their lands in Nebraska to the Indian Territory (now Oklahoma) in 1878. His first son Bear Shield died at the reservation, so Standing Bear set out with several others to bury his son's remains at his birthplace in Nebraska. The group was arrested and detained by Brigadier General George Crook at Fort Omaha for having left the reservation without permission from the U.S. government. Standing Bear brought a legal case in the U.S. District Court in Omaha, but the U.S. government argued that as a Native American "Indian", he was not a "person" under the meaning of the law. In United States ex rel. Standing Bear v. Crook, Judge Elmer Dundy ruled on 12 May 1879 that "an Indian is a PERSON", and ordered the group to be released. | [
"Standing Bear v. Crook",
"Nebraska",
"U.S. District Court",
"Indian Territory",
"Oklahoma",
"Elmer Dundy",
"Fort Omaha",
"Standing Bear",
"United States ex rel. Standing Bear v. Crook",
"Ponca",
"George Crook"
] |
|
14728_T | Statue of Standing Bear | Explore the Description of this artwork, Statue of Standing Bear. | The bronze statue stands over 9 ft (2.7 m) high, on a low black granite pedestal. The subject is portrayed in traditional Native American clothing, with an eagle feather in his hair, a necklace of bear claws and two large Indian Peace Medals, and a pipe tomahawk in his left hand. The right hand is outstretched, to emphasize words spoken at the trial in May 1897 through his interpreter Susette La Flesche: "My hand is not the color of yours, but if I pierce it, I shall feel pain. If you pierce your hand, you also feel pain. The blood that will flow from mine will be the same color as yours. The same god made us both. I am a man."
The front of the pedestal bears the inscription: "NEBRASKA/ CHIEF STANDING BEAR/ Manchú-Nanzhín/ c. 1829–1908", with quotations from Standing Bear's statement to the court inscribed on the sides.
There are two other bronze statues by Benjamin Victor in the National Statuary Hall Collection: a statue of Sarah Winnemucca donated by Nevada in 2005, and a statue of Norman Borlaug donated by Iowa in 2014. | [
"Susette La Flesche",
"statue",
"National Statuary Hall Collection",
"Benjamin Victor",
"National Statuary Hall",
"statue of Norman Borlaug",
"pipe tomahawk",
"Indian Peace Medal",
"traditional Native American clothing",
"Standing Bear",
"statue of Sarah Winnemucca"
] |
|
14728_NT | Statue of Standing Bear | Explore the Description of this artwork. | The bronze statue stands over 9 ft (2.7 m) high, on a low black granite pedestal. The subject is portrayed in traditional Native American clothing, with an eagle feather in his hair, a necklace of bear claws and two large Indian Peace Medals, and a pipe tomahawk in his left hand. The right hand is outstretched, to emphasize words spoken at the trial in May 1897 through his interpreter Susette La Flesche: "My hand is not the color of yours, but if I pierce it, I shall feel pain. If you pierce your hand, you also feel pain. The blood that will flow from mine will be the same color as yours. The same god made us both. I am a man."
The front of the pedestal bears the inscription: "NEBRASKA/ CHIEF STANDING BEAR/ Manchú-Nanzhín/ c. 1829–1908", with quotations from Standing Bear's statement to the court inscribed on the sides.
There are two other bronze statues by Benjamin Victor in the National Statuary Hall Collection: a statue of Sarah Winnemucca donated by Nevada in 2005, and a statue of Norman Borlaug donated by Iowa in 2014. | [
"Susette La Flesche",
"statue",
"National Statuary Hall Collection",
"Benjamin Victor",
"National Statuary Hall",
"statue of Norman Borlaug",
"pipe tomahawk",
"Indian Peace Medal",
"traditional Native American clothing",
"Standing Bear",
"statue of Sarah Winnemucca"
] |
|
14729_T | Gateway (Van de Bovenkamp) | Focus on Gateway (Van de Bovenkamp) and discuss the abstract. | Gateway is a 1993 metal sculpture by Hans Van de Bovenkamp, installed in Oklahoma City's Myriad Botanical Gardens, in the U.S. state of Oklahoma. The abstract artwork was dedicated on November 16, 1993, and measures approximately 16 x 15 x 5 ft. | [
"U.S. state",
"Oklahoma City",
"Myriad Botanical Gardens",
"Oklahoma",
"Hans Van de Bovenkamp"
] |
|
14729_NT | Gateway (Van de Bovenkamp) | Focus on this artwork and discuss the abstract. | Gateway is a 1993 metal sculpture by Hans Van de Bovenkamp, installed in Oklahoma City's Myriad Botanical Gardens, in the U.S. state of Oklahoma. The abstract artwork was dedicated on November 16, 1993, and measures approximately 16 x 15 x 5 ft. | [
"U.S. state",
"Oklahoma City",
"Myriad Botanical Gardens",
"Oklahoma",
"Hans Van de Bovenkamp"
] |
|
14730_T | Portrait of Adèle Besson | How does Portrait of Adèle Besson elucidate its abstract? | The Portrait of Adèle Besson is a 1918 oil painting in the Post-Impressionist style made by Auguste Renoir, depicting the wife of George Besson. The painting represents Renoir's late work period (1892–1919).
The couple gave a large bequest to the Museum of Fine Arts in Besançon (France). Their collection consisted of works of contemporary art (early 20th century). The installation of the collection at the Museum caused the expansion of the museum building, including the construction of the central staircase by Louis Miquel (student of Le Corbusier). This picture is part of their bequest. | [
"Besançon",
"France",
"Auguste Renoir",
"Le Corbusier",
"George Besson",
"Museum of Fine Arts",
"Post-Impressionist"
] |
|
14730_NT | Portrait of Adèle Besson | How does this artwork elucidate its abstract? | The Portrait of Adèle Besson is a 1918 oil painting in the Post-Impressionist style made by Auguste Renoir, depicting the wife of George Besson. The painting represents Renoir's late work period (1892–1919).
The couple gave a large bequest to the Museum of Fine Arts in Besançon (France). Their collection consisted of works of contemporary art (early 20th century). The installation of the collection at the Museum caused the expansion of the museum building, including the construction of the central staircase by Louis Miquel (student of Le Corbusier). This picture is part of their bequest. | [
"Besançon",
"France",
"Auguste Renoir",
"Le Corbusier",
"George Besson",
"Museum of Fine Arts",
"Post-Impressionist"
] |
|
14731_T | Procession in Lace | Focus on Procession in Lace and analyze the abstract. | Procession in Lace (French: Le Cortège en dentelles) is a painting made by Paul Delvaux in 1936. It shows a group of women walking toward a Roman triumphal arch. It was one of the first paintings in which Delvaux drew inspiration from Giorgio de Chirico and painted women reminiscent of mannequins, something he would continue to do throughout his career. Art historians have highlighted the painting's theatricality and described it as one of Delvaux's first major works. | [
"Giorgio de Chirico",
"Paul Delvaux",
"Lace",
"triumphal arch",
"mannequin"
] |
|
14731_NT | Procession in Lace | Focus on this artwork and analyze the abstract. | Procession in Lace (French: Le Cortège en dentelles) is a painting made by Paul Delvaux in 1936. It shows a group of women walking toward a Roman triumphal arch. It was one of the first paintings in which Delvaux drew inspiration from Giorgio de Chirico and painted women reminiscent of mannequins, something he would continue to do throughout his career. Art historians have highlighted the painting's theatricality and described it as one of Delvaux's first major works. | [
"Giorgio de Chirico",
"Paul Delvaux",
"Lace",
"triumphal arch",
"mannequin"
] |
|
14732_T | Procession in Lace | In Procession in Lace, how is the Subject and composition discussed? | A procession of women dressed in white lace garments follow a paved road that leads away from the viewer. Their faces are not seen as they head toward a Roman triumphal arch. In the far distance, another triumphal arch can be seen over the same road. The painting has the dimensions 115 cm × 158 cm (45 in × 62 in) and is painted in oil on canvas. On the bottom right, it is signed and dated "P. DELVAUX / 1-36". | [
"triumphal arch",
"lace",
"painted in oil"
] |
|
14732_NT | Procession in Lace | In this artwork, how is the Subject and composition discussed? | A procession of women dressed in white lace garments follow a paved road that leads away from the viewer. Their faces are not seen as they head toward a Roman triumphal arch. In the far distance, another triumphal arch can be seen over the same road. The painting has the dimensions 115 cm × 158 cm (45 in × 62 in) and is painted in oil on canvas. On the bottom right, it is signed and dated "P. DELVAUX / 1-36". | [
"triumphal arch",
"lace",
"painted in oil"
] |
|
14733_T | Procession in Lace | Focus on Procession in Lace and explore the Analysis and reception. | Procession in Lace was one of the first of Paul Delvaux's painting to show the influence of Giorgio de Chirico, and it thus set out the direction Delvaux would take for the rest of his career. This involved placing unusual objects side by side and adhering to a poetic logic. Chirico was also a major influence for the surrealists and Delvaux's relationship to this group was complicated. Delvaux said he had become "liberated" by passing through surrealism but that he was not a natural surrealist; the art historian Maurice Debra says "the delightful Procession in Lace" was his "true liberation".The art historian Virginie Devillers contrasts Procession in Lace with Delvaux's earlier, expressionist paintings, writing that their fairground aesthetics and unelegant women have been replaced by gesturing women remeniscent of wax dolls and mannequins, wearing dresses that could be inspired by fashion magazines or garments belonging by Delvaux's aunts. Devillers calls it Delvaux's "first accomplished staging". The art historian Michel Draguet says Procession in Lace was one of Delvaux's first "major compositions" and interprets the use of classical elements in this and paintings such as The Pink Knots (1937) as expressions of Delvaux's awareness of catastrophic threat in Europe. Draguet says the combination of mystery and theatricality "probably" should be understood as an attempt at "domestication through beauty of a chaos that is pacified through ritual". Nathalia Brodskaïa says the "peaceful, ceremonious moment" depicted in Procession in Lace creates a secret in the painting, despite not containing any action that stands out as special. | [
"Giorgio de Chirico",
"classical",
"surrealists",
"Paul Delvaux",
"expressionist",
"Lace",
"Michel Draguet",
"wax dolls",
"lace",
"mannequin"
] |
|
14733_NT | Procession in Lace | Focus on this artwork and explore the Analysis and reception. | Procession in Lace was one of the first of Paul Delvaux's painting to show the influence of Giorgio de Chirico, and it thus set out the direction Delvaux would take for the rest of his career. This involved placing unusual objects side by side and adhering to a poetic logic. Chirico was also a major influence for the surrealists and Delvaux's relationship to this group was complicated. Delvaux said he had become "liberated" by passing through surrealism but that he was not a natural surrealist; the art historian Maurice Debra says "the delightful Procession in Lace" was his "true liberation".The art historian Virginie Devillers contrasts Procession in Lace with Delvaux's earlier, expressionist paintings, writing that their fairground aesthetics and unelegant women have been replaced by gesturing women remeniscent of wax dolls and mannequins, wearing dresses that could be inspired by fashion magazines or garments belonging by Delvaux's aunts. Devillers calls it Delvaux's "first accomplished staging". The art historian Michel Draguet says Procession in Lace was one of Delvaux's first "major compositions" and interprets the use of classical elements in this and paintings such as The Pink Knots (1937) as expressions of Delvaux's awareness of catastrophic threat in Europe. Draguet says the combination of mystery and theatricality "probably" should be understood as an attempt at "domestication through beauty of a chaos that is pacified through ritual". Nathalia Brodskaïa says the "peaceful, ceremonious moment" depicted in Procession in Lace creates a secret in the painting, despite not containing any action that stands out as special. | [
"Giorgio de Chirico",
"classical",
"surrealists",
"Paul Delvaux",
"expressionist",
"Lace",
"Michel Draguet",
"wax dolls",
"lace",
"mannequin"
] |
|
14734_T | Procession in Lace | Focus on Procession in Lace and explain the Provenance. | Since 1972, Procession in Lace belongs to the city of Hanover in Germany, where it is in the collection of the Sprengel Museum. Its German name is Die Spitzenprozession. A study on paper was sold at auction in 2008 for 17,300 GBP. | [
"Lace",
"Sprengel Museum",
"Hanover"
] |
|
14734_NT | Procession in Lace | Focus on this artwork and explain the Provenance. | Since 1972, Procession in Lace belongs to the city of Hanover in Germany, where it is in the collection of the Sprengel Museum. Its German name is Die Spitzenprozession. A study on paper was sold at auction in 2008 for 17,300 GBP. | [
"Lace",
"Sprengel Museum",
"Hanover"
] |
|
14735_T | St. Peter's Baldachin | Explore the abstract of this artwork, St. Peter's Baldachin. | St. Peter's Baldachin (Italian: Baldacchino di San Pietro, L'Altare di Bernini) is a large Baroque sculpted bronze canopy, technically called a ciborium or baldachin, over the high altar of St. Peter's Basilica in Vatican City, the city-state and papal enclave surrounded by Rome, Italy. The baldachin is at the center of the crossing, and directly under the dome of the basilica. Designed by the Italian artist Gian Lorenzo Bernini, it was intended to mark, in a monumental way, the place of Saint Peter's tomb underneath. Under its canopy is the high altar of the basilica. Commissioned by Pope Urban VIII, the work began in 1623 and ended in 1634. The baldachin acts as a visual focus within the basilica; it is itself a very large structure and forms a visual mediation between the enormous scale of the building and the human scale of the people officiating at the religious ceremonies at the papal altar beneath its canopy. | [
"St. Peter's Basilica",
"Saint Peter's tomb",
"Baroque",
"Urban VIII",
"baldachin",
"Rome",
"Vatican City",
"Italy",
"Baldachin",
"Saint Peter",
"ciborium",
"Pope",
"Gian Lorenzo Bernini",
"Pope Urban VIII"
] |
|
14735_NT | St. Peter's Baldachin | Explore the abstract of this artwork. | St. Peter's Baldachin (Italian: Baldacchino di San Pietro, L'Altare di Bernini) is a large Baroque sculpted bronze canopy, technically called a ciborium or baldachin, over the high altar of St. Peter's Basilica in Vatican City, the city-state and papal enclave surrounded by Rome, Italy. The baldachin is at the center of the crossing, and directly under the dome of the basilica. Designed by the Italian artist Gian Lorenzo Bernini, it was intended to mark, in a monumental way, the place of Saint Peter's tomb underneath. Under its canopy is the high altar of the basilica. Commissioned by Pope Urban VIII, the work began in 1623 and ended in 1634. The baldachin acts as a visual focus within the basilica; it is itself a very large structure and forms a visual mediation between the enormous scale of the building and the human scale of the people officiating at the religious ceremonies at the papal altar beneath its canopy. | [
"St. Peter's Basilica",
"Saint Peter's tomb",
"Baroque",
"Urban VIII",
"baldachin",
"Rome",
"Vatican City",
"Italy",
"Baldachin",
"Saint Peter",
"ciborium",
"Pope",
"Gian Lorenzo Bernini",
"Pope Urban VIII"
] |
|
14736_T | St. Peter's Baldachin | Focus on St. Peter's Baldachin and discuss the Context. | The form of the structure is an updating in Baroque style of the traditional ciborium or architectural pavilion found over the altars of many important churches, and ceremonial canopies used to frame the numinous or mark a sacred spot. Old St. Peter's Basilica had had a ciborium, like most major basilicas in Rome, and Bernini's predecessor, Carlo Maderno, had produced a design, also with twisted Solomonic columns, less than a decade before. It may more specifically allude to features drawn from the funerary catafalque and thus appropriate to Saint Peter, and from the traditional cloth canopy known as a baldacchino that was carried above the head of the pope on Holy Days and therefore related to the reigning pope as the successor of Saint Peter. The idea of the baldachin to mark Saint Peter's tomb was not Bernini's idea and there had been various columnar structures erected earlier.The old basilica had a screen in front of the altar, supported by 2nd century Solomonic columns that had been brought "from Greece" by Constantine I (and which are indeed of Greek marble). These were by the Middle Ages believed to have come from the Temple of Jerusalem and had given the rare classical Solomonic form of helical column both its name and considerable prestige for the most sacred of sites. Eight of the original twelve columns are now found in pairs halfway up the piers on either side of the baldachin. | [
"Old St. Peter's Basilica",
"Constantine I",
"St. Peter's Basilica",
"Saint Peter's tomb",
"Baroque",
"baldachin",
"Rome",
"Jerusalem",
"catafalque",
"Carlo Maderno",
"Temple of Jerusalem",
"Saint Peter",
"ciborium",
"Solomonic column",
"Constantine"
] |
|
14736_NT | St. Peter's Baldachin | Focus on this artwork and discuss the Context. | The form of the structure is an updating in Baroque style of the traditional ciborium or architectural pavilion found over the altars of many important churches, and ceremonial canopies used to frame the numinous or mark a sacred spot. Old St. Peter's Basilica had had a ciborium, like most major basilicas in Rome, and Bernini's predecessor, Carlo Maderno, had produced a design, also with twisted Solomonic columns, less than a decade before. It may more specifically allude to features drawn from the funerary catafalque and thus appropriate to Saint Peter, and from the traditional cloth canopy known as a baldacchino that was carried above the head of the pope on Holy Days and therefore related to the reigning pope as the successor of Saint Peter. The idea of the baldachin to mark Saint Peter's tomb was not Bernini's idea and there had been various columnar structures erected earlier.The old basilica had a screen in front of the altar, supported by 2nd century Solomonic columns that had been brought "from Greece" by Constantine I (and which are indeed of Greek marble). These were by the Middle Ages believed to have come from the Temple of Jerusalem and had given the rare classical Solomonic form of helical column both its name and considerable prestige for the most sacred of sites. Eight of the original twelve columns are now found in pairs halfway up the piers on either side of the baldachin. | [
"Old St. Peter's Basilica",
"Constantine I",
"St. Peter's Basilica",
"Saint Peter's tomb",
"Baroque",
"baldachin",
"Rome",
"Jerusalem",
"catafalque",
"Carlo Maderno",
"Temple of Jerusalem",
"Saint Peter",
"ciborium",
"Solomonic column",
"Constantine"
] |
|
14737_T | St. Peter's Baldachin | How does St. Peter's Baldachin elucidate its Description and history? | The bronze and gilded baldachin was the first of Bernini's works to combine sculpture and architecture and represents an important development in Baroque church interior design and furnishing. The canopy rests upon four helical columns each of which stands on a high marble plinth. The columns support a cornice which curves inwards in the middle of each side. Above this, four twice-life-size angels stand at the corners behind whom four large volutes rise up to a second smaller cornice which in turn supports the gilded cross on a sphere, a symbol of the world redeemed by Christianity.
The four columns are 20 metres or 66 feet high. The base and capital were cast separately and the shaft of each column was cast in three sections. Their helical form was derived from the smaller marble helical columns once thought to have been brought to Rome by the Emperor Constantine from Solomon's Temple in Jerusalem and which were used in the Old Saint Peter's Basilica (See the article Solomonic column). From the cornice hangs a bronze semblance of the scalloped and tasselled border that typically trimmed the papal baldacchino. The structure is decorated with detailed motifs including heraldic emblems of the Barberini family (Urban VIII was born Maffeo Barberini) such as bees and laurel leaves. The underside of the canopy and directly above the officiating pope is a radiant sun – another emblem of the Barberini.The source of the bronze to make the structure was an issue of contemporary controversy as it was believed to have been taken from the roof or portico ceiling of the ancient Roman Pantheon, though Urban's accounts say that about ninety percent of the bronze from the Pantheon was used for a cannon, and that the bronze for the baldachin came from Venice. A well-known satirical lampoon left attached to the ancient ‘speaking’ statue of Pasquino on a corner of the Piazza Navona, said: Quod non fecerunt barbari, fecerunt Barberini or ‘What the barbarians did not do, the Barberini did’.At this early stage in their careers, and before the bitter rivalry between the two ensued, Bernini worked in collaboration with Francesco Borromini who made drawings of the structure and who may also have contributed to its design. Various other artistic colleagues were also involved including his father Pietro Bernini, his brother Luigi Bernini, Stefano Maderno, François Duquesnoy, Andrea Bolgi and Giuliano Finelli who contributed to the sculptural decoration.
There remained an issue that Bernini was not to resolve until later in his career. In a Latin cross church, the high altar should be placed in the chancel at the end of the longitudinal axis and yet in St. Peter's it was located in the centre of the crossing. Bernini sought a solution whereby the high altar above the tomb of the first Pope of the Catholic Church could be reconciled with tradition. With his design for the Cathedra Petri or Chair of Saint Peter (1657–66) at the apsidal end of the chancel, Bernini completed his visual concetto or design idea; the congregation had a perspectivised view down the nave to the image framed by the baldachin which compressed the distance between the crossing and the Chair of Saint Peter in the chancel, reconciling the Prince of the Apostles' tomb, his implied presence on the chair and his legitimate successor officiating at the ceremonies. | [
"Stefano Maderno",
"Piazza Navona",
"Solomon's Temple",
"Temple in Jerusalem",
"Barberini",
"François Duquesnoy",
"Chair of Saint Peter",
"Baroque",
"Luigi Bernini",
"Urban VIII",
"baldachin",
"Rome",
"Andrea Bolgi",
"Pantheon",
"Jerusalem",
"Catholic Church",
"Barberini family",
"left",
"Venice",
"Giuliano Finelli",
"Saint Peter",
"Pasquino",
"Pietro Bernini",
"cannon",
"Pope",
"plinth",
"Francesco Borromini",
"Solomonic column",
"Constantine"
] |
|
14737_NT | St. Peter's Baldachin | How does this artwork elucidate its Description and history? | The bronze and gilded baldachin was the first of Bernini's works to combine sculpture and architecture and represents an important development in Baroque church interior design and furnishing. The canopy rests upon four helical columns each of which stands on a high marble plinth. The columns support a cornice which curves inwards in the middle of each side. Above this, four twice-life-size angels stand at the corners behind whom four large volutes rise up to a second smaller cornice which in turn supports the gilded cross on a sphere, a symbol of the world redeemed by Christianity.
The four columns are 20 metres or 66 feet high. The base and capital were cast separately and the shaft of each column was cast in three sections. Their helical form was derived from the smaller marble helical columns once thought to have been brought to Rome by the Emperor Constantine from Solomon's Temple in Jerusalem and which were used in the Old Saint Peter's Basilica (See the article Solomonic column). From the cornice hangs a bronze semblance of the scalloped and tasselled border that typically trimmed the papal baldacchino. The structure is decorated with detailed motifs including heraldic emblems of the Barberini family (Urban VIII was born Maffeo Barberini) such as bees and laurel leaves. The underside of the canopy and directly above the officiating pope is a radiant sun – another emblem of the Barberini.The source of the bronze to make the structure was an issue of contemporary controversy as it was believed to have been taken from the roof or portico ceiling of the ancient Roman Pantheon, though Urban's accounts say that about ninety percent of the bronze from the Pantheon was used for a cannon, and that the bronze for the baldachin came from Venice. A well-known satirical lampoon left attached to the ancient ‘speaking’ statue of Pasquino on a corner of the Piazza Navona, said: Quod non fecerunt barbari, fecerunt Barberini or ‘What the barbarians did not do, the Barberini did’.At this early stage in their careers, and before the bitter rivalry between the two ensued, Bernini worked in collaboration with Francesco Borromini who made drawings of the structure and who may also have contributed to its design. Various other artistic colleagues were also involved including his father Pietro Bernini, his brother Luigi Bernini, Stefano Maderno, François Duquesnoy, Andrea Bolgi and Giuliano Finelli who contributed to the sculptural decoration.
There remained an issue that Bernini was not to resolve until later in his career. In a Latin cross church, the high altar should be placed in the chancel at the end of the longitudinal axis and yet in St. Peter's it was located in the centre of the crossing. Bernini sought a solution whereby the high altar above the tomb of the first Pope of the Catholic Church could be reconciled with tradition. With his design for the Cathedra Petri or Chair of Saint Peter (1657–66) at the apsidal end of the chancel, Bernini completed his visual concetto or design idea; the congregation had a perspectivised view down the nave to the image framed by the baldachin which compressed the distance between the crossing and the Chair of Saint Peter in the chancel, reconciling the Prince of the Apostles' tomb, his implied presence on the chair and his legitimate successor officiating at the ceremonies. | [
"Stefano Maderno",
"Piazza Navona",
"Solomon's Temple",
"Temple in Jerusalem",
"Barberini",
"François Duquesnoy",
"Chair of Saint Peter",
"Baroque",
"Luigi Bernini",
"Urban VIII",
"baldachin",
"Rome",
"Andrea Bolgi",
"Pantheon",
"Jerusalem",
"Catholic Church",
"Barberini family",
"left",
"Venice",
"Giuliano Finelli",
"Saint Peter",
"Pasquino",
"Pietro Bernini",
"cannon",
"Pope",
"plinth",
"Francesco Borromini",
"Solomonic column",
"Constantine"
] |
|
14738_T | St. Peter's Baldachin | In the context of St. Peter's Baldachin, analyze the Plinths and the Barberini coats of arms of the Description and history. | Four marble plinths form the basis of the columns that support the baldachin. The two outer sides of each plinth are decorated with the Barberini family's coat of arms. This series of eight, nearly identical coats of arms forms a narrative that has attracted over the centuries the interest of writers and art historians.
The coat of arms itself represents the three bees of the Barberini family. Each shield is enclosed by a woman's head at the top and by the head of a satyr at the bottom. A papal tiara with crossed keys surmounts the shield. All shields look nearly identical, but – if examined one after another starting with the left-hand front plinth – they reveal dramatic changes in the expression on the female face. The coat of arms itself, flat on the first plinth, undergoes a noticeable deformation, progressively bulging up to the sixth shield and flattening again on the last two shields. Above the eighth shield, the female face is replaced by the head of a winged child or putto. The allegory behind the coats of arms is universally interpreted as representing the various stages of childbirth. As Witkowski writes:The scene begins on the face of the left-hand front plinth; the woman's face begins to contract; on the second and following plinths the features pass through a series of increasingly violent convulsions. Simultaneously, the hair becomes increasingly dishevelled; the eyes, which at first express a bearable degree of suffering, take on a haggard look; the mouth, closed at first, opens, then screams with piercing realism. ... Finally, comes the delivery: the belly subsides and the mother's head disappears, to give way to a cherubic baby's head with curly hair, smiling beneath the unchanging pontifical insignia.
Several explanations have been put forward for this unusually explicit allegory displayed in the most sacred place of Roman Catholic Christianity (the burial place of Saint Peter). Some scholars favor a symbolic explanation, suggesting that Bernini intended to represent the labor of the papacy and of the earthly church through the allegory of a woman's pregnancy. A more popular tradition tells the story of the complicated pregnancy of a niece of Urban VIII's and of his vow to dedicate an altar in St. Peter's to a successful delivery. A third tradition explains the allegory as Bernini's revenge against the pope's decision to disavow a child illegally born to his nephew Taddeo Barberini and the sister of one of Bernini's pupils.The childbirth sequence in Bernini's plinths was praised, among others, by director Sergei Eisenstein, who in a piece titled Montage and Architecture written in the late 1930s describes it as "one of the most spectacular compositions of that great master Bernini", with the coats of arms as "eight shots, eight montage sequences of a whole montage scenario." | [
"Sergei Eisenstein",
"Barberini",
"coat of arms",
"satyr",
"crossed keys",
"putto",
"Urban VIII",
"baldachin",
"Barberini family",
"left",
"Taddeo Barberini",
"earthly church",
"Saint Peter",
"papal tiara",
"plinth"
] |
|
14738_NT | St. Peter's Baldachin | In the context of this artwork, analyze the Plinths and the Barberini coats of arms of the Description and history. | Four marble plinths form the basis of the columns that support the baldachin. The two outer sides of each plinth are decorated with the Barberini family's coat of arms. This series of eight, nearly identical coats of arms forms a narrative that has attracted over the centuries the interest of writers and art historians.
The coat of arms itself represents the three bees of the Barberini family. Each shield is enclosed by a woman's head at the top and by the head of a satyr at the bottom. A papal tiara with crossed keys surmounts the shield. All shields look nearly identical, but – if examined one after another starting with the left-hand front plinth – they reveal dramatic changes in the expression on the female face. The coat of arms itself, flat on the first plinth, undergoes a noticeable deformation, progressively bulging up to the sixth shield and flattening again on the last two shields. Above the eighth shield, the female face is replaced by the head of a winged child or putto. The allegory behind the coats of arms is universally interpreted as representing the various stages of childbirth. As Witkowski writes:The scene begins on the face of the left-hand front plinth; the woman's face begins to contract; on the second and following plinths the features pass through a series of increasingly violent convulsions. Simultaneously, the hair becomes increasingly dishevelled; the eyes, which at first express a bearable degree of suffering, take on a haggard look; the mouth, closed at first, opens, then screams with piercing realism. ... Finally, comes the delivery: the belly subsides and the mother's head disappears, to give way to a cherubic baby's head with curly hair, smiling beneath the unchanging pontifical insignia.
Several explanations have been put forward for this unusually explicit allegory displayed in the most sacred place of Roman Catholic Christianity (the burial place of Saint Peter). Some scholars favor a symbolic explanation, suggesting that Bernini intended to represent the labor of the papacy and of the earthly church through the allegory of a woman's pregnancy. A more popular tradition tells the story of the complicated pregnancy of a niece of Urban VIII's and of his vow to dedicate an altar in St. Peter's to a successful delivery. A third tradition explains the allegory as Bernini's revenge against the pope's decision to disavow a child illegally born to his nephew Taddeo Barberini and the sister of one of Bernini's pupils.The childbirth sequence in Bernini's plinths was praised, among others, by director Sergei Eisenstein, who in a piece titled Montage and Architecture written in the late 1930s describes it as "one of the most spectacular compositions of that great master Bernini", with the coats of arms as "eight shots, eight montage sequences of a whole montage scenario." | [
"Sergei Eisenstein",
"Barberini",
"coat of arms",
"satyr",
"crossed keys",
"putto",
"Urban VIII",
"baldachin",
"Barberini family",
"left",
"Taddeo Barberini",
"earthly church",
"Saint Peter",
"papal tiara",
"plinth"
] |
|
14739_T | Two Running Girls | In Two Running Girls, how is the abstract discussed? | Two Running Girls is a 1959 painting by Australian artist John Brack. The painting depicts two girls, wearing dresses and with their hair tied, running from the viewer.
The painting was first exhibited in August 1959 at the Antipodeans Exhibition at the Victorian Artists Society galleries in Melbourne.In May 2016, the painting sold at auction for AUD1.65 million. At a previous sale in 1991, the painting was purchased for AUD52,000. | [
"John Brack",
"AUD",
"Victorian Artists Society",
"Melbourne",
"Antipodeans",
"1959"
] |
|
14739_NT | Two Running Girls | In this artwork, how is the abstract discussed? | Two Running Girls is a 1959 painting by Australian artist John Brack. The painting depicts two girls, wearing dresses and with their hair tied, running from the viewer.
The painting was first exhibited in August 1959 at the Antipodeans Exhibition at the Victorian Artists Society galleries in Melbourne.In May 2016, the painting sold at auction for AUD1.65 million. At a previous sale in 1991, the painting was purchased for AUD52,000. | [
"John Brack",
"AUD",
"Victorian Artists Society",
"Melbourne",
"Antipodeans",
"1959"
] |
|
14740_T | Fountain of Neptune (Madrid) | Focus on Fountain of Neptune (Madrid) and explore the abstract. | The Fountain of Neptune (Spanish: Fuente de Neptuno) is a neoclassical fountain located in Madrid, Spain. It lies on the centre of the Plaza de Cánovas del Castillo, a roundabout in the Paseo del Prado. The sculptural group in its centre represents Neptune, a Roman water deity. | [
"Neptune",
"Spanish",
"Plaza de Cánovas del Castillo",
"Paseo del Prado",
"neoclassical",
"Madrid"
] |
|
14740_NT | Fountain of Neptune (Madrid) | Focus on this artwork and explore the abstract. | The Fountain of Neptune (Spanish: Fuente de Neptuno) is a neoclassical fountain located in Madrid, Spain. It lies on the centre of the Plaza de Cánovas del Castillo, a roundabout in the Paseo del Prado. The sculptural group in its centre represents Neptune, a Roman water deity. | [
"Neptune",
"Spanish",
"Plaza de Cánovas del Castillo",
"Paseo del Prado",
"neoclassical",
"Madrid"
] |
|
14741_T | Fountain of Neptune (Madrid) | Focus on Fountain of Neptune (Madrid) and explain the History and description. | Designed by Ventura Rodríguez, the sculpture—made of white marble from Montesclaros—was commissioned to Juan Pascual de Mena. Sculptural works began in 1781. Following the master's death in April 1784, the fountain was finished in October 1786 by his disciples.The fountain is formed by a circular pylon with the sculptural group in its centre. The crowned Roman god wields a trident with one hand while he grabs a sea snake with the other hand.It has a maximum water capacity of 305 m3.The fountain is the site where the Atlético Madrid's fans celebrate the team's trophies. | [
"trident",
"Ventura Rodríguez",
"Montesclaros",
"Juan Pascual de Mena",
"Atlético Madrid",
"white marble",
"Madrid"
] |
|
14741_NT | Fountain of Neptune (Madrid) | Focus on this artwork and explain the History and description. | Designed by Ventura Rodríguez, the sculpture—made of white marble from Montesclaros—was commissioned to Juan Pascual de Mena. Sculptural works began in 1781. Following the master's death in April 1784, the fountain was finished in October 1786 by his disciples.The fountain is formed by a circular pylon with the sculptural group in its centre. The crowned Roman god wields a trident with one hand while he grabs a sea snake with the other hand.It has a maximum water capacity of 305 m3.The fountain is the site where the Atlético Madrid's fans celebrate the team's trophies. | [
"trident",
"Ventura Rodríguez",
"Montesclaros",
"Juan Pascual de Mena",
"Atlético Madrid",
"white marble",
"Madrid"
] |
|
14742_T | The Madhouse | Explore the abstract of this artwork, The Madhouse. | The Madhouse (Spanish: Casa de locos) or Asylum (Spanish: Manicomio) is an oil on panel painting by Francisco Goya. He produced it between 1812 and 1819 based on a scene he had witnessed at the then-renowned Zaragoza mental asylum. It depicts a mental asylum and the inhabitants in various states of madness. The creation came after a tumultuous period of Goya's life in which he suffered from serious illness and experienced hardships within his family. | [
"Francisco Goya",
"madness",
"oil on panel",
"mental asylum",
"Zaragoza"
] |
|
14742_NT | The Madhouse | Explore the abstract of this artwork. | The Madhouse (Spanish: Casa de locos) or Asylum (Spanish: Manicomio) is an oil on panel painting by Francisco Goya. He produced it between 1812 and 1819 based on a scene he had witnessed at the then-renowned Zaragoza mental asylum. It depicts a mental asylum and the inhabitants in various states of madness. The creation came after a tumultuous period of Goya's life in which he suffered from serious illness and experienced hardships within his family. | [
"Francisco Goya",
"madness",
"oil on panel",
"mental asylum",
"Zaragoza"
] |
|
14743_T | The Madhouse | Focus on The Madhouse and discuss the Composition. | The painting is marked by its Piranesian, claustrophobic architecture, the painting's only light source being a barred window high up on the wall, meant to repress the figures below. These figures are distinct characters and borderline caricatures, all engaged in grotesque and pitiable behaviour – one wears what seems to be a wild-feathered headdress, another is fighting in a tricorne hat, another makes a gesture of blessing to the viewer, whilst many of the others are naked. Some of the figures can also be interpreted allegorically, as a gallery of parodies of powerful figures in society, such as the clergy or the army (represented by the man in the tricorne). It develops the topic of 'the world of dreams' (Spanish: 'mundo al revés') and is related to Goya's engravings series Los disparates. | [
"Los disparates",
"Piranesian",
"caricature",
"tricorne"
] |
|
14743_NT | The Madhouse | Focus on this artwork and discuss the Composition. | The painting is marked by its Piranesian, claustrophobic architecture, the painting's only light source being a barred window high up on the wall, meant to repress the figures below. These figures are distinct characters and borderline caricatures, all engaged in grotesque and pitiable behaviour – one wears what seems to be a wild-feathered headdress, another is fighting in a tricorne hat, another makes a gesture of blessing to the viewer, whilst many of the others are naked. Some of the figures can also be interpreted allegorically, as a gallery of parodies of powerful figures in society, such as the clergy or the army (represented by the man in the tricorne). It develops the topic of 'the world of dreams' (Spanish: 'mundo al revés') and is related to Goya's engravings series Los disparates. | [
"Los disparates",
"Piranesian",
"caricature",
"tricorne"
] |
|
14744_T | The Madhouse | How does The Madhouse elucidate its Inspiration? | Psychiatric institutions were a popular topic in the salons of the Spanish Enlightenment around this time, especially their practices, such as manacling patients. The mentally ill were seen as possessed and often found themselves subjects of public entertainment. Goya had firsthand experience with insanity, as an aunt and uncle of his had suffered from it. He was also familiar with suffering from illness, as he had fallen extremely ill in 1792, struggling to keep his balance and walk as well as suffering partial blindness and deafness. While he eventually recovered, he remained deaf for the rest of his life, and it has been speculated that he had been suffering from Vogt-Koyanagi-Harada syndrome, though it is unknown what it truly was. During his recovery, he suffered from bouts of depression, stating that he found himself "sometimes raving with a mood that I myself cannot stand." Around this time, he also experienced the death of his brother-in-law from illness. This period of Goya's life inspired a change in the composition of his works towards darker compositions than early in his life. Speaking of the set of paintings that The Madhouse concluded, Goya said; "I have succeeded in making observations for which there is normally no opportunity in commissioned works, which give no scope for fantasy and invention." | [
"manacling",
"Vogt-Koyanagi-Harada syndrome",
"salons",
"Spanish Enlightenment",
"depression"
] |
|
14744_NT | The Madhouse | How does this artwork elucidate its Inspiration? | Psychiatric institutions were a popular topic in the salons of the Spanish Enlightenment around this time, especially their practices, such as manacling patients. The mentally ill were seen as possessed and often found themselves subjects of public entertainment. Goya had firsthand experience with insanity, as an aunt and uncle of his had suffered from it. He was also familiar with suffering from illness, as he had fallen extremely ill in 1792, struggling to keep his balance and walk as well as suffering partial blindness and deafness. While he eventually recovered, he remained deaf for the rest of his life, and it has been speculated that he had been suffering from Vogt-Koyanagi-Harada syndrome, though it is unknown what it truly was. During his recovery, he suffered from bouts of depression, stating that he found himself "sometimes raving with a mood that I myself cannot stand." Around this time, he also experienced the death of his brother-in-law from illness. This period of Goya's life inspired a change in the composition of his works towards darker compositions than early in his life. Speaking of the set of paintings that The Madhouse concluded, Goya said; "I have succeeded in making observations for which there is normally no opportunity in commissioned works, which give no scope for fantasy and invention." | [
"manacling",
"Vogt-Koyanagi-Harada syndrome",
"salons",
"Spanish Enlightenment",
"depression"
] |
|
14745_T | The Madhouse | Focus on The Madhouse and analyze the Related works. | Goya had already touched on the issues of mental illnesses and suffering his 1794 painting Yard with Lunatics. Yard with Lunatics depicts the manic patients being let out into the asylum yard, where the central figures wrestle while the guard attempts to restrain them. This work would have been composed around the time that Goya was recovering from his illness. Yard with Lunatics is unique for its time due to its depiction of the inhabitants, straying from the stereotypical depictions of the insane and instead portraying more realistic behaviors and actions.The Madhouse differs from Yard with Lunatics by placing the subjects in a dingy room, while portraying them as people who are suffering, as opposed to people who need to be restrained for their own good. These two works depicting asylums were not Goya's only exploration of suffering. Over the period of 1810-1820, he created eighty-three etchings that became a series named The Disasters of War (Spanish: Los Desastres de la Guerra). Not published until 1863, thirty-five years after his death, the series shows the atrocities committed by Napoleon's forces during both the Dos de Mayo Uprising and the Peninsular War. In these works, Goya strips the surrounding elements to force the audience to focus on the shocking nature of the subject. The etchings don't appear to have a narrative, as each one depicts a scene independent of others. Goya has become known for his depictions of these subjects of violence and suffering due to his willingness to leave out the beauty of art and instead create pieces that shock and disturb the viewer. | [
"Yard with Lunatics",
"Dos de Mayo Uprising",
"The Disasters of War",
"etching",
"Peninsular War"
] |
|
14745_NT | The Madhouse | Focus on this artwork and analyze the Related works. | Goya had already touched on the issues of mental illnesses and suffering his 1794 painting Yard with Lunatics. Yard with Lunatics depicts the manic patients being let out into the asylum yard, where the central figures wrestle while the guard attempts to restrain them. This work would have been composed around the time that Goya was recovering from his illness. Yard with Lunatics is unique for its time due to its depiction of the inhabitants, straying from the stereotypical depictions of the insane and instead portraying more realistic behaviors and actions.The Madhouse differs from Yard with Lunatics by placing the subjects in a dingy room, while portraying them as people who are suffering, as opposed to people who need to be restrained for their own good. These two works depicting asylums were not Goya's only exploration of suffering. Over the period of 1810-1820, he created eighty-three etchings that became a series named The Disasters of War (Spanish: Los Desastres de la Guerra). Not published until 1863, thirty-five years after his death, the series shows the atrocities committed by Napoleon's forces during both the Dos de Mayo Uprising and the Peninsular War. In these works, Goya strips the surrounding elements to force the audience to focus on the shocking nature of the subject. The etchings don't appear to have a narrative, as each one depicts a scene independent of others. Goya has become known for his depictions of these subjects of violence and suffering due to his willingness to leave out the beauty of art and instead create pieces that shock and disturb the viewer. | [
"Yard with Lunatics",
"Dos de Mayo Uprising",
"The Disasters of War",
"etching",
"Peninsular War"
] |
|
14746_T | The Madhouse | In The Madhouse, how is the Critical reception discussed? | Critics have not reached a consensus about the meaning or purpose of The Madhouse (as well as Yard with Lunatics). Some have argued that it exemplifies how Goya lost touch with the public (as it is not a work that one would typically hang in a home setting), while others have said that it fits in the same market as pieces that depict violence. It has also been debated how effective, if at all, this work was in the movement to reform asylums (led by Philippe Pinel and William Tuke), and if it was even attempting to cause change or was instead affirming the belief that the mentally ill should be confined and shackled. | [
"Philippe Pinel",
"Yard with Lunatics",
"William Tuke",
"reform asylums",
"depict violence"
] |
|
14746_NT | The Madhouse | In this artwork, how is the Critical reception discussed? | Critics have not reached a consensus about the meaning or purpose of The Madhouse (as well as Yard with Lunatics). Some have argued that it exemplifies how Goya lost touch with the public (as it is not a work that one would typically hang in a home setting), while others have said that it fits in the same market as pieces that depict violence. It has also been debated how effective, if at all, this work was in the movement to reform asylums (led by Philippe Pinel and William Tuke), and if it was even attempting to cause change or was instead affirming the belief that the mentally ill should be confined and shackled. | [
"Philippe Pinel",
"Yard with Lunatics",
"William Tuke",
"reform asylums",
"depict violence"
] |
|
14747_T | George Peabody (sculpture) | Focus on George Peabody (sculpture) and explore the abstract. | George Peabody is a bronze statue of George Peabody (1795–1869), by William Wetmore Story. The bronze, cast in Rome at Alessandro Nelli's foundry, is located in the east garden of Mount Vernon Place, Baltimore.
It was dedicated on April 7, 1890. | [
"Mount Vernon Place",
"William Wetmore Story",
"George Peabody",
"Baltimore",
"Alessandro Nelli"
] |
|
14747_NT | George Peabody (sculpture) | Focus on this artwork and explore the abstract. | George Peabody is a bronze statue of George Peabody (1795–1869), by William Wetmore Story. The bronze, cast in Rome at Alessandro Nelli's foundry, is located in the east garden of Mount Vernon Place, Baltimore.
It was dedicated on April 7, 1890. | [
"Mount Vernon Place",
"William Wetmore Story",
"George Peabody",
"Baltimore",
"Alessandro Nelli"
] |
|
14748_T | George Peabody (sculpture) | Focus on George Peabody (sculpture) and explain the Inscriptions. | The inscriptions read:(Sculpture, bronze base, back proper right side of figure:)
(Plinth, bronze plaque on back:)A signed founder's mark appears. | [
"proper right"
] |
|
14748_NT | George Peabody (sculpture) | Focus on this artwork and explain the Inscriptions. | The inscriptions read:(Sculpture, bronze base, back proper right side of figure:)
(Plinth, bronze plaque on back:)A signed founder's mark appears. | [
"proper right"
] |
|
14749_T | George Peabody (sculpture) | Explore the London statue of this artwork, George Peabody (sculpture). | The statue is a replica of one next to the Royal Exchange in the City of London, executed between 1867 and 1869, and unveiled in July 1869 shortly before Peabody's death. | [
"Royal Exchange",
"City of London"
] |
|
14749_NT | George Peabody (sculpture) | Explore the London statue of this artwork. | The statue is a replica of one next to the Royal Exchange in the City of London, executed between 1867 and 1869, and unveiled in July 1869 shortly before Peabody's death. | [
"Royal Exchange",
"City of London"
] |
|
14750_T | Still Life with Old Shoe | Focus on Still Life with Old Shoe and discuss the abstract. | Still Life with Old Shoe is a 1937 oil painting by Joan Miró, now part of the permanent collection of the Museum of Modern Art in New York City. The work was given to the museum by James Thrall Soby in 1969. | [
"New York City",
"Joan Miró",
"Museum of Modern Art",
"Museum of Modern Art in New York"
] |
|
14750_NT | Still Life with Old Shoe | Focus on this artwork and discuss the abstract. | Still Life with Old Shoe is a 1937 oil painting by Joan Miró, now part of the permanent collection of the Museum of Modern Art in New York City. The work was given to the museum by James Thrall Soby in 1969. | [
"New York City",
"Joan Miró",
"Museum of Modern Art",
"Museum of Modern Art in New York"
] |
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