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|---|---|---|---|---|---|
14801_T | Idle Woman | Focus on Idle Woman and explore the Provenance. | The painting is currently held by the Museo de Arte de Lima, in Lima, Peru. | [
"Museo de Arte de Lima",
"Lima"
] |
|
14801_NT | Idle Woman | Focus on this artwork and explore the Provenance. | The painting is currently held by the Museo de Arte de Lima, in Lima, Peru. | [
"Museo de Arte de Lima",
"Lima"
] |
|
14802_T | America's Courtyard | Focus on America's Courtyard and explain the abstract. | America's Courtyard: A Symbolic Integration of the Americas is an outdoor stone sculpture by husband and wife Brazilian artists Ary Perez and Denise Milan, installed outside Chicago's Adler Planetarium, in the U.S. state of Illinois. | [
"U.S. state",
"Adler Planetarium",
"Chicago",
"Illinois"
] |
|
14802_NT | America's Courtyard | Focus on this artwork and explain the abstract. | America's Courtyard: A Symbolic Integration of the Americas is an outdoor stone sculpture by husband and wife Brazilian artists Ary Perez and Denise Milan, installed outside Chicago's Adler Planetarium, in the U.S. state of Illinois. | [
"U.S. state",
"Adler Planetarium",
"Chicago",
"Illinois"
] |
|
14803_T | The Spanish Wedding | Explore the abstract of this artwork, The Spanish Wedding. | The Spanish Wedding or La Vicaría (1868–1870) is a masterwork by Marià Fortuny i Marsal, also known as Marià Fortuny or Mariano Fortuny. La Vicaría exemplifies genre painting of the 19th century. The use of jewel tones, contrasts between light and dark, and the virtuosity of the work attest to Fortuny's talent. It resides at Museu Nacional d'Art de Catalunya in Barcelona, Spain. | [
"genre painting",
"Barcelona",
"Marià Fortuny",
"Museu Nacional d'Art de Catalunya"
] |
|
14803_NT | The Spanish Wedding | Explore the abstract of this artwork. | The Spanish Wedding or La Vicaría (1868–1870) is a masterwork by Marià Fortuny i Marsal, also known as Marià Fortuny or Mariano Fortuny. La Vicaría exemplifies genre painting of the 19th century. The use of jewel tones, contrasts between light and dark, and the virtuosity of the work attest to Fortuny's talent. It resides at Museu Nacional d'Art de Catalunya in Barcelona, Spain. | [
"genre painting",
"Barcelona",
"Marià Fortuny",
"Museu Nacional d'Art de Catalunya"
] |
|
14804_T | The Spanish Wedding | Focus on The Spanish Wedding and discuss the Marià Fortuny. | Marià Fortuny (1838–1874), a Catalan and Spanish artist, was known during the 19th century for his oil paintings, etchings, and watercolors. Fortuny was a master artist of genre painting; these show scenes from everyday life. The subject matter can be from any social class and have historical elements. Fortuny was a prodigy, completing other master works when he was 12 years old. The Spanish Wedding was completed when he was just 32. It exemplifies the genre style in three ways. First, a wedding is a typical part of life, and was an especially important celebration in 19th century Spain and Catalonia. Second, the painting tells a story, which needs no outside information. Finally, the mixing of historical and contemporary elements is typical of genre paintings. | [
"genre painting",
"Marià Fortuny",
"watercolors",
"oil painting",
"etching",
"Catalan"
] |
|
14804_NT | The Spanish Wedding | Focus on this artwork and discuss the Marià Fortuny. | Marià Fortuny (1838–1874), a Catalan and Spanish artist, was known during the 19th century for his oil paintings, etchings, and watercolors. Fortuny was a master artist of genre painting; these show scenes from everyday life. The subject matter can be from any social class and have historical elements. Fortuny was a prodigy, completing other master works when he was 12 years old. The Spanish Wedding was completed when he was just 32. It exemplifies the genre style in three ways. First, a wedding is a typical part of life, and was an especially important celebration in 19th century Spain and Catalonia. Second, the painting tells a story, which needs no outside information. Finally, the mixing of historical and contemporary elements is typical of genre paintings. | [
"genre painting",
"Marià Fortuny",
"watercolors",
"oil painting",
"etching",
"Catalan"
] |
|
14805_T | The Spanish Wedding | How does The Spanish Wedding elucidate its History? | The Spanish Wedding was painted from 1868 to 1870. It was started in Rome and completed when the artist moved to Paris. Fortuny's working style is characterized by extensive research. Many test sketches and watercolors survive. These practice works show Fortuny's artistic process. Each sketch becomes more sophisticated, and refines his extensive research, prior to putting brush to canvass. Fortuny was known for using family and friends, as well as professionals, as models for his paintings. In The Spanish Wedding, his wife, Cecilia de Madrazo, and sister in law, Isabel de Madrazo, daughters of Federico de Madrazo the director of the Museo del Prado, modeled for the painting, as well as the artist, Jean-Louis-Ernest Meissonier.It is believed that The Spanish Wedding was inspired by a visit to a parish church in Madrid in preparation for his marriage to Cecilia de Madrazo. When the painting was displayed in 1870, it brought Fortuny international praise by both the general public and by the art community. Instead of being shown at the Paris Salon, the painting was exhibited at the gallery belonging to Adolph Goupil at No. 9 Rue Chaptral, Paris. Goupil was a major art dealer in the 19th century. The Spanish Wedding was quickly sold to Adèle Cassin, for 70,000 francs. This was one of the highest prices a painting had commanded to date, excepting Meissonier's 1814, la Campagne de France, which sold in 1866 for 85,000 francs. The Spanish Wedding catapulted Fortuny to international fame and his paintings were in high demand the rest of his career.
The painting remained in private hands until 1922. At that time, it was purchased by the Municipal Museum of Barcelona along with the Museum Board of Barcelona. Due to a misunderstanding, it became urgent for the museum to purchase the piece. It was believed the owner was moving to America and taking the painting with him. The Barcelona government decided that it would be best for the art work to come back to Spain and the funds for this endeavor were raised by subscription. It arrived at the museum in 1922 and is now cared for and displayed by Museu Nacional d'Art de Catalunya, in Barcelona. | [
"Cecilia de Madrazo",
"Federico de Madrazo",
"Paris Salon",
"Barcelona",
"Rome",
"franc",
"Ernest Meissonier",
"watercolors",
"Jean-Louis-Ernest Meissonier",
"Adolph Goupil",
"Museo del Prado",
"Franc",
"Museu Nacional d'Art de Catalunya",
"parish church",
"art dealer",
"Madrid"
] |
|
14805_NT | The Spanish Wedding | How does this artwork elucidate its History? | The Spanish Wedding was painted from 1868 to 1870. It was started in Rome and completed when the artist moved to Paris. Fortuny's working style is characterized by extensive research. Many test sketches and watercolors survive. These practice works show Fortuny's artistic process. Each sketch becomes more sophisticated, and refines his extensive research, prior to putting brush to canvass. Fortuny was known for using family and friends, as well as professionals, as models for his paintings. In The Spanish Wedding, his wife, Cecilia de Madrazo, and sister in law, Isabel de Madrazo, daughters of Federico de Madrazo the director of the Museo del Prado, modeled for the painting, as well as the artist, Jean-Louis-Ernest Meissonier.It is believed that The Spanish Wedding was inspired by a visit to a parish church in Madrid in preparation for his marriage to Cecilia de Madrazo. When the painting was displayed in 1870, it brought Fortuny international praise by both the general public and by the art community. Instead of being shown at the Paris Salon, the painting was exhibited at the gallery belonging to Adolph Goupil at No. 9 Rue Chaptral, Paris. Goupil was a major art dealer in the 19th century. The Spanish Wedding was quickly sold to Adèle Cassin, for 70,000 francs. This was one of the highest prices a painting had commanded to date, excepting Meissonier's 1814, la Campagne de France, which sold in 1866 for 85,000 francs. The Spanish Wedding catapulted Fortuny to international fame and his paintings were in high demand the rest of his career.
The painting remained in private hands until 1922. At that time, it was purchased by the Municipal Museum of Barcelona along with the Museum Board of Barcelona. Due to a misunderstanding, it became urgent for the museum to purchase the piece. It was believed the owner was moving to America and taking the painting with him. The Barcelona government decided that it would be best for the art work to come back to Spain and the funds for this endeavor were raised by subscription. It arrived at the museum in 1922 and is now cared for and displayed by Museu Nacional d'Art de Catalunya, in Barcelona. | [
"Cecilia de Madrazo",
"Federico de Madrazo",
"Paris Salon",
"Barcelona",
"Rome",
"franc",
"Ernest Meissonier",
"watercolors",
"Jean-Louis-Ernest Meissonier",
"Adolph Goupil",
"Museo del Prado",
"Franc",
"Museu Nacional d'Art de Catalunya",
"parish church",
"art dealer",
"Madrid"
] |
|
14806_T | The Spanish Wedding | Focus on The Spanish Wedding and analyze the Description and Art Historical Analysis. | The Spanish Wedding is a painting of the signing of the wedding license or registry after the marriage ceremony. Weddings and church scenes were a popular subject during the 19th century. The Spanish Wedding highlights Fortuny's abilities. Central to the action are the bride and groom, surrounded by friends and family. The priest; two gentlemen at the end of the table; and the older couple, on the bench to the right, look on as the groom signs the documents, thereby creating emphasis on the center of the painting.Fortuny's use of color and light illustrates his inspiration by the artist Goya. The contrast of the dark interior with the light colors of the wedding party contrast sharply, much like the 17th century Dutch masters that Fortuny examined as a student.While the painting was created in 1870, the clothing, like many genre paintings, is inspired by an historical time period. In this case, Fortuny references the 18th century, in the style of the men's clothing, and the women's accessories. The women's dresses follow the silhouette of the late 19th century. Fortuny renders silk and lace with exceptional ability. The viewer can almost hear the rustle of fabrics. The painting is decidedly Spanish in inspiration with the inclusion of peinetas on the women, the enormous iron grill work, typical of Spanish churches, and bull fighters. The painting is filled with objects that, some experts say, were from Fortuny's personal collection. The metal heating element in the left corner, known as a brazier, is used in a number of his paintings, and may have been from his extensive personal collection of antiquities. This collection of antiques contributed to the research that Fortuny undertook prior to the creation of any of his paintings.The technique, which creates warmth and depth, is called preciosismo. This technique leads to fine brush work, which, when observed closely, looks like dashes and daubs of paint. When the viewer stands back from the painting, it comes together to create a wondrous whole, that is light and airy. This use of color also shows how Goya inspired Fortuny. In Goya's Charles IV of Spain and His Family there is a similar quality of light and color. Art Historians also attribute Fortuny's inspiration to Jean-Louis-Ernest Meissonier.Just as Fortuny, and The Spanish Wedding, were influenced by Goya and Meissonier, he also influenced other artists. His brother-in-law, Raimundo de Madrazo, borrows heavily from The Spanish Wedding in his genre painting Coming Out of Church. Van Gogh also was inspired by this work, as were contemporary Spanish artists. Art historians believe that had Fortuny lived longer, his work would have grown and influenced artists for many years to come. Unfortunately, due to the revolution in the arts by the French Impressionists, Fortuny, and other genre artists like him, are largely unknown. | [
"17th century Dutch masters",
"silk",
"Van Gogh",
"Goya",
"peinetas",
"Charles IV of Spain and His Family",
"antique",
"genre painting",
"bull fighters",
"Ernest Meissonier",
"Jean-Louis-Ernest Meissonier",
"Art historian",
"French Impressionists",
"Raimundo de Madrazo",
"brazier",
"wedding license",
"lace"
] |
|
14806_NT | The Spanish Wedding | Focus on this artwork and analyze the Description and Art Historical Analysis. | The Spanish Wedding is a painting of the signing of the wedding license or registry after the marriage ceremony. Weddings and church scenes were a popular subject during the 19th century. The Spanish Wedding highlights Fortuny's abilities. Central to the action are the bride and groom, surrounded by friends and family. The priest; two gentlemen at the end of the table; and the older couple, on the bench to the right, look on as the groom signs the documents, thereby creating emphasis on the center of the painting.Fortuny's use of color and light illustrates his inspiration by the artist Goya. The contrast of the dark interior with the light colors of the wedding party contrast sharply, much like the 17th century Dutch masters that Fortuny examined as a student.While the painting was created in 1870, the clothing, like many genre paintings, is inspired by an historical time period. In this case, Fortuny references the 18th century, in the style of the men's clothing, and the women's accessories. The women's dresses follow the silhouette of the late 19th century. Fortuny renders silk and lace with exceptional ability. The viewer can almost hear the rustle of fabrics. The painting is decidedly Spanish in inspiration with the inclusion of peinetas on the women, the enormous iron grill work, typical of Spanish churches, and bull fighters. The painting is filled with objects that, some experts say, were from Fortuny's personal collection. The metal heating element in the left corner, known as a brazier, is used in a number of his paintings, and may have been from his extensive personal collection of antiquities. This collection of antiques contributed to the research that Fortuny undertook prior to the creation of any of his paintings.The technique, which creates warmth and depth, is called preciosismo. This technique leads to fine brush work, which, when observed closely, looks like dashes and daubs of paint. When the viewer stands back from the painting, it comes together to create a wondrous whole, that is light and airy. This use of color also shows how Goya inspired Fortuny. In Goya's Charles IV of Spain and His Family there is a similar quality of light and color. Art Historians also attribute Fortuny's inspiration to Jean-Louis-Ernest Meissonier.Just as Fortuny, and The Spanish Wedding, were influenced by Goya and Meissonier, he also influenced other artists. His brother-in-law, Raimundo de Madrazo, borrows heavily from The Spanish Wedding in his genre painting Coming Out of Church. Van Gogh also was inspired by this work, as were contemporary Spanish artists. Art historians believe that had Fortuny lived longer, his work would have grown and influenced artists for many years to come. Unfortunately, due to the revolution in the arts by the French Impressionists, Fortuny, and other genre artists like him, are largely unknown. | [
"17th century Dutch masters",
"silk",
"Van Gogh",
"Goya",
"peinetas",
"Charles IV of Spain and His Family",
"antique",
"genre painting",
"bull fighters",
"Ernest Meissonier",
"Jean-Louis-Ernest Meissonier",
"Art historian",
"French Impressionists",
"Raimundo de Madrazo",
"brazier",
"wedding license",
"lace"
] |
|
14807_T | The Sermon of St. Stephen (Carpaccio) | Focus on The Sermon of St. Stephen (Carpaccio) and explore the abstract. | The Sermon of Saint Stephen is an oil-on-canvas by Italian artist of the Venetian school Vittore Carpaccio, painted in 1514. It is now in the Louvre in Paris. | [
"Carpaccio",
"Italian",
"Saint Stephen",
"Vittore Carpaccio",
"Louvre",
"Paris",
"Venetian school"
] |
|
14807_NT | The Sermon of St. Stephen (Carpaccio) | Focus on this artwork and explore the abstract. | The Sermon of Saint Stephen is an oil-on-canvas by Italian artist of the Venetian school Vittore Carpaccio, painted in 1514. It is now in the Louvre in Paris. | [
"Carpaccio",
"Italian",
"Saint Stephen",
"Vittore Carpaccio",
"Louvre",
"Paris",
"Venetian school"
] |
|
14808_T | The Sermon of St. Stephen (Carpaccio) | Focus on The Sermon of St. Stephen (Carpaccio) and explain the History. | This painting was one of five scenes representing the life of Saint Stephen, painted between 1511 and 1514 for the Scuola dei Lanieri, Santo Stefano (Venice). The series was broken up in 1806, when the religious houses were suppressed. Two panels went to the Brera Gallery, Milan; in 1812, Vivant Denon exchanged some of the northern paintings in the Louvre for Italian works in the Brera, and one of these panels was transferred under this arrangement. Another is in Berlin; one has disappeared, and the fifth is in Stuttgart.The Sermon of Saint Stephen the deacon, represented in this Louvre painting, took place in Jerusalem. This gave Carpaccio an excuse for filling his canvas with picturesque oriental costumes and architecture. Jerusalem in the early days of Christianity is here identified as Constantinople (actually Yoros Castle on the opposite side of the Bosphorus ) - a fantastic and imaginary Constantinople full of Turkish, antique, Byzantine and Italian elements. Carpaccio refers with pride, in a letter to the Marquis of Mantua, to a view of Jerusalem which he had painted. | [
"religious house",
"Milan",
"Berlin",
"Scuola dei Lanieri",
"Bosphorus",
"Christianity",
"Carpaccio",
"Jerusalem",
"Stuttgart",
"Italian",
"Constantinople",
"deacon",
"Saint Stephen",
"Marquis of Mantua",
"Venice",
"Yoros Castle",
"Turkish",
"Byzantine",
"Louvre",
"Vivant Denon",
"Brera Gallery"
] |
|
14808_NT | The Sermon of St. Stephen (Carpaccio) | Focus on this artwork and explain the History. | This painting was one of five scenes representing the life of Saint Stephen, painted between 1511 and 1514 for the Scuola dei Lanieri, Santo Stefano (Venice). The series was broken up in 1806, when the religious houses were suppressed. Two panels went to the Brera Gallery, Milan; in 1812, Vivant Denon exchanged some of the northern paintings in the Louvre for Italian works in the Brera, and one of these panels was transferred under this arrangement. Another is in Berlin; one has disappeared, and the fifth is in Stuttgart.The Sermon of Saint Stephen the deacon, represented in this Louvre painting, took place in Jerusalem. This gave Carpaccio an excuse for filling his canvas with picturesque oriental costumes and architecture. Jerusalem in the early days of Christianity is here identified as Constantinople (actually Yoros Castle on the opposite side of the Bosphorus ) - a fantastic and imaginary Constantinople full of Turkish, antique, Byzantine and Italian elements. Carpaccio refers with pride, in a letter to the Marquis of Mantua, to a view of Jerusalem which he had painted. | [
"religious house",
"Milan",
"Berlin",
"Scuola dei Lanieri",
"Bosphorus",
"Christianity",
"Carpaccio",
"Jerusalem",
"Stuttgart",
"Italian",
"Constantinople",
"deacon",
"Saint Stephen",
"Marquis of Mantua",
"Venice",
"Yoros Castle",
"Turkish",
"Byzantine",
"Louvre",
"Vivant Denon",
"Brera Gallery"
] |
|
14809_T | Saint Barbara Altarpiece (Master Francke) | Explore the abstract of this artwork, Saint Barbara Altarpiece (Master Francke). | The Saint Barbara Altarpiece is a medieval altarpiece attributed to Master Francke. Its known provenance starts at the medieval church in Kalanti in Southwest Finland where it stood until 1883. According to local oral tradition that was collected in the 19th century, the altarpiece was found floating in the sea outside Kalanti. The altarpiece is now located at the National Museum of Finland.
The altarpiece is best known for the paintings depicting the legend of Saint Barbara on the outside of its inner wings. | [
"Finland",
"Southwest Finland",
"National Museum of Finland",
"Altarpiece",
"Kalanti",
"Master Francke",
"altarpiece",
"Saint Barbara",
"oral tradition",
"provenance"
] |
|
14809_NT | Saint Barbara Altarpiece (Master Francke) | Explore the abstract of this artwork. | The Saint Barbara Altarpiece is a medieval altarpiece attributed to Master Francke. Its known provenance starts at the medieval church in Kalanti in Southwest Finland where it stood until 1883. According to local oral tradition that was collected in the 19th century, the altarpiece was found floating in the sea outside Kalanti. The altarpiece is now located at the National Museum of Finland.
The altarpiece is best known for the paintings depicting the legend of Saint Barbara on the outside of its inner wings. | [
"Finland",
"Southwest Finland",
"National Museum of Finland",
"Altarpiece",
"Kalanti",
"Master Francke",
"altarpiece",
"Saint Barbara",
"oral tradition",
"provenance"
] |
|
14810_T | Bust of Andrea Loredan | Focus on Bust of Andrea Loredan and discuss the abstract. | The Bust of Andrea Loredan is an Italian Renaissance sculpture by the Italian architect and sculptor Antonio Rizzo, one of the greatest active in Venice in the latter half of the 15th century. It depicts Andrea Loredan, a Venetian nobleman of the Loredan family known as a collector of art. It is on display at the Museo Correr in Venice and it is also mentioned in many books. It was also depicted by Joseph Lindon Smith in a painting now kept in the Harvard Art Museums. | [
"Museo Correr",
"Loredan family",
"Harvard Art Museums",
"Italian Renaissance sculpture",
"Venice",
"Andrea Loredan",
"Antonio Rizzo",
"Joseph Lindon Smith",
"Italian Renaissance"
] |
|
14810_NT | Bust of Andrea Loredan | Focus on this artwork and discuss the abstract. | The Bust of Andrea Loredan is an Italian Renaissance sculpture by the Italian architect and sculptor Antonio Rizzo, one of the greatest active in Venice in the latter half of the 15th century. It depicts Andrea Loredan, a Venetian nobleman of the Loredan family known as a collector of art. It is on display at the Museo Correr in Venice and it is also mentioned in many books. It was also depicted by Joseph Lindon Smith in a painting now kept in the Harvard Art Museums. | [
"Museo Correr",
"Loredan family",
"Harvard Art Museums",
"Italian Renaissance sculpture",
"Venice",
"Andrea Loredan",
"Antonio Rizzo",
"Joseph Lindon Smith",
"Italian Renaissance"
] |
|
14811_T | Hercules and the Nemean Lion (Klein) | How does Hercules and the Nemean Lion (Klein) elucidate its abstract? | Hercules and the Nemean Lion is a sculpture of Hercules fighting the Nemean lion by Max Klein, installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"Nemean lion",
"Alte Nationalgalerie",
"Hercules",
"Berlin",
"Max Klein"
] |
|
14811_NT | Hercules and the Nemean Lion (Klein) | How does this artwork elucidate its abstract? | Hercules and the Nemean Lion is a sculpture of Hercules fighting the Nemean lion by Max Klein, installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"Nemean lion",
"Alte Nationalgalerie",
"Hercules",
"Berlin",
"Max Klein"
] |
|
14812_T | The Kiss (Rodin sculpture) | Focus on The Kiss (Rodin sculpture) and analyze the Small versions. | Rodin's method of making large sculptures was to employ assistant sculptors to copy a smaller model made from a material which was easier to work than marble. Once they had finished, Rodin himself would put the finishing touches to the larger version.
Before creating the marble version of The Kiss, Rodin produced several smaller sculptures in plaster, terracotta and bronze. | [
"plaster",
"marble",
"bronze",
"terracotta",
"sculpture"
] |
|
14812_NT | The Kiss (Rodin sculpture) | Focus on this artwork and analyze the Small versions. | Rodin's method of making large sculptures was to employ assistant sculptors to copy a smaller model made from a material which was easier to work than marble. Once they had finished, Rodin himself would put the finishing touches to the larger version.
Before creating the marble version of The Kiss, Rodin produced several smaller sculptures in plaster, terracotta and bronze. | [
"plaster",
"marble",
"bronze",
"terracotta",
"sculpture"
] |
|
14813_T | The Kiss (Rodin sculpture) | In the context of The Kiss (Rodin sculpture), explore the French commission of the Large marble carvings. | In 1888, the French government ordered the first large-scale marble version of The Kiss from Rodin for the 1889 Exposition Universelle, but it was publicly displayed for the first time in the Salon de la Société Nationale des Beaux-Arts in 1898. It was so popular that the company Barbedienne offered Rodin a contract to produce a limited number of smaller copies in bronze. In 1900 the statue was moved to the Musée du Luxembourg before being taken to its permanent location, the Musée Rodin, in 1918. | [
"Musée Rodin",
"marble",
"bronze",
"Musée du Luxembourg",
"Salon de la Société Nationale des Beaux-Arts",
"Barbedienne"
] |
|
14813_NT | The Kiss (Rodin sculpture) | In the context of this artwork, explore the French commission of the Large marble carvings. | In 1888, the French government ordered the first large-scale marble version of The Kiss from Rodin for the 1889 Exposition Universelle, but it was publicly displayed for the first time in the Salon de la Société Nationale des Beaux-Arts in 1898. It was so popular that the company Barbedienne offered Rodin a contract to produce a limited number of smaller copies in bronze. In 1900 the statue was moved to the Musée du Luxembourg before being taken to its permanent location, the Musée Rodin, in 1918. | [
"Musée Rodin",
"marble",
"bronze",
"Musée du Luxembourg",
"Salon de la Société Nationale des Beaux-Arts",
"Barbedienne"
] |
|
14814_T | The Kiss (Rodin sculpture) | In the context of The Kiss (Rodin sculpture), explain the Warren's commission of the Large marble carvings. | In 1900, Rodin made a copy for Edward Perry Warren, an eccentric American collector who lived in Lewes in Sussex, England, with his collection of Greek antiquities and his lover John Marshall. After seeing The Kiss in the Salon de Paris, the painter William Rothenstein recommended it to Warren as a possible purchase, but The Kiss had been commissioned by the French government and was not available for sale. In its place, Rodin offered to make a copy and Warren offered half of its original price (10,000 francs, instead of 20,000), but Rodin would not lower the price. The contract for the commission included that "the genitals of the man must be complete." A previous letter explained that "being a pagan and lover of antiquities", Warren hoped that the genitals of the man would be sculpted prominently in the Classical Greek tradition rather than modestly hidden.When the sculpture arrived in Lewes in 1904, Warren placed it in the stables at the back of his home, Lewes House, on School Hill, where it remained for a decade. It is not known whether this location was chosen due to the great size of the sculpture or because it did not fulfil Warren's expectations. In 1914 the sculpture was loaned to the Lewes town council and put on public display in Lewes Town Hall. A number of puritanical local residents, led by headmistress Miss Kate Fowler Tutt, objected to the erotic nature of the sculpture. They were particularly concerned that it might encourage the ardour of the large number of soldiers who were billeted in the town at that time, and successfully campaigned to have the sculpture draped and screened from public view. It was returned to Warren's residence at Lewes House in 1917 where it remained stored in the stable for 12 years until Warren's death in 1928. The beneficiary of Warren's will, H. Asa Thomas, put the sculpture up for sale with Gorringes, the local auctioneers, but it failed to meet its reserve price and was withdrawn from sale. A few years later it was loaned to the Tate Gallery in London. In 1955 the Tate bought the sculpture for the nation at a cost of £7,500. In 1999 between 5 June and 30 October, The Kiss returned briefly to Lewes as part of an exhibition of Rodin's works. Its permanent home is the Tate Modern, however in September 2007, the work was displayed at the Tate Liverpool, Albert Dock for the duration of the celebrations surrounding both that city's 8th Centenary and Liverpool's European Capital of Culture status in 2008. It was next on loan to Auckland Art Gallery Toi o Tāmaki in Auckland, New Zealand until 16 July 2017. It was loaned to Christchurch Mansion in Ipswich, UK for the 'Kiss and Tell' exhibition running from November 2018 to April 2019. | [
"Tate Liverpool",
"Auckland Art Gallery",
"Sussex",
"England",
"Lewes Town Hall",
"Christchurch Mansion",
"Tate Modern",
"Tate",
"Albert Dock",
"Greek",
"town council",
"Edward Perry Warren",
"Tate Gallery",
"William Rothenstein",
"London",
"Paris",
"Lewes",
"sculpture",
"Auckland Art Gallery Toi o Tāmaki",
"Classical Greek tradition",
"Kate Fowler Tutt"
] |
|
14814_NT | The Kiss (Rodin sculpture) | In the context of this artwork, explain the Warren's commission of the Large marble carvings. | In 1900, Rodin made a copy for Edward Perry Warren, an eccentric American collector who lived in Lewes in Sussex, England, with his collection of Greek antiquities and his lover John Marshall. After seeing The Kiss in the Salon de Paris, the painter William Rothenstein recommended it to Warren as a possible purchase, but The Kiss had been commissioned by the French government and was not available for sale. In its place, Rodin offered to make a copy and Warren offered half of its original price (10,000 francs, instead of 20,000), but Rodin would not lower the price. The contract for the commission included that "the genitals of the man must be complete." A previous letter explained that "being a pagan and lover of antiquities", Warren hoped that the genitals of the man would be sculpted prominently in the Classical Greek tradition rather than modestly hidden.When the sculpture arrived in Lewes in 1904, Warren placed it in the stables at the back of his home, Lewes House, on School Hill, where it remained for a decade. It is not known whether this location was chosen due to the great size of the sculpture or because it did not fulfil Warren's expectations. In 1914 the sculpture was loaned to the Lewes town council and put on public display in Lewes Town Hall. A number of puritanical local residents, led by headmistress Miss Kate Fowler Tutt, objected to the erotic nature of the sculpture. They were particularly concerned that it might encourage the ardour of the large number of soldiers who were billeted in the town at that time, and successfully campaigned to have the sculpture draped and screened from public view. It was returned to Warren's residence at Lewes House in 1917 where it remained stored in the stable for 12 years until Warren's death in 1928. The beneficiary of Warren's will, H. Asa Thomas, put the sculpture up for sale with Gorringes, the local auctioneers, but it failed to meet its reserve price and was withdrawn from sale. A few years later it was loaned to the Tate Gallery in London. In 1955 the Tate bought the sculpture for the nation at a cost of £7,500. In 1999 between 5 June and 30 October, The Kiss returned briefly to Lewes as part of an exhibition of Rodin's works. Its permanent home is the Tate Modern, however in September 2007, the work was displayed at the Tate Liverpool, Albert Dock for the duration of the celebrations surrounding both that city's 8th Centenary and Liverpool's European Capital of Culture status in 2008. It was next on loan to Auckland Art Gallery Toi o Tāmaki in Auckland, New Zealand until 16 July 2017. It was loaned to Christchurch Mansion in Ipswich, UK for the 'Kiss and Tell' exhibition running from November 2018 to April 2019. | [
"Tate Liverpool",
"Auckland Art Gallery",
"Sussex",
"England",
"Lewes Town Hall",
"Christchurch Mansion",
"Tate Modern",
"Tate",
"Albert Dock",
"Greek",
"town council",
"Edward Perry Warren",
"Tate Gallery",
"William Rothenstein",
"London",
"Paris",
"Lewes",
"sculpture",
"Auckland Art Gallery Toi o Tāmaki",
"Classical Greek tradition",
"Kate Fowler Tutt"
] |
|
14815_T | The Kiss (Rodin sculpture) | Explore the Jacobsen's commission about the Large marble carvings of this artwork, The Kiss (Rodin sculpture). | A third replica was commissioned in 1900 by Carl Jacobsen for his projected museum in Copenhagen, Denmark. The replica was made in 1903, and became part of the initial collection of the Ny Carlsberg Glyptotek, inaugurated in 1906. | [
"Ny Carlsberg Glyptotek",
"Copenhagen",
"Carl Jacobsen",
"Denmark"
] |
|
14815_NT | The Kiss (Rodin sculpture) | Explore the Jacobsen's commission about the Large marble carvings of this artwork. | A third replica was commissioned in 1900 by Carl Jacobsen for his projected museum in Copenhagen, Denmark. The replica was made in 1903, and became part of the initial collection of the Ny Carlsberg Glyptotek, inaugurated in 1906. | [
"Ny Carlsberg Glyptotek",
"Copenhagen",
"Carl Jacobsen",
"Denmark"
] |
|
14816_T | The Kiss (Rodin sculpture) | In the context of The Kiss (Rodin sculpture), discuss the Other versions of the Large marble carvings. | The three larger marble versions were exhibited together at the Musée d'Orsay in 1995. A fourth copy, about 182.9 centimetres (72.0 in) in height – compared to 181.5 centimetres (71.5 in) for the copy in Paris – was made after the death of Rodin by sculptor Henri-Léon Gréber for the Rodin Museum of Philadelphia. A plaster cast can be found in the Museo Nacional de Bellas Artes of Buenos Aires.A large numbers of bronze casts have been done of The Kiss. The Musée Rodin reports that the Barbedienne foundry alone produced 319. According to French law issued in 1978, only the first twelve can be called original editions. | [
"Rodin Museum",
"plaster",
"Henri-Léon Gréber",
"Musée Rodin",
"marble",
"Musée d'Orsay",
"bronze",
"Barbedienne",
"Paris",
"Philadelphia",
"Museo Nacional de Bellas Artes"
] |
|
14816_NT | The Kiss (Rodin sculpture) | In the context of this artwork, discuss the Other versions of the Large marble carvings. | The three larger marble versions were exhibited together at the Musée d'Orsay in 1995. A fourth copy, about 182.9 centimetres (72.0 in) in height – compared to 181.5 centimetres (71.5 in) for the copy in Paris – was made after the death of Rodin by sculptor Henri-Léon Gréber for the Rodin Museum of Philadelphia. A plaster cast can be found in the Museo Nacional de Bellas Artes of Buenos Aires.A large numbers of bronze casts have been done of The Kiss. The Musée Rodin reports that the Barbedienne foundry alone produced 319. According to French law issued in 1978, only the first twelve can be called original editions. | [
"Rodin Museum",
"plaster",
"Henri-Léon Gréber",
"Musée Rodin",
"marble",
"Musée d'Orsay",
"bronze",
"Barbedienne",
"Paris",
"Philadelphia",
"Museo Nacional de Bellas Artes"
] |
|
14817_T | The Kiss (Rodin sculpture) | How does The Kiss (Rodin sculpture) elucidate its Cornelia Parker? | In Spring 2003, artist Cornelia Parker intervened in The Kiss (1886) with the permission of the Tate Britain gallery, where it was exhibited at the time, by wrapping the sculpture in a mile of string. This was a historical reference to Marcel Duchamp's use of the same length of string to create a web inside a gallery in 1942. Although the intervention had been endorsed by the gallery, many viewers of the sculpture felt it offensive to the original artwork, prompting a further, unauthorised, intervention, in which Parker's string was cut by Stuckist Piers Butler, while couples stood around engaging in live kissing. | [
"Tate",
"Marcel Duchamp",
"Cornelia Parker",
"Tate Britain",
"intervened",
"sculpture",
"Stuckist"
] |
|
14817_NT | The Kiss (Rodin sculpture) | How does this artwork elucidate its Cornelia Parker? | In Spring 2003, artist Cornelia Parker intervened in The Kiss (1886) with the permission of the Tate Britain gallery, where it was exhibited at the time, by wrapping the sculpture in a mile of string. This was a historical reference to Marcel Duchamp's use of the same length of string to create a web inside a gallery in 1942. Although the intervention had been endorsed by the gallery, many viewers of the sculpture felt it offensive to the original artwork, prompting a further, unauthorised, intervention, in which Parker's string was cut by Stuckist Piers Butler, while couples stood around engaging in live kissing. | [
"Tate",
"Marcel Duchamp",
"Cornelia Parker",
"Tate Britain",
"intervened",
"sculpture",
"Stuckist"
] |
|
14818_T | The Kiss (Rodin sculpture) | Focus on The Kiss (Rodin sculpture) and analyze the Popular culture. | The Kiss is said to have been the influence for the song "Turn Of The Century", found on the 1977 release of "Going for the One" by the British band Yes.
The Kiss is figured into the plot of the All in the Family episode "Archie and The Kiss," where Archie Bunker tries to make his daughter, Gloria, give back a reproduction of the sculpture she had been given by the Bunkers' friend, Irene Lorenzo. Archie expresses his disgust over the morality of the sculpture and sexuality in artwork.
The statue is used for a Terry Gilliam animation in Monty Python's Flying Circus. The female extends her left leg straight out, and the male moves his right hand over it, covering holes with the fingers and playing her like an ocarina. The same statue was later shown briefly in the movie 12 Monkeys, also directed by Gilliam.
The Kiss was part of a side story in Cynthia D'Aprix Sweeney's debut novel The Nest (2016), where the sculpture is stolen from the rubble of ground zero after 9/11.
The local Lewes brewer, Harvey's Brewery, have brewed a beer named "Kiss", featuring a picture of The Kiss on its label, which is on sale in bottles and draught form around St Valentine's Day on 14 February.In January 2004, the work was the subject of Episode 3 of the BBC Wales documentary series The Private Life of a Masterpiece, broadcast on BBC Two. | [
"Monty Python's Flying Circus",
"BBC Wales",
"9/11",
"ground zero",
"ocarina",
"Going for the One",
"Harvey's Brewery",
"All in the Family",
"The Nest",
"The Private Life of a Masterpiece",
"Lewes",
"Terry Gilliam",
"Yes",
"BBC Two",
"sculpture",
"12 Monkeys",
"left"
] |
|
14818_NT | The Kiss (Rodin sculpture) | Focus on this artwork and analyze the Popular culture. | The Kiss is said to have been the influence for the song "Turn Of The Century", found on the 1977 release of "Going for the One" by the British band Yes.
The Kiss is figured into the plot of the All in the Family episode "Archie and The Kiss," where Archie Bunker tries to make his daughter, Gloria, give back a reproduction of the sculpture she had been given by the Bunkers' friend, Irene Lorenzo. Archie expresses his disgust over the morality of the sculpture and sexuality in artwork.
The statue is used for a Terry Gilliam animation in Monty Python's Flying Circus. The female extends her left leg straight out, and the male moves his right hand over it, covering holes with the fingers and playing her like an ocarina. The same statue was later shown briefly in the movie 12 Monkeys, also directed by Gilliam.
The Kiss was part of a side story in Cynthia D'Aprix Sweeney's debut novel The Nest (2016), where the sculpture is stolen from the rubble of ground zero after 9/11.
The local Lewes brewer, Harvey's Brewery, have brewed a beer named "Kiss", featuring a picture of The Kiss on its label, which is on sale in bottles and draught form around St Valentine's Day on 14 February.In January 2004, the work was the subject of Episode 3 of the BBC Wales documentary series The Private Life of a Masterpiece, broadcast on BBC Two. | [
"Monty Python's Flying Circus",
"BBC Wales",
"9/11",
"ground zero",
"ocarina",
"Going for the One",
"Harvey's Brewery",
"All in the Family",
"The Nest",
"The Private Life of a Masterpiece",
"Lewes",
"Terry Gilliam",
"Yes",
"BBC Two",
"sculpture",
"12 Monkeys",
"left"
] |
|
14819_T | The Virgin and Child with Saint Anne and Saint John the Baptist | In The Virgin and Child with Saint Anne and Saint John the Baptist, how is the abstract discussed? | The Virgin and Child with Saint Anne and Saint John the Baptist, sometimes called The Burlington House Cartoon, is a drawing by Leonardo da Vinci. The drawing is in charcoal and black and white chalk, on eight sheets of paper that are glued together. Because of its large size and format the drawing is presumed to be a cartoon for a painting. No painting by Leonardo exists that is based directly on this cartoon, although the drawing may have been in preparation for a now lost or unexecuted painting commissioned by Louis XII. The drawing is the only extant larger-scale drawing by the artist.The drawing depicts the Virgin Mary seated on the thigh of her mother, Saint Anne, while holding the Christ Child as Christ's young cousin, John the Baptist, stands to the right. It currently hangs in the National Gallery in London.
It was executed either around 1499–1500, at the end of the artist's first Milanese period, or around 1506–1508, when he was travelling back and forth between Florence and Milan. The majority of scholars favour the latter date, although the National Gallery and others prefer the former. | [
"Milan",
"Burlington House",
"Louis XII",
"Leonardo da Vinci",
"National Gallery",
"Virgin Mary",
"chalk",
"Florence",
"John the Baptist",
"cartoon",
"Virgin and Child with Saint Anne",
"Christ Child",
"charcoal",
"London",
"The Virgin and Child with Saint Anne",
"Saint John the Baptist",
"Saint Anne"
] |
|
14819_NT | The Virgin and Child with Saint Anne and Saint John the Baptist | In this artwork, how is the abstract discussed? | The Virgin and Child with Saint Anne and Saint John the Baptist, sometimes called The Burlington House Cartoon, is a drawing by Leonardo da Vinci. The drawing is in charcoal and black and white chalk, on eight sheets of paper that are glued together. Because of its large size and format the drawing is presumed to be a cartoon for a painting. No painting by Leonardo exists that is based directly on this cartoon, although the drawing may have been in preparation for a now lost or unexecuted painting commissioned by Louis XII. The drawing is the only extant larger-scale drawing by the artist.The drawing depicts the Virgin Mary seated on the thigh of her mother, Saint Anne, while holding the Christ Child as Christ's young cousin, John the Baptist, stands to the right. It currently hangs in the National Gallery in London.
It was executed either around 1499–1500, at the end of the artist's first Milanese period, or around 1506–1508, when he was travelling back and forth between Florence and Milan. The majority of scholars favour the latter date, although the National Gallery and others prefer the former. | [
"Milan",
"Burlington House",
"Louis XII",
"Leonardo da Vinci",
"National Gallery",
"Virgin Mary",
"chalk",
"Florence",
"John the Baptist",
"cartoon",
"Virgin and Child with Saint Anne",
"Christ Child",
"charcoal",
"London",
"The Virgin and Child with Saint Anne",
"Saint John the Baptist",
"Saint Anne"
] |
|
14820_T | The Virgin and Child with Saint Anne and Saint John the Baptist | Focus on The Virgin and Child with Saint Anne and Saint John the Baptist and explore the Subject. | The subject of the cartoon is a combination of two themes popular in Florentine painting of the fifteenth century: The Virgin and Child with John the Baptist and Virgin and Child with Saint Anne.
The drawing is notable for its complex composition, demonstrating the alternation in the positioning of figures that is first apparent in Leonardo's paintings in the Benois Madonna. The knees of the two women point in different directions, with Mary's knees turning out of the painting to the left, while her body turns sharply to the right, creating a sinuous movement. The knees and the feet of the figures establish a strong up-and-down rhythm at a point in the composition where a firm foundation comprising firmly planted feet, widely spread knees, and a broad spread of enclosing garment would normally be found. While the lower halves of their bodies turn away, the faces of the two women turn toward each other, mirroring each other's features. The delineation between the upper bodies has lost clarity, suggesting that the heads are part of the same body.
The twisting movement of the Virgin is echoed in the Christ Child, whose body, held almost horizontal by his mother, rotates axially, with the lower body turned upward and the upper body turned downward. This turning posture is first indicated in paintings by Leonardo in the Adoration of the Magi and is explored in a number of drawings, in particular the various studies of the Virgin and Child with a cat that are in the British Museum.
The juxtaposition of two sets of heads is an important compositional element. The angle, lighting, and gaze of the Christ Child reproduces that of his mother, while John the Baptist reproduces these same elements in the face of Saint Anne. The lighting indicates that there are two protagonists, and two supporting cast in the scene that the viewer is witnessing. There is a subtle interplay between the gazes of the four figures. Saint Anne smiles adoringly at her daughter Mary, perhaps indicating not only maternal pride but also the veneration due to the one who "all generations will call...blessed". Mary's eyes are fixed on the Christ Child who raises his hand in a gesture of benediction over the cousin who thirty years later would carry out his appointed task of baptising Christ. Although the older of the two children, John the Baptist humbly accepts the blessing, as one who would later say of his cousin "I am not worthy even to unloose his sandals". Saint Anne's hand, her index finger pointing toward Heaven, is positioned near the heads of the children, perhaps to indicate the original source of the blessing. This enigmatic gesture is regarded as quintessentially Leonardesque, occurring in The Last Supper and Saint John the Baptist.
Cartoons of this sort were usually transferred to a board for painting by pricking or incising the outline. In the Virgin and Child with Saint Anne and Saint John the Baptist there is no evidence of that, suggesting that the drawing was kept as a work of art in its own right. Leonardo does not appear to have based a painting directly on this drawing. The composition differs from Leonardo's only other surviving treatment of the subject, The Virgin and Child with Saint Anne in the Louvre, in which the figure of the Baptist is not present. | [
"British Museum",
"The Last Supper",
"Heaven",
"John the Baptist",
"Florentine painting",
"cartoon",
"Louvre",
"Virgin and Child with Saint Anne",
"baptising",
"Christ Child",
"The Virgin and Child with Saint Anne",
"benediction",
"Benois Madonna",
"Saint John the Baptist",
"left",
"Saint Anne"
] |
|
14820_NT | The Virgin and Child with Saint Anne and Saint John the Baptist | Focus on this artwork and explore the Subject. | The subject of the cartoon is a combination of two themes popular in Florentine painting of the fifteenth century: The Virgin and Child with John the Baptist and Virgin and Child with Saint Anne.
The drawing is notable for its complex composition, demonstrating the alternation in the positioning of figures that is first apparent in Leonardo's paintings in the Benois Madonna. The knees of the two women point in different directions, with Mary's knees turning out of the painting to the left, while her body turns sharply to the right, creating a sinuous movement. The knees and the feet of the figures establish a strong up-and-down rhythm at a point in the composition where a firm foundation comprising firmly planted feet, widely spread knees, and a broad spread of enclosing garment would normally be found. While the lower halves of their bodies turn away, the faces of the two women turn toward each other, mirroring each other's features. The delineation between the upper bodies has lost clarity, suggesting that the heads are part of the same body.
The twisting movement of the Virgin is echoed in the Christ Child, whose body, held almost horizontal by his mother, rotates axially, with the lower body turned upward and the upper body turned downward. This turning posture is first indicated in paintings by Leonardo in the Adoration of the Magi and is explored in a number of drawings, in particular the various studies of the Virgin and Child with a cat that are in the British Museum.
The juxtaposition of two sets of heads is an important compositional element. The angle, lighting, and gaze of the Christ Child reproduces that of his mother, while John the Baptist reproduces these same elements in the face of Saint Anne. The lighting indicates that there are two protagonists, and two supporting cast in the scene that the viewer is witnessing. There is a subtle interplay between the gazes of the four figures. Saint Anne smiles adoringly at her daughter Mary, perhaps indicating not only maternal pride but also the veneration due to the one who "all generations will call...blessed". Mary's eyes are fixed on the Christ Child who raises his hand in a gesture of benediction over the cousin who thirty years later would carry out his appointed task of baptising Christ. Although the older of the two children, John the Baptist humbly accepts the blessing, as one who would later say of his cousin "I am not worthy even to unloose his sandals". Saint Anne's hand, her index finger pointing toward Heaven, is positioned near the heads of the children, perhaps to indicate the original source of the blessing. This enigmatic gesture is regarded as quintessentially Leonardesque, occurring in The Last Supper and Saint John the Baptist.
Cartoons of this sort were usually transferred to a board for painting by pricking or incising the outline. In the Virgin and Child with Saint Anne and Saint John the Baptist there is no evidence of that, suggesting that the drawing was kept as a work of art in its own right. Leonardo does not appear to have based a painting directly on this drawing. The composition differs from Leonardo's only other surviving treatment of the subject, The Virgin and Child with Saint Anne in the Louvre, in which the figure of the Baptist is not present. | [
"British Museum",
"The Last Supper",
"Heaven",
"John the Baptist",
"Florentine painting",
"cartoon",
"Louvre",
"Virgin and Child with Saint Anne",
"baptising",
"Christ Child",
"The Virgin and Child with Saint Anne",
"benediction",
"Benois Madonna",
"Saint John the Baptist",
"left",
"Saint Anne"
] |
|
14821_T | The Virgin and Child with Saint Anne and Saint John the Baptist | In the context of The Virgin and Child with Saint Anne and Saint John the Baptist, explain the Works by others derived from the drawing of the Subject. | Although apparently not being developed into a painting by Leonardo, the drawing was used as a source for the paintings of others.
A painting based on the cartoon was made by Bernardino Luini. He was a pupil of Leonardo. Its subject differs from Leonardo's in that it includes St. Joseph. Luini's painting now is in the Biblioteca Ambrosiana, in Milan.The figure of Pomona in Francesco Melzi's painting, Vertumnus and Pomona, that is held in the Gemäldegalerie in Berlin, is based on that of the Virgin in this cartoon by Leonardo. The similarity may be seen most distinctively in the head. Melzi was another one of da Vinci’s pupils, one who played a significant role in his life. He would become the literary executor of all of da Vinci's papers and whose curation of them, led to the preservation of many of them into book form. He also drew a portrait of da Vinci that is among the few confirmed images of him. | [
"Milan",
"Luini's painting",
"Pomona",
"Bernardino Luini",
"cartoon",
"Biblioteca Ambrosiana",
"Francesco Melzi",
"Vertumnus and Pomona",
"Gemäldegalerie"
] |
|
14821_NT | The Virgin and Child with Saint Anne and Saint John the Baptist | In the context of this artwork, explain the Works by others derived from the drawing of the Subject. | Although apparently not being developed into a painting by Leonardo, the drawing was used as a source for the paintings of others.
A painting based on the cartoon was made by Bernardino Luini. He was a pupil of Leonardo. Its subject differs from Leonardo's in that it includes St. Joseph. Luini's painting now is in the Biblioteca Ambrosiana, in Milan.The figure of Pomona in Francesco Melzi's painting, Vertumnus and Pomona, that is held in the Gemäldegalerie in Berlin, is based on that of the Virgin in this cartoon by Leonardo. The similarity may be seen most distinctively in the head. Melzi was another one of da Vinci’s pupils, one who played a significant role in his life. He would become the literary executor of all of da Vinci's papers and whose curation of them, led to the preservation of many of them into book form. He also drew a portrait of da Vinci that is among the few confirmed images of him. | [
"Milan",
"Luini's painting",
"Pomona",
"Bernardino Luini",
"cartoon",
"Biblioteca Ambrosiana",
"Francesco Melzi",
"Vertumnus and Pomona",
"Gemäldegalerie"
] |
|
14822_T | Le vieillard (Pourtau) | Explore the abstract of this artwork, Le vieillard (Pourtau). | Le vieillard (The old man) is an 1894 painting by Léon Pourtau in the collection of the Museo Soumaya, Mexico City.
This work represents an old man in a deserted French street, during a curfew of Prussian occupation. The man walks with crutches, probably with a physical wound. The scene is illuminated by the explosion of a bomb that produces an intense yellow colour that breaks the darkness of the night.
This work was produced in the context of the defeat of the French Republic to the German Empire after the Franco-Prussian War. Pourtau was a student of Georges Seurat and this work shows influence of pointillism and divisionism. The technique employed by Pourtau to achieve a contrast between the dark and the distinct colours in the work is impasto oil painting, which involves applying thick layers of paint. It is close in style to German Expressionism. | [
"German Expressionism",
"Georges Seurat",
"Franco-Prussian War",
"Mexico",
"pointillism",
"French Republic",
"divisionism",
"curfew",
"crutches",
"Léon Pourtau",
"Museo Soumaya",
"painting",
"Prussia",
"Mexico City",
"German Empire",
"impasto"
] |
|
14822_NT | Le vieillard (Pourtau) | Explore the abstract of this artwork. | Le vieillard (The old man) is an 1894 painting by Léon Pourtau in the collection of the Museo Soumaya, Mexico City.
This work represents an old man in a deserted French street, during a curfew of Prussian occupation. The man walks with crutches, probably with a physical wound. The scene is illuminated by the explosion of a bomb that produces an intense yellow colour that breaks the darkness of the night.
This work was produced in the context of the defeat of the French Republic to the German Empire after the Franco-Prussian War. Pourtau was a student of Georges Seurat and this work shows influence of pointillism and divisionism. The technique employed by Pourtau to achieve a contrast between the dark and the distinct colours in the work is impasto oil painting, which involves applying thick layers of paint. It is close in style to German Expressionism. | [
"German Expressionism",
"Georges Seurat",
"Franco-Prussian War",
"Mexico",
"pointillism",
"French Republic",
"divisionism",
"curfew",
"crutches",
"Léon Pourtau",
"Museo Soumaya",
"painting",
"Prussia",
"Mexico City",
"German Empire",
"impasto"
] |
|
14823_T | Shigaraki ware storage jar (Indianapolis Museum of Art) | Focus on Shigaraki ware storage jar (Indianapolis Museum of Art) and discuss the abstract. | The shigaraki ware storage jar is part of the Japanese collection of the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Created in about 1550, during the Muromachi period, it was at some point broken, which would severely limit its utility. However, it was carefully preserved through the centuries as an art object. | [
"Indianapolis",
"Japan",
"Japanese",
"Muromachi",
"Muromachi period",
"Indianapolis Museum of Art",
"Indiana",
"shigaraki ware"
] |
|
14823_NT | Shigaraki ware storage jar (Indianapolis Museum of Art) | Focus on this artwork and discuss the abstract. | The shigaraki ware storage jar is part of the Japanese collection of the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Created in about 1550, during the Muromachi period, it was at some point broken, which would severely limit its utility. However, it was carefully preserved through the centuries as an art object. | [
"Indianapolis",
"Japan",
"Japanese",
"Muromachi",
"Muromachi period",
"Indianapolis Museum of Art",
"Indiana",
"shigaraki ware"
] |
|
14824_T | Shigaraki ware storage jar (Indianapolis Museum of Art) | How does Shigaraki ware storage jar (Indianapolis Museum of Art) elucidate its History? | Such jars from Shigaraki were originally created for grain storage. However, their rough simplicity captured the attention of Zen practitioners, and they began to use them as water jars during the Japanese tea ceremony beginning in the sixteenth century. Their very imperfections, such as asymmetry and uneven coloration, made them all the more suitable as representations of the artless perfection sought for the meditative ritual.The jar was purchased in 1981 with the help of the Martha Delzell Memorial Fund. It currently is on display in the Valeria J. Medveckis Gallery and has the accession number 81.378. Shigaraki ware jars of similar size and age have recently sold for between $10,000 and $50,000. | [
"Japanese tea ceremony",
"Zen",
"Japan",
"Japanese",
"Shigaraki ware",
"Shigaraki"
] |
|
14824_NT | Shigaraki ware storage jar (Indianapolis Museum of Art) | How does this artwork elucidate its History? | Such jars from Shigaraki were originally created for grain storage. However, their rough simplicity captured the attention of Zen practitioners, and they began to use them as water jars during the Japanese tea ceremony beginning in the sixteenth century. Their very imperfections, such as asymmetry and uneven coloration, made them all the more suitable as representations of the artless perfection sought for the meditative ritual.The jar was purchased in 1981 with the help of the Martha Delzell Memorial Fund. It currently is on display in the Valeria J. Medveckis Gallery and has the accession number 81.378. Shigaraki ware jars of similar size and age have recently sold for between $10,000 and $50,000. | [
"Japanese tea ceremony",
"Zen",
"Japan",
"Japanese",
"Shigaraki ware",
"Shigaraki"
] |
|
14825_T | Shigaraki ware storage jar (Indianapolis Museum of Art) | Focus on Shigaraki ware storage jar (Indianapolis Museum of Art) and analyze the Description. | The clay used to create this jar was mixed with stone fragments and pebbles, resulting in an uneven surface that resembles the natural variations of granite. It was formed by quickly patting down clay coils, for a rough, asymmetrical profile. The glaze was made when ashes from the wood burning in the kiln landed on the vessel and liquified, their varying amounts of iron resulting in the different colors. | [
"granite",
"clay"
] |
|
14825_NT | Shigaraki ware storage jar (Indianapolis Museum of Art) | Focus on this artwork and analyze the Description. | The clay used to create this jar was mixed with stone fragments and pebbles, resulting in an uneven surface that resembles the natural variations of granite. It was formed by quickly patting down clay coils, for a rough, asymmetrical profile. The glaze was made when ashes from the wood burning in the kiln landed on the vessel and liquified, their varying amounts of iron resulting in the different colors. | [
"granite",
"clay"
] |
|
14826_T | Woman with Black Glove | In Woman with Black Glove, how is the abstract discussed? | Woman with Black Glove (French: Femme au gant noir, or Femme Assise) is a painting by the French artist, theorist and writer Albert Gleizes. Painted in 1920, after returning to Paris in the wake of World War I, the paintings highly abstract structure is consistent with style of experimentation that transpired during the second synthetic phase of Cubism, called Crystal Cubism. As other post-wartime works by Gleizes, Woman with Black Glove represents a break from the first phase of Cubism, with emphasis placed on flat surface activity and large overlapping geometric planes.
There are several smaller versions of Woman with Black Glove, illustrating a facet of Gleizes' pursuits during the early 1920s: "reminiscences of specific reality evoked within the context of increasingly careful picture construction", writes art historian Daniel Robbins.Woman with Black Glove was exhibited at the Salon d'Automne, Grand Palais, Paris, 15 October – 12 December 1920. The work was reproduced in Floréal: l'hebdomadaire illustré du monde du travail, no. 45, 11 December 1920 (titled Peinture avec femme assise).Formerly in the private collection of Juliette Roche-Gleizes (wife of the artist), Woman with Black Glove is located at the National Gallery of Australia. | [
"Daniel Robbins",
"Crystal Cubism",
"National Gallery of Australia",
"Cubism",
"Salon d'Automne",
"Juliette Roche",
"Albert Gleizes",
"Juliette Roche-Gleizes"
] |
|
14826_NT | Woman with Black Glove | In this artwork, how is the abstract discussed? | Woman with Black Glove (French: Femme au gant noir, or Femme Assise) is a painting by the French artist, theorist and writer Albert Gleizes. Painted in 1920, after returning to Paris in the wake of World War I, the paintings highly abstract structure is consistent with style of experimentation that transpired during the second synthetic phase of Cubism, called Crystal Cubism. As other post-wartime works by Gleizes, Woman with Black Glove represents a break from the first phase of Cubism, with emphasis placed on flat surface activity and large overlapping geometric planes.
There are several smaller versions of Woman with Black Glove, illustrating a facet of Gleizes' pursuits during the early 1920s: "reminiscences of specific reality evoked within the context of increasingly careful picture construction", writes art historian Daniel Robbins.Woman with Black Glove was exhibited at the Salon d'Automne, Grand Palais, Paris, 15 October – 12 December 1920. The work was reproduced in Floréal: l'hebdomadaire illustré du monde du travail, no. 45, 11 December 1920 (titled Peinture avec femme assise).Formerly in the private collection of Juliette Roche-Gleizes (wife of the artist), Woman with Black Glove is located at the National Gallery of Australia. | [
"Daniel Robbins",
"Crystal Cubism",
"National Gallery of Australia",
"Cubism",
"Salon d'Automne",
"Juliette Roche",
"Albert Gleizes",
"Juliette Roche-Gleizes"
] |
|
14827_T | Woman with Black Glove | Focus on Woman with Black Glove and explore the Description. | Woman with Black Glove is an oil painting on canvas with dimensions 126 x 100 cm (49.6 x 39.37 inches), signed Albert Gleizes, lower right, and dated 1.1.1920. As indicated by the title, the work represents a woman wearing a glove. She is seated on an angle facing toward left with respect to the viewer. Her face and head are composed of simple geometric shapes (circles, arcs, rectangles or squares) that delineate the woman's eyes, nose and mouth. Her hair, coiffed in chignon hairstyle, is treated in a series of concentric circles. Her clothed body is constructed with seemingly arbitrary forms, and is place within a background composition of highly geometric interconnected planes or surfaces. An arch toward the upper left is reminiscent of a doorway or window, but there is no indication whether the scene is an interior or exterior representation.
The overall color scheme is warm, consisting of red through yellow, browns and tans (earth tones, ochres), and black, along with varying shades of cool gray. The artists use of bold contrasts between light and dark affect the entire composition. However, there is a striking absence of chiaroscuro modeling that would otherwise indicate a sense of volume in modeling the three-dimensional figure, or give a sense of the direction of light cast upon the model. The overt distillation of the composition, with its emphasis placed on flat surface activity, large overlapping planes, and the primacy of the underlying geometric structure rooted in the abstract, is consistent with Crystal Cubism. | [
"Crystal Cubism",
"ochre",
"warm",
"chiaroscuro modeling",
"Cubism",
"chignon hairstyle",
"earth tone",
"Albert Gleizes"
] |
|
14827_NT | Woman with Black Glove | Focus on this artwork and explore the Description. | Woman with Black Glove is an oil painting on canvas with dimensions 126 x 100 cm (49.6 x 39.37 inches), signed Albert Gleizes, lower right, and dated 1.1.1920. As indicated by the title, the work represents a woman wearing a glove. She is seated on an angle facing toward left with respect to the viewer. Her face and head are composed of simple geometric shapes (circles, arcs, rectangles or squares) that delineate the woman's eyes, nose and mouth. Her hair, coiffed in chignon hairstyle, is treated in a series of concentric circles. Her clothed body is constructed with seemingly arbitrary forms, and is place within a background composition of highly geometric interconnected planes or surfaces. An arch toward the upper left is reminiscent of a doorway or window, but there is no indication whether the scene is an interior or exterior representation.
The overall color scheme is warm, consisting of red through yellow, browns and tans (earth tones, ochres), and black, along with varying shades of cool gray. The artists use of bold contrasts between light and dark affect the entire composition. However, there is a striking absence of chiaroscuro modeling that would otherwise indicate a sense of volume in modeling the three-dimensional figure, or give a sense of the direction of light cast upon the model. The overt distillation of the composition, with its emphasis placed on flat surface activity, large overlapping planes, and the primacy of the underlying geometric structure rooted in the abstract, is consistent with Crystal Cubism. | [
"Crystal Cubism",
"ochre",
"warm",
"chiaroscuro modeling",
"Cubism",
"chignon hairstyle",
"earth tone",
"Albert Gleizes"
] |
|
14828_T | Woman with Black Glove | Focus on Woman with Black Glove and explain the Background. | In an article on the topic of the 1920 Salon d'Automne exhibition, published in Floréal (hebdomadaire), 1920, the art critic Castaing writes of Gleizes' entry, Femme au gant noir:Gleizes has sent a very pure portrait of a woman. He is a researcher and this is intelligence. We feel in him something new and strong. His painting for the great halls of future cities project a flamboyance of colors to which we were not accustom [Gleizes a envoyé un portrait de femme très pur. C'est un chercheur et c'est une intelligence. On sent en lui quelque chose de neuf et de fort. Sa peinture pour les grands halls des cités futures dégage un flamboiement de couleurs auquel il ne nous avait pas habitués].
Gleizes's works from this period are "characterized by dynamic intersections of vertical, diagonal, horizontal and circular movements", writes Robbins, "austere in touch but loaded with energetic pattern." This unity, and the highly crystalline geometricized materialization consisting of superimposed constituent planes, ultimately referred to by the French poet and art critic Maurice Raynal as Crystal Cubism, would soon be described by Gleizes in La Peinture et ses lois (1922–23), as 'simultaneous movements of translation and rotation of the plane'. The synthetic factor was taken furthest of all from within the Cubists by Gleizes.Basing himself on his 1915 abstractions, Gleizes sought to clarify his intentions and methods further still in La Peinture et ses lois, deducing the fundamental principles of painting from the picture plane, its proportions, the movement of the human eye and the universal physical laws. These theoretical postulates, later referred to as translation-rotation, according to Robbins, rank "with the writings of Mondrian and Malevich as one of the most thorough expositions of the principles of abstract art. The case of Woman with Black Glove, however, entails the acceptance of both representation and geometric forms.Following the First World War, Gleizes deliberately purged his art of visible brushstrokes, of the artists physical gesture, which amounted to what he called a "aesthetic trick". Instead, his attention became focused on the associations between various geometric structures. The attempt was to arrive at a fundamental unity of the picture plane, through the deployment of highly crystalline geometricized superimpositions of constituent surfaces, described by Gleizes, in La Peinture et ses lois as 'simultaneous movements of translation and rotation of the plane'.The problem set out by Gleizes was to replace anecdote as a starting point for the work of art, by the sole means of using the elements of the painting itself: line, form and color. Beginning with an elementary form such as a central rectangle, Gleizes mechanically juxtaposed forms to create a painting: (1) either by reproducing the initial form (employing various symmetries such as reflectional, rotational or translational), or by modifying (or not) its dimensions. (2) By displacement of the initial form; pivoting around an imaginary axis in one direction or another.The choice of position (through translation and/or rotation), though based on the inspiration of the artist, is no longer attributed to the anecdotal. An objective and rigorous method, independent of the painter, replaces emotion or sensibility in the determination the placement of form, that is, through translation and rotation.According to Gleizes, 'translation' represented an unfolding of planes as seen against the surface of a painting (a square or rectangular); 'rotation' occurred when these planes began to shift around a central point.In La peinture ou de l’homme devenu peintre, Gleizes writes:Painting by its nature is not a spectacle, nor an object seen via a point of perspective, it is instead its own object. There are three types of expression in objective painting: there is the pure work, without recourse to recollected or written history. There is the work which freely experiences recalled imagery by coincidental interrelation of melodic lines. Finally there is the work where an iconographic subject has been freely undertaken.
Already in 1920, Gleizes had published his views on this new technique of painting in Du Cubisme et les moyens de le comprendre, in which he insists that the 2-dimensional planar surface, with clearly defined limits, is the primary reality in painting, and that the artist should work with it, as opposed to against it. He argues that Cubism had been a search for a precise scientific method to replace the old scientific method of one-point perspective, and that the essential elements of this new method are now known. | [
"Crystal Cubism",
"Maurice Raynal",
"Cubism",
"Salon d'Automne",
"Floréal (hebdomadaire)",
"one-point perspective",
"symmetries",
"great hall",
"La Peinture et ses lois"
] |
|
14828_NT | Woman with Black Glove | Focus on this artwork and explain the Background. | In an article on the topic of the 1920 Salon d'Automne exhibition, published in Floréal (hebdomadaire), 1920, the art critic Castaing writes of Gleizes' entry, Femme au gant noir:Gleizes has sent a very pure portrait of a woman. He is a researcher and this is intelligence. We feel in him something new and strong. His painting for the great halls of future cities project a flamboyance of colors to which we were not accustom [Gleizes a envoyé un portrait de femme très pur. C'est un chercheur et c'est une intelligence. On sent en lui quelque chose de neuf et de fort. Sa peinture pour les grands halls des cités futures dégage un flamboiement de couleurs auquel il ne nous avait pas habitués].
Gleizes's works from this period are "characterized by dynamic intersections of vertical, diagonal, horizontal and circular movements", writes Robbins, "austere in touch but loaded with energetic pattern." This unity, and the highly crystalline geometricized materialization consisting of superimposed constituent planes, ultimately referred to by the French poet and art critic Maurice Raynal as Crystal Cubism, would soon be described by Gleizes in La Peinture et ses lois (1922–23), as 'simultaneous movements of translation and rotation of the plane'. The synthetic factor was taken furthest of all from within the Cubists by Gleizes.Basing himself on his 1915 abstractions, Gleizes sought to clarify his intentions and methods further still in La Peinture et ses lois, deducing the fundamental principles of painting from the picture plane, its proportions, the movement of the human eye and the universal physical laws. These theoretical postulates, later referred to as translation-rotation, according to Robbins, rank "with the writings of Mondrian and Malevich as one of the most thorough expositions of the principles of abstract art. The case of Woman with Black Glove, however, entails the acceptance of both representation and geometric forms.Following the First World War, Gleizes deliberately purged his art of visible brushstrokes, of the artists physical gesture, which amounted to what he called a "aesthetic trick". Instead, his attention became focused on the associations between various geometric structures. The attempt was to arrive at a fundamental unity of the picture plane, through the deployment of highly crystalline geometricized superimpositions of constituent surfaces, described by Gleizes, in La Peinture et ses lois as 'simultaneous movements of translation and rotation of the plane'.The problem set out by Gleizes was to replace anecdote as a starting point for the work of art, by the sole means of using the elements of the painting itself: line, form and color. Beginning with an elementary form such as a central rectangle, Gleizes mechanically juxtaposed forms to create a painting: (1) either by reproducing the initial form (employing various symmetries such as reflectional, rotational or translational), or by modifying (or not) its dimensions. (2) By displacement of the initial form; pivoting around an imaginary axis in one direction or another.The choice of position (through translation and/or rotation), though based on the inspiration of the artist, is no longer attributed to the anecdotal. An objective and rigorous method, independent of the painter, replaces emotion or sensibility in the determination the placement of form, that is, through translation and rotation.According to Gleizes, 'translation' represented an unfolding of planes as seen against the surface of a painting (a square or rectangular); 'rotation' occurred when these planes began to shift around a central point.In La peinture ou de l’homme devenu peintre, Gleizes writes:Painting by its nature is not a spectacle, nor an object seen via a point of perspective, it is instead its own object. There are three types of expression in objective painting: there is the pure work, without recourse to recollected or written history. There is the work which freely experiences recalled imagery by coincidental interrelation of melodic lines. Finally there is the work where an iconographic subject has been freely undertaken.
Already in 1920, Gleizes had published his views on this new technique of painting in Du Cubisme et les moyens de le comprendre, in which he insists that the 2-dimensional planar surface, with clearly defined limits, is the primary reality in painting, and that the artist should work with it, as opposed to against it. He argues that Cubism had been a search for a precise scientific method to replace the old scientific method of one-point perspective, and that the essential elements of this new method are now known. | [
"Crystal Cubism",
"Maurice Raynal",
"Cubism",
"Salon d'Automne",
"Floréal (hebdomadaire)",
"one-point perspective",
"symmetries",
"great hall",
"La Peinture et ses lois"
] |
|
14829_T | Architecture (Klee) | Focus on Architecture (Klee) and discuss the abstract. | Architecture is an oil on cardboard painting by the Swiss German painter Paul Klee, crearted in 1923. It is part of his Magic Squares series, where Klee studies the effects of repeating the same elements, in a largely abstract style. It is held at the Neue Nationalgalerie, in Berlin. | [
"abstract",
"Neue Nationalgalerie",
"Paul Klee",
"Berlin"
] |
|
14829_NT | Architecture (Klee) | Focus on this artwork and discuss the abstract. | Architecture is an oil on cardboard painting by the Swiss German painter Paul Klee, crearted in 1923. It is part of his Magic Squares series, where Klee studies the effects of repeating the same elements, in a largely abstract style. It is held at the Neue Nationalgalerie, in Berlin. | [
"abstract",
"Neue Nationalgalerie",
"Paul Klee",
"Berlin"
] |
|
14830_T | Architecture (Klee) | How does Architecture (Klee) elucidate its History and description? | Klee was teaching at Bauhaus, in 1923, and it can be considered that he was influenced by the importance that architecture had in that art school for this painting. It has been speculated that this and other paintings of the same period were influenced by Austrian composer Arnold Schoenberg recent development of a new, radical musical system of twelve tones, his Twelve-tone technique. The same similar approach to music by a geometrical way can be seen in this work and others of the same time.Art critic and historian Will Grohmann states that he found a relation with Schönberg method in Klee's writings: "I found a slip of paper among Klee's papers on which was a plan for one of his pictures; numbers were written in the squares, a series of numbers ran first in one direction then in the other, crossing each other. When the numbers are added along the horizontals and verticals, the totals are equal, as in the well-known 'magic square.'" | [
"Will Grohmann",
"Arnold Schoenberg",
"Bauhaus",
"Twelve-tone technique"
] |
|
14830_NT | Architecture (Klee) | How does this artwork elucidate its History and description? | Klee was teaching at Bauhaus, in 1923, and it can be considered that he was influenced by the importance that architecture had in that art school for this painting. It has been speculated that this and other paintings of the same period were influenced by Austrian composer Arnold Schoenberg recent development of a new, radical musical system of twelve tones, his Twelve-tone technique. The same similar approach to music by a geometrical way can be seen in this work and others of the same time.Art critic and historian Will Grohmann states that he found a relation with Schönberg method in Klee's writings: "I found a slip of paper among Klee's papers on which was a plan for one of his pictures; numbers were written in the squares, a series of numbers ran first in one direction then in the other, crossing each other. When the numbers are added along the horizontals and verticals, the totals are equal, as in the well-known 'magic square.'" | [
"Will Grohmann",
"Arnold Schoenberg",
"Bauhaus",
"Twelve-tone technique"
] |
|
14831_T | Armor of Ferdinand I, Holy Roman Emperor | Focus on Armor of Ferdinand I, Holy Roman Emperor and analyze the abstract. | The Armor of Emperor Ferdinand I is a suit of plate armor created by the Nuremberg armorer Kunz Lochner in 1549 for the future Ferdinand I, Holy Roman Emperor. One of several suits of armor made for the Emperor Ferdinand during the wars of Reformation and conflict with the Ottomans, the etched but functional armor is thought by scholars to symbolize and document the role of the Habsburg Catholic monarchs as warriors on Europe's literal and ideological battlefields. | [
"conflict with the Ottomans",
"armorer",
"Ferdinand I",
"Reformation",
"plate armor",
"Nuremberg",
"Kunz Lochner",
"Habsburg",
"Catholic",
"Ferdinand I, Holy Roman Emperor"
] |
|
14831_NT | Armor of Ferdinand I, Holy Roman Emperor | Focus on this artwork and analyze the abstract. | The Armor of Emperor Ferdinand I is a suit of plate armor created by the Nuremberg armorer Kunz Lochner in 1549 for the future Ferdinand I, Holy Roman Emperor. One of several suits of armor made for the Emperor Ferdinand during the wars of Reformation and conflict with the Ottomans, the etched but functional armor is thought by scholars to symbolize and document the role of the Habsburg Catholic monarchs as warriors on Europe's literal and ideological battlefields. | [
"conflict with the Ottomans",
"armorer",
"Ferdinand I",
"Reformation",
"plate armor",
"Nuremberg",
"Kunz Lochner",
"Habsburg",
"Catholic",
"Ferdinand I, Holy Roman Emperor"
] |
|
14832_T | Armor of Ferdinand I, Holy Roman Emperor | In Armor of Ferdinand I, Holy Roman Emperor, how is the Symbolism discussed? | The armor is dominated by etched symbolism of the Madonna and Child as Woman of the Apocalypse atop a crescent moon on the breastplate, echoing the design on an armor of his brother Charles V at the Royal Armoury of Madrid. On the backplate, a fire-steel (radiating sparks), a Burgundian emblem originated by Philip the Good, sits at a saltire of crossed branches under Saints Peter and Paul in architectural settings.In function, it is a working piece of field armor (feldküriß or feldharnisch) intended for military use, rather than parade armor, and the etching technique allowed elaboration and complexity in its design, without diminishing the defensive capabilities of the piece.
Ferdinand's then-status as King of the Romans (the heir apparent to his brother Charles V, Holy Roman Emperor) is symbolized by a crowned doubled-headed Reichsadler eagle on the toe caps of the sabatons covering his feet.The armor is clearly stamped with the "N" mark for Nuremberg and the city's half-eagle coat of arms, and also has the date "1549" included three times in the etched decoration. These and the fantastical figures, arranged in triple bands imitative of a Spanish doublet, the scrollwork filled with tritons and other creatures, suggest Lochner as the armorer. | [
"Woman of the Apocalypse",
"armorer",
"fire-steel",
"Charles V",
"Philip the Good",
"coat of arms",
"doublet",
"sabaton",
"Nuremberg",
"Reichsadler",
"branch",
"Madonna and Child",
"parade armor",
"Royal Armoury of Madrid",
"King of the Romans",
"breastplate",
"Burgundian",
"scrollwork",
"tritons",
"Paul",
"Charles V, Holy Roman Emperor",
"crescent",
"sparks",
"saltire",
"Peter",
"etched symbolism"
] |
|
14832_NT | Armor of Ferdinand I, Holy Roman Emperor | In this artwork, how is the Symbolism discussed? | The armor is dominated by etched symbolism of the Madonna and Child as Woman of the Apocalypse atop a crescent moon on the breastplate, echoing the design on an armor of his brother Charles V at the Royal Armoury of Madrid. On the backplate, a fire-steel (radiating sparks), a Burgundian emblem originated by Philip the Good, sits at a saltire of crossed branches under Saints Peter and Paul in architectural settings.In function, it is a working piece of field armor (feldküriß or feldharnisch) intended for military use, rather than parade armor, and the etching technique allowed elaboration and complexity in its design, without diminishing the defensive capabilities of the piece.
Ferdinand's then-status as King of the Romans (the heir apparent to his brother Charles V, Holy Roman Emperor) is symbolized by a crowned doubled-headed Reichsadler eagle on the toe caps of the sabatons covering his feet.The armor is clearly stamped with the "N" mark for Nuremberg and the city's half-eagle coat of arms, and also has the date "1549" included three times in the etched decoration. These and the fantastical figures, arranged in triple bands imitative of a Spanish doublet, the scrollwork filled with tritons and other creatures, suggest Lochner as the armorer. | [
"Woman of the Apocalypse",
"armorer",
"fire-steel",
"Charles V",
"Philip the Good",
"coat of arms",
"doublet",
"sabaton",
"Nuremberg",
"Reichsadler",
"branch",
"Madonna and Child",
"parade armor",
"Royal Armoury of Madrid",
"King of the Romans",
"breastplate",
"Burgundian",
"scrollwork",
"tritons",
"Paul",
"Charles V, Holy Roman Emperor",
"crescent",
"sparks",
"saltire",
"Peter",
"etched symbolism"
] |
|
14833_T | Armor of Ferdinand I, Holy Roman Emperor | Focus on Armor of Ferdinand I, Holy Roman Emperor and explore the Provenance. | The armor was acquired by the German collector Franz, Count of Erbach-Erbach in the 19th century (a non-original burgonet helmet was added about this time) and was then thought to be that of Albert V, Duke of Bavaria (the son-in-law of Ferdinand), kept by Franz and his heirs at Erbach Castle, and is currently in the collection of the Metropolitan Museum of Art.The identification with Ferdinand I was first made by the director of the armory at the Kunsthistorisches Museum, on the basis of the wearer's slight build and relatively short height (no more than 5'7" or 170 cm), straight back, slim waist and long arms, the similarity to his other documented armors, and importantly the Reichsadler eagle on the sabatons. When the identification was initially made with Albert V, it had been assumed it was made for him as a young man, as he gained weight in later life. Albert was also a member of the Order of the Golden Fleece, and the imperial insignia could be seen as representing his marriage to Ferdinand's daughter. | [
"Ferdinand I",
"sabaton",
"Reichsadler",
"burgonet",
"Erbach Castle",
"Franz, Count of Erbach-Erbach",
"Albert V, Duke of Bavaria",
"Kunsthistorisches Museum",
"Metropolitan Museum of Art"
] |
|
14833_NT | Armor of Ferdinand I, Holy Roman Emperor | Focus on this artwork and explore the Provenance. | The armor was acquired by the German collector Franz, Count of Erbach-Erbach in the 19th century (a non-original burgonet helmet was added about this time) and was then thought to be that of Albert V, Duke of Bavaria (the son-in-law of Ferdinand), kept by Franz and his heirs at Erbach Castle, and is currently in the collection of the Metropolitan Museum of Art.The identification with Ferdinand I was first made by the director of the armory at the Kunsthistorisches Museum, on the basis of the wearer's slight build and relatively short height (no more than 5'7" or 170 cm), straight back, slim waist and long arms, the similarity to his other documented armors, and importantly the Reichsadler eagle on the sabatons. When the identification was initially made with Albert V, it had been assumed it was made for him as a young man, as he gained weight in later life. Albert was also a member of the Order of the Golden Fleece, and the imperial insignia could be seen as representing his marriage to Ferdinand's daughter. | [
"Ferdinand I",
"sabaton",
"Reichsadler",
"burgonet",
"Erbach Castle",
"Franz, Count of Erbach-Erbach",
"Albert V, Duke of Bavaria",
"Kunsthistorisches Museum",
"Metropolitan Museum of Art"
] |
|
14834_T | James Maitland, 7th Earl of Lauderdale (Reynolds painting) | Focus on James Maitland, 7th Earl of Lauderdale (Reynolds painting) and explain the Painting. | James Maitland was 41 years old when he sat for this portrait after a distinguished career in the army. At this time, Reynolds was well known as one of the greatest portrait painters of the British aristocracy. The three rows of ermine on his robe indicate that he is an Earl, as do the eight silver balls on raised points alternating with strawberry leaves on his coronet. Being lent on by Lord Lauderdale, is a Solomonic column, suggestive of a trip to Italy, when in fact, the Scottish peer had never been there. | [
"ermine",
"Earl",
"coronet",
"robe",
"Solomonic column"
] |
|
14834_NT | James Maitland, 7th Earl of Lauderdale (Reynolds painting) | Focus on this artwork and explain the Painting. | James Maitland was 41 years old when he sat for this portrait after a distinguished career in the army. At this time, Reynolds was well known as one of the greatest portrait painters of the British aristocracy. The three rows of ermine on his robe indicate that he is an Earl, as do the eight silver balls on raised points alternating with strawberry leaves on his coronet. Being lent on by Lord Lauderdale, is a Solomonic column, suggestive of a trip to Italy, when in fact, the Scottish peer had never been there. | [
"ermine",
"Earl",
"coronet",
"robe",
"Solomonic column"
] |
|
14835_T | James Maitland, 7th Earl of Lauderdale (Reynolds painting) | Explore the History of this artwork, James Maitland, 7th Earl of Lauderdale (Reynolds painting). | The Earl sat for the portrait during 1759, and purchased it from Reynolds in 1761 for £80. The painting passed through the family until 1976, when the Hon Gerald Edward Ian Maitland-Carew sold the painting at Christie's on 26 March. The painting was purchased by the Art Gallery of New South Wales, a public collection, after the gallery had received an anonymous gift fund to purchase an 18th-century portrait earlier that year. | [
"Gerald Edward Ian Maitland-Carew",
"Art Gallery of New South Wales",
"Earl",
"Christie's"
] |
|
14835_NT | James Maitland, 7th Earl of Lauderdale (Reynolds painting) | Explore the History of this artwork. | The Earl sat for the portrait during 1759, and purchased it from Reynolds in 1761 for £80. The painting passed through the family until 1976, when the Hon Gerald Edward Ian Maitland-Carew sold the painting at Christie's on 26 March. The painting was purchased by the Art Gallery of New South Wales, a public collection, after the gallery had received an anonymous gift fund to purchase an 18th-century portrait earlier that year. | [
"Gerald Edward Ian Maitland-Carew",
"Art Gallery of New South Wales",
"Earl",
"Christie's"
] |
|
14836_T | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on Sir Nicholas Serota Makes an Acquisitions Decision and discuss the abstract. | Sir Nicholas Serota Makes an Acquisitions Decision is one of the paintings that was made as a part of the Stuckism art movement, and is recognized as a "signature piece" for the movement, It was painted by the Stuckism co-founder Charles Thomson in 2000, and has been exhibited in a number of shows since, as well as being featured on placards during Stuckist demonstrations against the Turner Prize.
It depicts Sir Nicholas Serota, Director of the Tate Gallery, and chairman of the Turner Prize jury. "Emin" satirises Young British Artist Tracey Emin's installation My Bed, consisting of her bed and objects, including knickers, which she exhibited in 1999 as a Turner Prize nominee. | [
"Stuckism",
"Charles Thomson",
"Tracey Emin",
"Tate",
"Nicholas Serota",
"My Bed",
"Turner Prize",
"knickers",
"Tate Gallery",
"Stuckist demonstrations",
"Young British Artist",
"Stuckist demonstration"
] |
|
14836_NT | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on this artwork and discuss the abstract. | Sir Nicholas Serota Makes an Acquisitions Decision is one of the paintings that was made as a part of the Stuckism art movement, and is recognized as a "signature piece" for the movement, It was painted by the Stuckism co-founder Charles Thomson in 2000, and has been exhibited in a number of shows since, as well as being featured on placards during Stuckist demonstrations against the Turner Prize.
It depicts Sir Nicholas Serota, Director of the Tate Gallery, and chairman of the Turner Prize jury. "Emin" satirises Young British Artist Tracey Emin's installation My Bed, consisting of her bed and objects, including knickers, which she exhibited in 1999 as a Turner Prize nominee. | [
"Stuckism",
"Charles Thomson",
"Tracey Emin",
"Tate",
"Nicholas Serota",
"My Bed",
"Turner Prize",
"knickers",
"Tate Gallery",
"Stuckist demonstrations",
"Young British Artist",
"Stuckist demonstration"
] |
|
14837_T | Sir Nicholas Serota Makes an Acquisitions Decision | How does Sir Nicholas Serota Makes an Acquisitions Decision elucidate its Background and description? | In 1999, Thomson was the co-founder, with Billy Childish of the Stuckism art group, which set out to promote figurative painting, in opposition to conceptual art, which they identified with the Turner Prize (whose jury chairman was Sir Nicholas Serota) and the Young British Artists, of which Tracey Emin (who had once been in a relationship with Childish) was a leading representative.
Thomson's painting shows Serota, the director of the Tate gallery. He is smiling behind a large pair of red knickers on a washing line, saying "is it a genuine Emin (£10,000)" and thinking, "or a worthless fake?". This is a reference to Tracey Emin's My Bed, literally a display of her (dishevelled) bed with detritus which included a pair of her knickers, shown in the 1999 Turner Prize at Tate Britain. The image was painted over a few days and in a final 24-hour non-stop stint. | [
"Stuckism",
"Tracey Emin",
"Tate",
"Young British Artists",
"Nicholas Serota",
"My Bed",
"Turner Prize",
"knickers",
"conceptual art",
"Tate Britain",
"Young British Artist",
"Billy Childish",
"figurative painting"
] |
|
14837_NT | Sir Nicholas Serota Makes an Acquisitions Decision | How does this artwork elucidate its Background and description? | In 1999, Thomson was the co-founder, with Billy Childish of the Stuckism art group, which set out to promote figurative painting, in opposition to conceptual art, which they identified with the Turner Prize (whose jury chairman was Sir Nicholas Serota) and the Young British Artists, of which Tracey Emin (who had once been in a relationship with Childish) was a leading representative.
Thomson's painting shows Serota, the director of the Tate gallery. He is smiling behind a large pair of red knickers on a washing line, saying "is it a genuine Emin (£10,000)" and thinking, "or a worthless fake?". This is a reference to Tracey Emin's My Bed, literally a display of her (dishevelled) bed with detritus which included a pair of her knickers, shown in the 1999 Turner Prize at Tate Britain. The image was painted over a few days and in a final 24-hour non-stop stint. | [
"Stuckism",
"Tracey Emin",
"Tate",
"Young British Artists",
"Nicholas Serota",
"My Bed",
"Turner Prize",
"knickers",
"conceptual art",
"Tate Britain",
"Young British Artist",
"Billy Childish",
"figurative painting"
] |
|
14838_T | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on Sir Nicholas Serota Makes an Acquisitions Decision and analyze the Shows. | The painting was first exhibited in March 2000 at Joe Crompton's Gallery 108, Leonard Street, Shoreditch, London as the highlight of the third Stuckist show, The Resignation of Sir Nicholas Serota, which included a display of paintings about Serota. A small black-and-white image appeared in the Daily Telegraph. It was displayed again in the Stuckists Real Turner Prize Show later in the year. Richard Dean wrote:Thomson has painted what must be the masterpiece of Stuckism so far: Sir Nicholas Serota Makes an Acquisitions Decision. Here the slick handling and smartass irony of Britart are turned on its champion to make a very funny point and a rather good portrait. This is an example of what the Situationists called detournement, using your enemies' own weapons against him.
The painting was included in the show catalogue, a signed copy of which was left at the Tate for Serota by Thomson and Billy Childish, the co-founder of the Stuckists. Artist Ranko Bon described greeting Serota at the opening of that year's Turner Prize at Tate Britain:"Ah," I grabbed him by his bony shoulders, "when I look at you like this, I cannot but see Charles Thomson's portrait of you, which I saw last night at The Real Turner Prize Show in Shoreditch." I emphasized the word "real" with all my might. "Yes," Nick beamed back at me without even blinking, "I must see it!"It was exhibited in summer 2002 during The First Stuckist International, the inaugural show at Thomson's Stuckism International Gallery (which closed in 2005). Sarah Kent (a staunch advocate of Britart) said: "One might forgive his puerile humour if Thomson didn't consider it a serious weapon ... cut the ranting and Thomson could be a reasonable painter." Thomson pointed out in response, "it's reality. A few weeks after I did the painting, Tracey Emin was shown on TV getting very angry about an installation because someone had substituted another pair of knickers for hers ... That makes it a bit sad."
The painting was also shown at the 2004 Liverpool Biennial in The Stuckists Punk Victorian show at the Walker Art Gallery. Serota went to the show and commented that it was "lively", while standing next to Thomson's painting of him. John Russell Taylor started his review of the Biennial in The Times, "Say what you will about the Stuckists, they certainly know what they don’t like. In the eccentric British group’s latest show the most explicit target is clearly the Turner Prize: the attitude can be summed up in one painting, Charles Thomson’s Sir Nicholas Serota Makes an Acquisitions Decision". 160 paintings from the show were offered as a donation to the Tate, including Thomson's painting of Serota, but "not surprisingly" rejected by Serota, who said, "We do not feel that the work is of sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection."
The painting was the centrepiece at Spectrum London gallery in September 2006 in the Go West exhibition and priced at £30,000. The show at Spectrum London was the Stuckists' first show in a commercial gallery in the West End of London. The Spectrum London director, Royden Prior, said people shouldn't just look at the politics, but should look beyond them because "These artists are good, and are part of art history," Jane Morris wrote in The Guardian, "If the stuckists go down in art history, and the jury is still out as to whether they will, Sir Nicholas Serota Makes an Acquisitions Decision by stuckist co-founder Charles Thomson may well become their signature piece." The Evening Standard said some people would see the display of the painting as revenge against Serota, after he had rejected the Stuckists' offer to donate work to the Tate; it also mentioned that the Stuckists had first drawn attention to the Tate's purchase of The Upper Room by Chris Ofili, a Tate trustee, which had led to the Tate being censured by the Charity Commission in 2006. | [
"Chris Ofili",
"The Stuckists Punk Victorian",
"Shoreditch",
"Situationists",
"Stuckism International Gallery",
"Stuckists",
"Stuckism",
"Ranko Bon",
"Charles Thomson",
"Tracey Emin",
"Tate",
"Nicholas Serota",
"Walker Art Gallery",
"Turner Prize",
"Charity Commission",
"The Times",
"Liverpool Biennial",
"knickers",
"Go West",
"Evening Standard",
"Tate Britain",
"Spectrum London",
"Britart",
"Sarah Kent",
"The Upper Room",
"London",
"The Guardian",
"Billy Childish"
] |
|
14838_NT | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on this artwork and analyze the Shows. | The painting was first exhibited in March 2000 at Joe Crompton's Gallery 108, Leonard Street, Shoreditch, London as the highlight of the third Stuckist show, The Resignation of Sir Nicholas Serota, which included a display of paintings about Serota. A small black-and-white image appeared in the Daily Telegraph. It was displayed again in the Stuckists Real Turner Prize Show later in the year. Richard Dean wrote:Thomson has painted what must be the masterpiece of Stuckism so far: Sir Nicholas Serota Makes an Acquisitions Decision. Here the slick handling and smartass irony of Britart are turned on its champion to make a very funny point and a rather good portrait. This is an example of what the Situationists called detournement, using your enemies' own weapons against him.
The painting was included in the show catalogue, a signed copy of which was left at the Tate for Serota by Thomson and Billy Childish, the co-founder of the Stuckists. Artist Ranko Bon described greeting Serota at the opening of that year's Turner Prize at Tate Britain:"Ah," I grabbed him by his bony shoulders, "when I look at you like this, I cannot but see Charles Thomson's portrait of you, which I saw last night at The Real Turner Prize Show in Shoreditch." I emphasized the word "real" with all my might. "Yes," Nick beamed back at me without even blinking, "I must see it!"It was exhibited in summer 2002 during The First Stuckist International, the inaugural show at Thomson's Stuckism International Gallery (which closed in 2005). Sarah Kent (a staunch advocate of Britart) said: "One might forgive his puerile humour if Thomson didn't consider it a serious weapon ... cut the ranting and Thomson could be a reasonable painter." Thomson pointed out in response, "it's reality. A few weeks after I did the painting, Tracey Emin was shown on TV getting very angry about an installation because someone had substituted another pair of knickers for hers ... That makes it a bit sad."
The painting was also shown at the 2004 Liverpool Biennial in The Stuckists Punk Victorian show at the Walker Art Gallery. Serota went to the show and commented that it was "lively", while standing next to Thomson's painting of him. John Russell Taylor started his review of the Biennial in The Times, "Say what you will about the Stuckists, they certainly know what they don’t like. In the eccentric British group’s latest show the most explicit target is clearly the Turner Prize: the attitude can be summed up in one painting, Charles Thomson’s Sir Nicholas Serota Makes an Acquisitions Decision". 160 paintings from the show were offered as a donation to the Tate, including Thomson's painting of Serota, but "not surprisingly" rejected by Serota, who said, "We do not feel that the work is of sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection."
The painting was the centrepiece at Spectrum London gallery in September 2006 in the Go West exhibition and priced at £30,000. The show at Spectrum London was the Stuckists' first show in a commercial gallery in the West End of London. The Spectrum London director, Royden Prior, said people shouldn't just look at the politics, but should look beyond them because "These artists are good, and are part of art history," Jane Morris wrote in The Guardian, "If the stuckists go down in art history, and the jury is still out as to whether they will, Sir Nicholas Serota Makes an Acquisitions Decision by stuckist co-founder Charles Thomson may well become their signature piece." The Evening Standard said some people would see the display of the painting as revenge against Serota, after he had rejected the Stuckists' offer to donate work to the Tate; it also mentioned that the Stuckists had first drawn attention to the Tate's purchase of The Upper Room by Chris Ofili, a Tate trustee, which had led to the Tate being censured by the Charity Commission in 2006. | [
"Chris Ofili",
"The Stuckists Punk Victorian",
"Shoreditch",
"Situationists",
"Stuckism International Gallery",
"Stuckists",
"Stuckism",
"Ranko Bon",
"Charles Thomson",
"Tracey Emin",
"Tate",
"Nicholas Serota",
"Walker Art Gallery",
"Turner Prize",
"Charity Commission",
"The Times",
"Liverpool Biennial",
"knickers",
"Go West",
"Evening Standard",
"Tate Britain",
"Spectrum London",
"Britart",
"Sarah Kent",
"The Upper Room",
"London",
"The Guardian",
"Billy Childish"
] |
|
14839_T | Sir Nicholas Serota Makes an Acquisitions Decision | In Sir Nicholas Serota Makes an Acquisitions Decision, how is the General election discussed? | In 2001 Thomson stood in the General Election as the Stuckist Candidate. His opponent was Chris Smith, the then Culture Minister. Thomson adopted the painting of Sir Nicholas Serota and the knickers as the official logo of his party. He said "I can't see how the Electoral Commission would find it offensive. The real thing is on display at Tate Modern. What's more her knickers were funded by Chris Smith using public money." | [
"Tate",
"Nicholas Serota",
"knickers",
"Culture Minister",
"Chris Smith"
] |
|
14839_NT | Sir Nicholas Serota Makes an Acquisitions Decision | In this artwork, how is the General election discussed? | In 2001 Thomson stood in the General Election as the Stuckist Candidate. His opponent was Chris Smith, the then Culture Minister. Thomson adopted the painting of Sir Nicholas Serota and the knickers as the official logo of his party. He said "I can't see how the Electoral Commission would find it offensive. The real thing is on display at Tate Modern. What's more her knickers were funded by Chris Smith using public money." | [
"Tate",
"Nicholas Serota",
"knickers",
"Culture Minister",
"Chris Smith"
] |
|
14840_T | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on Sir Nicholas Serota Makes an Acquisitions Decision and explore the Demonstrations. | The painting was used on one of the placards, when the Stuckists staged a protest at the unveiling of Rachel Whiteread's sculpture, Untitled Monument, in Trafalgar Square on 4 June 2001. Serota remonstrated with Thomson and told him the demonstration was a "cheap shot".
The image has also been used on posters in Stuckist demonstrations which were held outside the Turner Prize at Tate Britain 2000–2006. Photographs such as the one shown are used on the Stuckist web site to promote and record the demonstration.
In December 2006, during the Stuckists' demonstration, Thomson handed Serota a leaflet with the painting on it. This incident was caught by a freelance photographer, Rick Friend, on video, which was put on the Stuckism web site, along with the still image from it shown here. Serota stood on the steps of the Tate and held up the postcard, saying, "Can't you make another image?" | [
"Stuckists",
"Stuckism",
"Rachel Whiteread",
"Tate",
"Trafalgar Square",
"Turner Prize",
"Tate Britain",
"Stuckist demonstrations",
"Stuckist demonstration"
] |
|
14840_NT | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on this artwork and explore the Demonstrations. | The painting was used on one of the placards, when the Stuckists staged a protest at the unveiling of Rachel Whiteread's sculpture, Untitled Monument, in Trafalgar Square on 4 June 2001. Serota remonstrated with Thomson and told him the demonstration was a "cheap shot".
The image has also been used on posters in Stuckist demonstrations which were held outside the Turner Prize at Tate Britain 2000–2006. Photographs such as the one shown are used on the Stuckist web site to promote and record the demonstration.
In December 2006, during the Stuckists' demonstration, Thomson handed Serota a leaflet with the painting on it. This incident was caught by a freelance photographer, Rick Friend, on video, which was put on the Stuckism web site, along with the still image from it shown here. Serota stood on the steps of the Tate and held up the postcard, saying, "Can't you make another image?" | [
"Stuckists",
"Stuckism",
"Rachel Whiteread",
"Tate",
"Trafalgar Square",
"Turner Prize",
"Tate Britain",
"Stuckist demonstrations",
"Stuckist demonstration"
] |
|
14841_T | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on Sir Nicholas Serota Makes an Acquisitions Decision and explain the Influence. | Thomson has said that his painting was the idea that Stella Vine used for her painting of Princess Diana, Hi Paul Can You Come Over, that launched her to fame when it was bought by Charles Saatchi in 2004. Three years before, she had been a member of the Stuckist group and also briefly married to Thomson, who said that she was aware of the media appeal of the idea, as he had shown her press cuttings of the painting.He said that she had not previously done a painting in that way and that "Her painting of Princess Diana was based on the same idea as my painting Sir Nicholas Serota Makes an Acquisitions Decision — namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence." Vine refutes the idea that Thomson and the Stuckists had any role to play in her development, citing her inspiration instead as Sophie von Hellermann, Elizabeth Peyton, Anna Bjerger, Karen Kilimnik and Paul Housley
Thomson also drew a comparison between his and Vine's painting and a later work, Break Art Free, by Gina Bold: "You can't deny there's a connection between those works, but they are all also works with a strong individual identity. You certainly wouldn't say it’s plagiarism, but they spring from the same underlying idea." Mark D in turn made a satirical version of Vine's painting, substituting Victoria Beckham for Princess Diana. | [
"Victoria Beckham",
"Elizabeth Peyton",
"Stuckists",
"Charles Saatchi",
"Anna Bjerger",
"Nicholas Serota",
"Paul Housley",
"Karen Kilimnik",
"Princess Diana",
"Stella Vine",
"Gina Bold",
"Mark D",
"Sophie von Hellermann"
] |
|
14841_NT | Sir Nicholas Serota Makes an Acquisitions Decision | Focus on this artwork and explain the Influence. | Thomson has said that his painting was the idea that Stella Vine used for her painting of Princess Diana, Hi Paul Can You Come Over, that launched her to fame when it was bought by Charles Saatchi in 2004. Three years before, she had been a member of the Stuckist group and also briefly married to Thomson, who said that she was aware of the media appeal of the idea, as he had shown her press cuttings of the painting.He said that she had not previously done a painting in that way and that "Her painting of Princess Diana was based on the same idea as my painting Sir Nicholas Serota Makes an Acquisitions Decision — namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence." Vine refutes the idea that Thomson and the Stuckists had any role to play in her development, citing her inspiration instead as Sophie von Hellermann, Elizabeth Peyton, Anna Bjerger, Karen Kilimnik and Paul Housley
Thomson also drew a comparison between his and Vine's painting and a later work, Break Art Free, by Gina Bold: "You can't deny there's a connection between those works, but they are all also works with a strong individual identity. You certainly wouldn't say it’s plagiarism, but they spring from the same underlying idea." Mark D in turn made a satirical version of Vine's painting, substituting Victoria Beckham for Princess Diana. | [
"Victoria Beckham",
"Elizabeth Peyton",
"Stuckists",
"Charles Saatchi",
"Anna Bjerger",
"Nicholas Serota",
"Paul Housley",
"Karen Kilimnik",
"Princess Diana",
"Stella Vine",
"Gina Bold",
"Mark D",
"Sophie von Hellermann"
] |
|
14842_T | Confederate Monument (Fort Worth, Texas) | Focus on Confederate Monument (Fort Worth, Texas) and discuss the abstract. | The Monument to Confederate war soldiers was an outdoor Confederate memorial located outside of the Tarrant County Courthouse in Fort Worth, Texas. The memorial was funded by the United Daughters of the Confederacy in 1953. | [
"Fort Worth",
"Texas",
"Fort Worth, Texas",
"United Daughters of the Confederacy",
"Tarrant County Courthouse"
] |
|
14842_NT | Confederate Monument (Fort Worth, Texas) | Focus on this artwork and discuss the abstract. | The Monument to Confederate war soldiers was an outdoor Confederate memorial located outside of the Tarrant County Courthouse in Fort Worth, Texas. The memorial was funded by the United Daughters of the Confederacy in 1953. | [
"Fort Worth",
"Texas",
"Fort Worth, Texas",
"United Daughters of the Confederacy",
"Tarrant County Courthouse"
] |
|
14843_T | Confederate Monument (Fort Worth, Texas) | How does Confederate Monument (Fort Worth, Texas) elucidate its Inscription? | In Memory ofConfederate Soldiers
1861 - 1865
And their Descendents
Who Served in
Spanish American War
World War I
World War II
Erected By
Julia Jackson Chapter
United Daughters
Of The
Confederacy | [] |
|
14843_NT | Confederate Monument (Fort Worth, Texas) | How does this artwork elucidate its Inscription? | In Memory ofConfederate Soldiers
1861 - 1865
And their Descendents
Who Served in
Spanish American War
World War I
World War II
Erected By
Julia Jackson Chapter
United Daughters
Of The
Confederacy | [] |
|
14844_T | Confederate Monument (Fort Worth, Texas) | Focus on Confederate Monument (Fort Worth, Texas) and analyze the Removal. | During the George Floyd protests in June 2020, following the murder of George Floyd, a number of statues and memorials where toppled or removed. After residents defaced the monument the Tarrant County commission voted to remove it. The monument was removed on June 13, 2020, and moved to storage. | [
"toppled or removed",
"murder of George Floyd",
"George Floyd protests"
] |
|
14844_NT | Confederate Monument (Fort Worth, Texas) | Focus on this artwork and analyze the Removal. | During the George Floyd protests in June 2020, following the murder of George Floyd, a number of statues and memorials where toppled or removed. After residents defaced the monument the Tarrant County commission voted to remove it. The monument was removed on June 13, 2020, and moved to storage. | [
"toppled or removed",
"murder of George Floyd",
"George Floyd protests"
] |
|
14845_T | Statue of Joseph Ward | In Statue of Joseph Ward, how is the abstract discussed? | Joseph Ward is a marble sculpture depicting the American educator of the same name by Bruno Beghé, installed United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was donated by the U.S. state of South Dakota in 1963. | [
"Joseph Ward",
"South Dakota",
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"Washington, D.C.",
"Bruno Beghé",
"National Statuary Hall",
"marble sculpture",
"U.S. state",
"United States Capitol",
"American educator of the same name"
] |
|
14845_NT | Statue of Joseph Ward | In this artwork, how is the abstract discussed? | Joseph Ward is a marble sculpture depicting the American educator of the same name by Bruno Beghé, installed United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was donated by the U.S. state of South Dakota in 1963. | [
"Joseph Ward",
"South Dakota",
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"Washington, D.C.",
"Bruno Beghé",
"National Statuary Hall",
"marble sculpture",
"U.S. state",
"United States Capitol",
"American educator of the same name"
] |
|
14846_T | Poznań Goats | Focus on Poznań Goats and explore the abstract. | Poznań Goats is one of the tourist attractions of Poznań. The mechanical goats butt heads every day at 12:00 on the tower of the Poznań City Hall. | [
"goat",
"Poznań City Hall",
"Goat",
"Poznań"
] |
|
14846_NT | Poznań Goats | Focus on this artwork and explore the abstract. | Poznań Goats is one of the tourist attractions of Poznań. The mechanical goats butt heads every day at 12:00 on the tower of the Poznań City Hall. | [
"goat",
"Poznań City Hall",
"Goat",
"Poznań"
] |
|
14847_T | Poznań Goats | Focus on Poznań Goats and explain the Goats legend. | According to one version of the folk legend, when the town hall was rebuilt after the great fire in Poznań, the clock for the town hall tower was ordered from master Bartholomew of Gubin. The town council decided to celebrate this important event. A great feast was planned. A young cook, Pietrek, was appointed to prepare the main dish. Deer leg baked slowly and Pietrek was curious about what the clock mechanism looks like. The young cook could not wait to finish baking and decided to leave the kitchen for a while to look at the clock.However, in his absence, the leg fell into the fire and burned to the coal. The terrified boy ran to a nearby meadow where the inhabitants of the city kept their animals. From there, he kidnapped two goats and took them to the town hall kitchen. The goats, however, escaped from the boy to the cornice of the town hall tower. There, in front of the gathered townsmen, two small white goats started butting. This sight amused the voivode and the invited guests. The mayor pardoned Pietrek, and the watchmaker was ordered to make a mechanism that would activate the clock goats every day. Since then, every day the trumpeter plays the bugle call and two buzzing goats show up.The real goats did not reach the tables of city councilors and townsmen but were returned to the poor widow, their true owner. | [
"goat",
"cornice",
"voivode",
"Gubin",
"trumpeter",
"Goat",
"Poznań"
] |
|
14847_NT | Poznań Goats | Focus on this artwork and explain the Goats legend. | According to one version of the folk legend, when the town hall was rebuilt after the great fire in Poznań, the clock for the town hall tower was ordered from master Bartholomew of Gubin. The town council decided to celebrate this important event. A great feast was planned. A young cook, Pietrek, was appointed to prepare the main dish. Deer leg baked slowly and Pietrek was curious about what the clock mechanism looks like. The young cook could not wait to finish baking and decided to leave the kitchen for a while to look at the clock.However, in his absence, the leg fell into the fire and burned to the coal. The terrified boy ran to a nearby meadow where the inhabitants of the city kept their animals. From there, he kidnapped two goats and took them to the town hall kitchen. The goats, however, escaped from the boy to the cornice of the town hall tower. There, in front of the gathered townsmen, two small white goats started butting. This sight amused the voivode and the invited guests. The mayor pardoned Pietrek, and the watchmaker was ordered to make a mechanism that would activate the clock goats every day. Since then, every day the trumpeter plays the bugle call and two buzzing goats show up.The real goats did not reach the tables of city councilors and townsmen but were returned to the poor widow, their true owner. | [
"goat",
"cornice",
"voivode",
"Gubin",
"trumpeter",
"Goat",
"Poznań"
] |
|
14848_T | Poznań Goats | Explore the Goats monuments of this artwork, Poznań Goats. | Goat sculpture is located on Collegiate Square, near the main entrance to the Municipal Office, the former Jesuit College. The sculpture was designed by Robert Sobociński in 2002. In 2019, due to renovations of the square, the goat sculpture was moved to Chopin Park.The monument, due to its easy accessibility from the ground level and the possibility to sit on the backs of animals, is a popular place for tourists and residents to take souvenir photographs.Another, modern and colorful goat installation is located on Piłsudskiego street, in Rataje. | [
"goat",
"Rataje",
"Goat"
] |
|
14848_NT | Poznań Goats | Explore the Goats monuments of this artwork. | Goat sculpture is located on Collegiate Square, near the main entrance to the Municipal Office, the former Jesuit College. The sculpture was designed by Robert Sobociński in 2002. In 2019, due to renovations of the square, the goat sculpture was moved to Chopin Park.The monument, due to its easy accessibility from the ground level and the possibility to sit on the backs of animals, is a popular place for tourists and residents to take souvenir photographs.Another, modern and colorful goat installation is located on Piłsudskiego street, in Rataje. | [
"goat",
"Rataje",
"Goat"
] |
|
14849_T | Portrait of Jacopo Sannazaro | Focus on Portrait of Jacopo Sannazaro and discuss the abstract. | Portrait of Jacopo Sannazaro, also known as Portrait of a Man, is an oil painting by the Venetian master Titian, dated to about 1513. It is part of the Royal Collection, and hangs in Buckingham Palace. | [
"Titian",
"Buckingham Palace",
"Sannazaro",
"Jacopo Sannazaro",
"Royal Collection"
] |
|
14849_NT | Portrait of Jacopo Sannazaro | Focus on this artwork and discuss the abstract. | Portrait of Jacopo Sannazaro, also known as Portrait of a Man, is an oil painting by the Venetian master Titian, dated to about 1513. It is part of the Royal Collection, and hangs in Buckingham Palace. | [
"Titian",
"Buckingham Palace",
"Sannazaro",
"Jacopo Sannazaro",
"Royal Collection"
] |
|
14850_T | Portrait of Jacopo Sannazaro | How does Portrait of Jacopo Sannazaro elucidate its Subject? | Both the names formerly given to this picture, Boccaccio and Alessandro de' Medici, are incorrect. The sitter is now thought to be Jacopo Sannazaro, a poet and humanist from Naples. This identification was first proposed by Georg Gronau in 1895, and is supported by an early copy of the painting (Walker Art Gallery, Liverpool) inscribed Sincerus Sannzarius ("Actius Sincerus" was a known alias of Sannazaro). | [
"Georg Gronau",
"Sannazaro",
"Jacopo Sannazaro",
"Alessandro de' Medici"
] |
|
14850_NT | Portrait of Jacopo Sannazaro | How does this artwork elucidate its Subject? | Both the names formerly given to this picture, Boccaccio and Alessandro de' Medici, are incorrect. The sitter is now thought to be Jacopo Sannazaro, a poet and humanist from Naples. This identification was first proposed by Georg Gronau in 1895, and is supported by an early copy of the painting (Walker Art Gallery, Liverpool) inscribed Sincerus Sannzarius ("Actius Sincerus" was a known alias of Sannazaro). | [
"Georg Gronau",
"Sannazaro",
"Jacopo Sannazaro",
"Alessandro de' Medici"
] |
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