ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
sequence |
|---|---|---|---|---|---|
14851_T | Portrait of Jacopo Sannazaro | Focus on Portrait of Jacopo Sannazaro and analyze the History. | The portrait has been dated variously from c. 1511 to the early 1520s. The style of the sitter's clothing and hair suggest a date closer to 1513; certainly before 1520. According to Gronau, "It has in style its companion in the Parma at Vienna, and must have been painted about 1511. It shows the period of transition from the purely Giorgionesque style to Titian's quite personal one." | [
"Titian",
"Giorgione",
"Parma"
] |
|
14851_NT | Portrait of Jacopo Sannazaro | Focus on this artwork and analyze the History. | The portrait has been dated variously from c. 1511 to the early 1520s. The style of the sitter's clothing and hair suggest a date closer to 1513; certainly before 1520. According to Gronau, "It has in style its companion in the Parma at Vienna, and must have been painted about 1511. It shows the period of transition from the purely Giorgionesque style to Titian's quite personal one." | [
"Titian",
"Giorgione",
"Parma"
] |
|
14852_T | Portrait of Jacopo Sannazaro | In Portrait of Jacopo Sannazaro, how is the Analysis discussed? | Georg Gronau notes how a comparison of the few single portraits belonging to Titian's earlier years leads us to observe that in them the hands are made use of as an essential characteristic of the personality. Here the sitter lets his only hand visible rest on a book lying on the parapet in front, while his eyes wander away into space. This makes us suppose him a literary man.Charles Ricketts, writing in 1910, appraises the work highly:The 'Alessandro' has few rivals among Titian's finest portraits. Dirt and old varnish have now been removed, and saving the large patch upon the brow, it is in good condition; few works better illustrate that magisterial quality which Reynolds praises in Titian's portraits. In the combination of dignity and simplicity, it ranks with the 'Parma' at Vienna, the 'Man in Black' (Louvre), and with 'L'Homme au Gant,' among his finest works. | [
"L'Homme au Gant",
"Reynolds",
"Georg Gronau",
"Titian",
"Parma",
"Charles Ricketts"
] |
|
14852_NT | Portrait of Jacopo Sannazaro | In this artwork, how is the Analysis discussed? | Georg Gronau notes how a comparison of the few single portraits belonging to Titian's earlier years leads us to observe that in them the hands are made use of as an essential characteristic of the personality. Here the sitter lets his only hand visible rest on a book lying on the parapet in front, while his eyes wander away into space. This makes us suppose him a literary man.Charles Ricketts, writing in 1910, appraises the work highly:The 'Alessandro' has few rivals among Titian's finest portraits. Dirt and old varnish have now been removed, and saving the large patch upon the brow, it is in good condition; few works better illustrate that magisterial quality which Reynolds praises in Titian's portraits. In the combination of dignity and simplicity, it ranks with the 'Parma' at Vienna, the 'Man in Black' (Louvre), and with 'L'Homme au Gant,' among his finest works. | [
"L'Homme au Gant",
"Reynolds",
"Georg Gronau",
"Titian",
"Parma",
"Charles Ricketts"
] |
|
14853_T | Portrait of Jacopo Sannazaro | Focus on Portrait of Jacopo Sannazaro and explore the Provenance. | This portrait is well known from Van Dalen's engraving. It is said to have belonged to the collection of Charles I; later in the Cabinet Van Reynst, which, after the death of its owner, was acquired by the States of Holland and West Friesland and presented to Charles II in 1660. | [
"States of Holland and West Friesland",
"Cabinet Van Reynst",
"Van Dalen",
"Charles I",
"Charles II"
] |
|
14853_NT | Portrait of Jacopo Sannazaro | Focus on this artwork and explore the Provenance. | This portrait is well known from Van Dalen's engraving. It is said to have belonged to the collection of Charles I; later in the Cabinet Van Reynst, which, after the death of its owner, was acquired by the States of Holland and West Friesland and presented to Charles II in 1660. | [
"States of Holland and West Friesland",
"Cabinet Van Reynst",
"Van Dalen",
"Charles I",
"Charles II"
] |
|
14854_T | Ince Hall Madonna | Explore the abstract of this artwork, Ince Hall Madonna. | The Virgin and Child Reading is an oil painting of uncertain date. It is a mid-to-late 15th century imitation of the work of the Early Netherlandish master Jan van Eyck, possibly after a now-lost original painting by him from 1433 - another copy of the same work is now in the Colegiata church in Covarrubias, Spain. It is first documented in 1619, when it was in Sicily and then re-appeared in Charles Blundell's collection at Ince Blundell Hall near Liverpool early in the 19th century, meaning it is sometimes known as the Ince Hall Madonna. George Frederick Zink restored it there in 1922. It was acquired from the Weld-Blundell family by the National Gallery of Victoria (NGV) in Melbourne in 1922 using funds from the Felton Bequest.The inscription on the wall at top left reads: "COPLETV ANO D M CCCC XXXIIJ P IOHEM DE EYC BRVGIS". This translates as "Completed in the Year of Our Lord 1433 by Jan van Eyck, Bruges". To the right of the tapestry is van Eyck's personal motto in Greek letters "ALC IXH XAN" ("As I Can"), playing on the similarity between his surname and 'IXH' (an approximate transliteration of "ich" or "I" into ancient Greek characters). | [
"Early Netherlandish",
"Bruges",
"Melbourne",
"Felton Bequest",
"Jan van Eyck",
"National Gallery of Victoria",
"Liverpool",
"oil painting",
"Ince Blundell Hall",
"Covarrubias"
] |
|
14854_NT | Ince Hall Madonna | Explore the abstract of this artwork. | The Virgin and Child Reading is an oil painting of uncertain date. It is a mid-to-late 15th century imitation of the work of the Early Netherlandish master Jan van Eyck, possibly after a now-lost original painting by him from 1433 - another copy of the same work is now in the Colegiata church in Covarrubias, Spain. It is first documented in 1619, when it was in Sicily and then re-appeared in Charles Blundell's collection at Ince Blundell Hall near Liverpool early in the 19th century, meaning it is sometimes known as the Ince Hall Madonna. George Frederick Zink restored it there in 1922. It was acquired from the Weld-Blundell family by the National Gallery of Victoria (NGV) in Melbourne in 1922 using funds from the Felton Bequest.The inscription on the wall at top left reads: "COPLETV ANO D M CCCC XXXIIJ P IOHEM DE EYC BRVGIS". This translates as "Completed in the Year of Our Lord 1433 by Jan van Eyck, Bruges". To the right of the tapestry is van Eyck's personal motto in Greek letters "ALC IXH XAN" ("As I Can"), playing on the similarity between his surname and 'IXH' (an approximate transliteration of "ich" or "I" into ancient Greek characters). | [
"Early Netherlandish",
"Bruges",
"Melbourne",
"Felton Bequest",
"Jan van Eyck",
"National Gallery of Victoria",
"Liverpool",
"oil painting",
"Ince Blundell Hall",
"Covarrubias"
] |
|
14855_T | Ince Hall Madonna | Focus on Ince Hall Madonna and discuss the Attribution. | On its acquisition by the NGV in 1922 it was held to be an autograph work by van Eyck. However, laboratory tests in 1958 by P. Coremans, A. Philippot and R.V. Sneyers at the IRPA in Belgium, an infrared spectroscopy study in 2003 and other features have all contributed to its de-attribution. For example, the spatial relationship between the two figures and the surrounding furniture is only vaguely hinted at and the work's grasp of perspective and depth is not as developed as in the autograph Lucca Madonna and Rolin Madonna. The letter formation in the signature does not correspond to the confirmed signatures on the Virgin and Child with Canon van der Paele or the Dresden Triptych. The signature also appears in the scene itself, rather than van Eyck's more usual practice of signing on the frame - some art historians argue that the work was originally in just such a signed frame but that after that frame was lost it was added to the work itself by an unknown hand. | [
"Dresden Triptych",
"infrared spectroscopy",
"P. Coremans",
"Lucca Madonna",
"Virgin and Child with Canon van der Paele",
"IRPA",
"R.V. Sneyers",
"Rolin Madonna",
"A. Philippot"
] |
|
14855_NT | Ince Hall Madonna | Focus on this artwork and discuss the Attribution. | On its acquisition by the NGV in 1922 it was held to be an autograph work by van Eyck. However, laboratory tests in 1958 by P. Coremans, A. Philippot and R.V. Sneyers at the IRPA in Belgium, an infrared spectroscopy study in 2003 and other features have all contributed to its de-attribution. For example, the spatial relationship between the two figures and the surrounding furniture is only vaguely hinted at and the work's grasp of perspective and depth is not as developed as in the autograph Lucca Madonna and Rolin Madonna. The letter formation in the signature does not correspond to the confirmed signatures on the Virgin and Child with Canon van der Paele or the Dresden Triptych. The signature also appears in the scene itself, rather than van Eyck's more usual practice of signing on the frame - some art historians argue that the work was originally in just such a signed frame but that after that frame was lost it was added to the work itself by an unknown hand. | [
"Dresden Triptych",
"infrared spectroscopy",
"P. Coremans",
"Lucca Madonna",
"Virgin and Child with Canon van der Paele",
"IRPA",
"R.V. Sneyers",
"Rolin Madonna",
"A. Philippot"
] |
|
14856_T | Madame Auguste Cuoq | How does Madame Auguste Cuoq elucidate its Description? | Courbet painted Madame sometime between 1852 and 1857, and displayed it at an exhibition of his in 1867. The subject of the portrait, the titular Madame Auguste Cuoq, was painted by several notable artists, including Courbet and Jean-Jacques Henner. Notably, Cuoq's husband rejected the portrait, feeling that it did not capture his wife's beauty. Citing its large scale and intimate setting, the painting has been described as one of Courbet's most unusual works. The painting was eventually acquired by the Louisine Havemeyer and later donated by the Havemeyer Collection to the Metropolitan Museum of Art. | [
"Louisine Havemeyer",
"Jean-Jacques Henner",
"Metropolitan Museum of Art"
] |
|
14856_NT | Madame Auguste Cuoq | How does this artwork elucidate its Description? | Courbet painted Madame sometime between 1852 and 1857, and displayed it at an exhibition of his in 1867. The subject of the portrait, the titular Madame Auguste Cuoq, was painted by several notable artists, including Courbet and Jean-Jacques Henner. Notably, Cuoq's husband rejected the portrait, feeling that it did not capture his wife's beauty. Citing its large scale and intimate setting, the painting has been described as one of Courbet's most unusual works. The painting was eventually acquired by the Louisine Havemeyer and later donated by the Havemeyer Collection to the Metropolitan Museum of Art. | [
"Louisine Havemeyer",
"Jean-Jacques Henner",
"Metropolitan Museum of Art"
] |
|
14857_T | Loosey the Moose | Focus on Loosey the Moose and analyze the abstract. | Loosey the Moose is a sculpture of a moose in Park City, Utah, United States. | [
"Park City, Utah",
"Utah"
] |
|
14857_NT | Loosey the Moose | Focus on this artwork and analyze the abstract. | Loosey the Moose is a sculpture of a moose in Park City, Utah, United States. | [
"Park City, Utah",
"Utah"
] |
|
14858_T | Loosey the Moose | In Loosey the Moose, how is the History discussed? | The sculpture was donated to City Hall in 2018. Someone outfitted the statue with a face mask during the COVID-19 pandemic. | [
"COVID-19 pandemic"
] |
|
14858_NT | Loosey the Moose | In this artwork, how is the History discussed? | The sculpture was donated to City Hall in 2018. Someone outfitted the statue with a face mask during the COVID-19 pandemic. | [
"COVID-19 pandemic"
] |
|
14859_T | Sleeping Cupid (Michelangelo) | Focus on Sleeping Cupid (Michelangelo) and explore the abstract. | The Sleeping Cupid is a now-lost sculpture created by Renaissance artist Michelangelo, which he artificially aged to make it look like an antique on the advice of Lorenzo di Pierfrancesco in order to sell for a higher price. It was this sculpture which first brought him to the attention of patrons in Rome. | [
"Michelangelo",
"Rome",
"Cupid",
"Lorenzo di Pierfrancesco"
] |
|
14859_NT | Sleeping Cupid (Michelangelo) | Focus on this artwork and explore the abstract. | The Sleeping Cupid is a now-lost sculpture created by Renaissance artist Michelangelo, which he artificially aged to make it look like an antique on the advice of Lorenzo di Pierfrancesco in order to sell for a higher price. It was this sculpture which first brought him to the attention of patrons in Rome. | [
"Michelangelo",
"Rome",
"Cupid",
"Lorenzo di Pierfrancesco"
] |
|
14860_T | Sleeping Cupid (Michelangelo) | Focus on Sleeping Cupid (Michelangelo) and explain the Creation. | Michelangelo began working on his sleeping cupid in 1495, in Florence, Italy. It was never said by Michelangelo as to why he carved a sculpture of a cupid, but it is known that he studied a sculpture in the Medici Gardens that contained a sleeping cupid. Michelangelo's work was described by Ascanio Condivi, Italian Painter, as, "a god of love, aged six or seven years old and asleep". | [
"Florence",
"Michelangelo",
"Ascanio Condivi",
"cupid",
"Medici Gardens",
"Florence, Italy"
] |
|
14860_NT | Sleeping Cupid (Michelangelo) | Focus on this artwork and explain the Creation. | Michelangelo began working on his sleeping cupid in 1495, in Florence, Italy. It was never said by Michelangelo as to why he carved a sculpture of a cupid, but it is known that he studied a sculpture in the Medici Gardens that contained a sleeping cupid. Michelangelo's work was described by Ascanio Condivi, Italian Painter, as, "a god of love, aged six or seven years old and asleep". | [
"Florence",
"Michelangelo",
"Ascanio Condivi",
"cupid",
"Medici Gardens",
"Florence, Italy"
] |
|
14861_T | Sleeping Cupid (Michelangelo) | Explore the Description of this artwork, Sleeping Cupid (Michelangelo). | Michelangelo created the sculpture and then passed it onto a dealer, Baldassare del Milanese. Eventually the sleeping cupid was bought by Cardinal Riario of San Giorgio, controversy arose when he discovered the statue was falsely aged and demanded his money back. However, Michelangelo was permitted to keep his share of the money. When Michelangelo offered to take the sculpture back from Baldassare when he learned how much money he made off of selling it, Baldassare refused, saying, "he would rather break it into a hundred pieces; he had bought the child, and it was his property".The Sleeping Cupid was a significant work in establishing the reputation of the young Michelangelo, who was 21 at the time. The sculpture was later donated by Cesare Borgia to Isabella d'Este, and was probably collected by Charles I of England when all the Gonzaga collections were bought and taken to London in the seventeenth century.It was previously impossible to attempt to identify Michelangelo's cupid, until Paul Norton's proposal that Michelangelo's work may be in the Album of Busts and Statues in Whitehall. This led to one of the cupids on the album to be thought to be Michelangelo's lost cupid, as the description matches quite well. But it is still unknown if this is the exact one Michelangelo created, as there is no record the statue after the original sale. | [
"Gonzaga",
"Michelangelo",
"Cupid",
"cupid",
"Isabella d'Este",
"Cardinal Riario of San Giorgio",
"London",
"Charles I of England",
"Cesare Borgia"
] |
|
14861_NT | Sleeping Cupid (Michelangelo) | Explore the Description of this artwork. | Michelangelo created the sculpture and then passed it onto a dealer, Baldassare del Milanese. Eventually the sleeping cupid was bought by Cardinal Riario of San Giorgio, controversy arose when he discovered the statue was falsely aged and demanded his money back. However, Michelangelo was permitted to keep his share of the money. When Michelangelo offered to take the sculpture back from Baldassare when he learned how much money he made off of selling it, Baldassare refused, saying, "he would rather break it into a hundred pieces; he had bought the child, and it was his property".The Sleeping Cupid was a significant work in establishing the reputation of the young Michelangelo, who was 21 at the time. The sculpture was later donated by Cesare Borgia to Isabella d'Este, and was probably collected by Charles I of England when all the Gonzaga collections were bought and taken to London in the seventeenth century.It was previously impossible to attempt to identify Michelangelo's cupid, until Paul Norton's proposal that Michelangelo's work may be in the Album of Busts and Statues in Whitehall. This led to one of the cupids on the album to be thought to be Michelangelo's lost cupid, as the description matches quite well. But it is still unknown if this is the exact one Michelangelo created, as there is no record the statue after the original sale. | [
"Gonzaga",
"Michelangelo",
"Cupid",
"cupid",
"Isabella d'Este",
"Cardinal Riario of San Giorgio",
"London",
"Charles I of England",
"Cesare Borgia"
] |
|
14862_T | Sleeping Cupid (Michelangelo) | Focus on Sleeping Cupid (Michelangelo) and discuss the Destruction. | In 1698, the Sleeping Cupid was most likely destroyed in the great fire in the Palace of Whitehall, London along with many other fine works of art. It is unknown what happened to the sculpture. | [
"Palace of Whitehall",
"Cupid",
"London"
] |
|
14862_NT | Sleeping Cupid (Michelangelo) | Focus on this artwork and discuss the Destruction. | In 1698, the Sleeping Cupid was most likely destroyed in the great fire in the Palace of Whitehall, London along with many other fine works of art. It is unknown what happened to the sculpture. | [
"Palace of Whitehall",
"Cupid",
"London"
] |
|
14863_T | Looking Down Yosemite Valley, California | How does Looking Down Yosemite Valley, California elucidate its abstract? | Looking Down the Yosemite Valley, California is an 1865 painting by the German-American painter Albert Bierstadt (1830–1902).It was Bierstadt's first large-scale Yosemite picture, a subject for which he would become well known. It presents a view of one of America's most scenic spots. Based on sketches made during a visit in 1863, Bierstadt paints the valley from a vantage point just above the Merced River, looking due west with the prospect framed by El Capitan on the right, and Sentinel Rock on the left; the spire of Middle Cathedral Rock is visible in the distance. | [
"Middle Cathedral Rock",
"Albert Bierstadt",
"Sentinel Rock",
"Merced River",
"Yosemite",
"El Capitan"
] |
|
14863_NT | Looking Down Yosemite Valley, California | How does this artwork elucidate its abstract? | Looking Down the Yosemite Valley, California is an 1865 painting by the German-American painter Albert Bierstadt (1830–1902).It was Bierstadt's first large-scale Yosemite picture, a subject for which he would become well known. It presents a view of one of America's most scenic spots. Based on sketches made during a visit in 1863, Bierstadt paints the valley from a vantage point just above the Merced River, looking due west with the prospect framed by El Capitan on the right, and Sentinel Rock on the left; the spire of Middle Cathedral Rock is visible in the distance. | [
"Middle Cathedral Rock",
"Albert Bierstadt",
"Sentinel Rock",
"Merced River",
"Yosemite",
"El Capitan"
] |
|
14864_T | Columbus Monument (Buyens) | Focus on Columbus Monument (Buyens) and analyze the abstract. | The Columbus Monument is a monument by the sculptor Alois G. Buyens depicting Christopher Columbus, commissioned by members of the Boston-area Catholic community in 1892. It is one of the first statues that the Belgian-born Buyens created after coming to America in 1892 and opening a studio in Boston. The monument was to be installed at La Isabella to mark the site of the first Catholic Church in the Americas. A copy of the monument was installed in Boston. The Boston version was moved several times, and it is now located in front of the Saint Anthony of Padua Church in Revere, Massachusetts. | [
"Revere, Massachusetts",
"Alois G. Buyens",
"Christopher Columbus",
"La Isabella"
] |
|
14864_NT | Columbus Monument (Buyens) | Focus on this artwork and analyze the abstract. | The Columbus Monument is a monument by the sculptor Alois G. Buyens depicting Christopher Columbus, commissioned by members of the Boston-area Catholic community in 1892. It is one of the first statues that the Belgian-born Buyens created after coming to America in 1892 and opening a studio in Boston. The monument was to be installed at La Isabella to mark the site of the first Catholic Church in the Americas. A copy of the monument was installed in Boston. The Boston version was moved several times, and it is now located in front of the Saint Anthony of Padua Church in Revere, Massachusetts. | [
"Revere, Massachusetts",
"Alois G. Buyens",
"Christopher Columbus",
"La Isabella"
] |
|
14865_T | Columbus Monument (Buyens) | In Columbus Monument (Buyens), how is the History and funding discussed? | Throughout the nineteenth century, Columbus was rising in importance in the Catholic American community's self-understanding as immigrants to the United States. According to The Sacred Heart Review, a prominent New England publication for the Catholic community, it was considered "proper to speak of the celebration of Columbus Day in Boston as a Catholic demonstration."In September 1891, Thomas H. Cummings suggested to The Sacred Heart Review to erect a monument to Columbus at La Isabela, his first settlement in Santo Domingo to commemorate the beginning of the Christian civilization in America. The Sacred Heart Review suggested to erect a replica in a public space in Boston. In September 1892, the City Council of Boston agreed to dedicate a duplicate of the La Isabela statue for the fourth centennial year of Columbus's arrival in America. The sculpture was commissioned by the Knights of Columbus. | [
"Knights of Columbus",
"La Isabela"
] |
|
14865_NT | Columbus Monument (Buyens) | In this artwork, how is the History and funding discussed? | Throughout the nineteenth century, Columbus was rising in importance in the Catholic American community's self-understanding as immigrants to the United States. According to The Sacred Heart Review, a prominent New England publication for the Catholic community, it was considered "proper to speak of the celebration of Columbus Day in Boston as a Catholic demonstration."In September 1891, Thomas H. Cummings suggested to The Sacred Heart Review to erect a monument to Columbus at La Isabela, his first settlement in Santo Domingo to commemorate the beginning of the Christian civilization in America. The Sacred Heart Review suggested to erect a replica in a public space in Boston. In September 1892, the City Council of Boston agreed to dedicate a duplicate of the La Isabela statue for the fourth centennial year of Columbus's arrival in America. The sculpture was commissioned by the Knights of Columbus. | [
"Knights of Columbus",
"La Isabela"
] |
|
14866_T | Columbus Monument (Buyens) | Focus on Columbus Monument (Buyens) and explore the Design and construction. | The design was primarily the creation of Richard Andrew, a student at the Massachusetts College of Art and Design (called State Normal Art School at the time). Alois G. Buyens was selected as the sculptor in order to contribute what the Sacred Heart Review described as the "bold and vigorous treatment of the Flemish School, of which Mr. Buyens is a disciple."Ames Manufacturing Company of Chicopee cast the statue in bronze. | [
"Massachusetts College of Art and Design",
"Alois G. Buyens"
] |
|
14866_NT | Columbus Monument (Buyens) | Focus on this artwork and explore the Design and construction. | The design was primarily the creation of Richard Andrew, a student at the Massachusetts College of Art and Design (called State Normal Art School at the time). Alois G. Buyens was selected as the sculptor in order to contribute what the Sacred Heart Review described as the "bold and vigorous treatment of the Flemish School, of which Mr. Buyens is a disciple."Ames Manufacturing Company of Chicopee cast the statue in bronze. | [
"Massachusetts College of Art and Design",
"Alois G. Buyens"
] |
|
14867_T | Columbus Monument (Buyens) | Focus on Columbus Monument (Buyens) and explain the Site and dedication. | Copley Square was first chosen as the location for the statue. However, after an exhibition of the model, its design was heavily criticized by the State Arts Commission. The Commission rejected the plan to place the statue at Copley Square, leading the monument's organizers to select the Cathedral of the Holy Cross in the South End, the first church built for Boston's Roman Catholics, as an alternate location. The Boston Advertiser provided a detailed account of the monument's supposed flaws at the time:The execution is commonplace. The faults of the statue are lack of fine sentiment, of movement or beauty of form. It would seem as if the artist had conceived Columbus as a man of piety, but puts the fact that he achieved something affecting the geography of the world before the spectator as boldly as a schoolboy who points at his globe, just barely missing the labels as infantile artistic efforts.The statue was dedicated on October 21 in front of the Cathedral of the Holy Cross. The ceremony took place for Columbus Day with a parade, followed by a procession where Captain Nathan Appleton revealed that the Governor of Massachusetts, the Mayor of the city of Boston, the Italian Consul, and the Collector of the Port of Boston had all appointed a committee to erect a statue to Columbus in the Public Garden but the project was never carried out because of a lack of funds. The Sacred Heart Review praised the Buyens statue for being accomplished despite "the united energies of all those functionaries."In the 1920s, the statue was discretely relocated to St. Anthony's Church in Revere to equally balance a statue of St. Anthony standing on the opposite side of the church. Marty Carlock wrote in A Guide to Public Art in Greater Boston that the "huge statue overpowered its site" at the Cathedral of the Holy Cross. | [
"Cathedral of the Holy Cross",
"Public Garden",
"Copley Square"
] |
|
14867_NT | Columbus Monument (Buyens) | Focus on this artwork and explain the Site and dedication. | Copley Square was first chosen as the location for the statue. However, after an exhibition of the model, its design was heavily criticized by the State Arts Commission. The Commission rejected the plan to place the statue at Copley Square, leading the monument's organizers to select the Cathedral of the Holy Cross in the South End, the first church built for Boston's Roman Catholics, as an alternate location. The Boston Advertiser provided a detailed account of the monument's supposed flaws at the time:The execution is commonplace. The faults of the statue are lack of fine sentiment, of movement or beauty of form. It would seem as if the artist had conceived Columbus as a man of piety, but puts the fact that he achieved something affecting the geography of the world before the spectator as boldly as a schoolboy who points at his globe, just barely missing the labels as infantile artistic efforts.The statue was dedicated on October 21 in front of the Cathedral of the Holy Cross. The ceremony took place for Columbus Day with a parade, followed by a procession where Captain Nathan Appleton revealed that the Governor of Massachusetts, the Mayor of the city of Boston, the Italian Consul, and the Collector of the Port of Boston had all appointed a committee to erect a statue to Columbus in the Public Garden but the project was never carried out because of a lack of funds. The Sacred Heart Review praised the Buyens statue for being accomplished despite "the united energies of all those functionaries."In the 1920s, the statue was discretely relocated to St. Anthony's Church in Revere to equally balance a statue of St. Anthony standing on the opposite side of the church. Marty Carlock wrote in A Guide to Public Art in Greater Boston that the "huge statue overpowered its site" at the Cathedral of the Holy Cross. | [
"Cathedral of the Holy Cross",
"Public Garden",
"Copley Square"
] |
|
14868_T | Girl with Balloon | Explore the abstract of this artwork, Girl with Balloon. | Girl with Balloon (also, Balloon Girl or Girl and Balloon) is a series of stencil murals around London by the graffiti artist Banksy, started in 2002. They depict a young girl with her hand extended toward a red heart-shaped balloon carried away by the wind. The locations for this work include street murals in Shoreditch and the South bank in London on the Waterloo Bridge and other murals were around London, though none remain there.
Banksy has several times used variants of this design to support social campaigns: in 2005 about the West Bank barrier, in 2014 about the Syrian refugee crisis, and also about the 2017 UK election. A 2017 Samsung poll ranked Girl with Balloon as the United Kingdom's number one favourite artwork.
In 2018, a framed copy of the work got spontaneously shredded during an auction, by way of a mechanical device Banksy had hidden in the frame. Banksy confirmed that he was responsible for the shredding and gave the altered piece a new name, Love is in the Bin. Sotheby's said it was "the first work in history ever created during a live auction." | [
"Waterloo Bridge",
"stencil murals",
"West Bank barrier",
"Samsung",
"Syrian refugee crisis",
"Shoreditch",
"Love is in the Bin",
"Sotheby's",
"balloon",
"Banksy",
"2017 UK election"
] |
|
14868_NT | Girl with Balloon | Explore the abstract of this artwork. | Girl with Balloon (also, Balloon Girl or Girl and Balloon) is a series of stencil murals around London by the graffiti artist Banksy, started in 2002. They depict a young girl with her hand extended toward a red heart-shaped balloon carried away by the wind. The locations for this work include street murals in Shoreditch and the South bank in London on the Waterloo Bridge and other murals were around London, though none remain there.
Banksy has several times used variants of this design to support social campaigns: in 2005 about the West Bank barrier, in 2014 about the Syrian refugee crisis, and also about the 2017 UK election. A 2017 Samsung poll ranked Girl with Balloon as the United Kingdom's number one favourite artwork.
In 2018, a framed copy of the work got spontaneously shredded during an auction, by way of a mechanical device Banksy had hidden in the frame. Banksy confirmed that he was responsible for the shredding and gave the altered piece a new name, Love is in the Bin. Sotheby's said it was "the first work in history ever created during a live auction." | [
"Waterloo Bridge",
"stencil murals",
"West Bank barrier",
"Samsung",
"Syrian refugee crisis",
"Shoreditch",
"Love is in the Bin",
"Sotheby's",
"balloon",
"Banksy",
"2017 UK election"
] |
|
14869_T | Girl with Balloon | Focus on Girl with Balloon and discuss the History. | The locations for this work include Waterloo Bridge as well as other sites around London, though none still remain. A 2004 version of the mural was at an east London shop in Shoreditch, sold in 2007 for £37,200 at Sotheby's, and was removed by the Sincura Group in 2014 and sold for £500,000 in September 19, 2015.Several sets of limited edition prints of the work were produced, which became valuable over time. An initial set of 25 signed prints was produced in 2003, while a set of 150 signed prints and a set of 600 unsigned prints were produced in 2004/2005. In addition to the signed and unsigned edition, a series of 88 artist proofs consisting of blue, pink, gold and purple hearts (22 of each colour) were also released. In November 2015, one of the signed set of 150 was auctioned for £56,250, more than twice its estimated value.
The artwork motif was also released in 2005 as a series of hand-sprayed paintings comprising of multiple versions including a signed diptych edition of 25 with each panel measuring 30 x 30cm.In August 2005, Banksy included it as part of a series of murals on the West Bank barrier, a variation called Balloon Debate of the girl floating above the wall while holding onto a bunch of balloons.A 2009 version was sprayed directly onto the cardboard backing of an Ikea frame.In March 2014, the third anniversary of the Syria conflict, Banksy reworked the painting to depict a Syrian refugee and added the hashtag #WithSyria. On 13 March, the image was projected on the Eiffel Tower and Nelson's Column. An animated video was released, featuring animation based on Banksy's work, narration by Idris Elba, and music by Elbow. In the following weeks, the singer Justin Bieber got a tattoo based on the original art and posted a picture of it on Instagram before deleting it. Banksy posted this picture on his Facebook page with the comment "Controversial".In July 2017, a Samsung poll of 2,000 people from the United Kingdom asked participants to rank twenty pieces of British art. The poll's results listed Balloon Girl as the people's number one favourite artwork.A print of Balloon Girl – Colour AP (Purple) was sold in an auction in September 2020 for £791,250, making it the highest bidding price for a Banksy print and the most expensive print sold in an online auction. | [
"limited edition prints",
"Waterloo Bridge",
"paintings",
"Justin Bieber",
"hashtag",
"West Bank barrier",
"Elbow",
"Samsung",
"Eiffel Tower",
"Shoreditch",
"Idris Elba",
"Sotheby's",
"balloon",
"Ikea",
"floating above",
"Banksy",
"Nelson's Column"
] |
|
14869_NT | Girl with Balloon | Focus on this artwork and discuss the History. | The locations for this work include Waterloo Bridge as well as other sites around London, though none still remain. A 2004 version of the mural was at an east London shop in Shoreditch, sold in 2007 for £37,200 at Sotheby's, and was removed by the Sincura Group in 2014 and sold for £500,000 in September 19, 2015.Several sets of limited edition prints of the work were produced, which became valuable over time. An initial set of 25 signed prints was produced in 2003, while a set of 150 signed prints and a set of 600 unsigned prints were produced in 2004/2005. In addition to the signed and unsigned edition, a series of 88 artist proofs consisting of blue, pink, gold and purple hearts (22 of each colour) were also released. In November 2015, one of the signed set of 150 was auctioned for £56,250, more than twice its estimated value.
The artwork motif was also released in 2005 as a series of hand-sprayed paintings comprising of multiple versions including a signed diptych edition of 25 with each panel measuring 30 x 30cm.In August 2005, Banksy included it as part of a series of murals on the West Bank barrier, a variation called Balloon Debate of the girl floating above the wall while holding onto a bunch of balloons.A 2009 version was sprayed directly onto the cardboard backing of an Ikea frame.In March 2014, the third anniversary of the Syria conflict, Banksy reworked the painting to depict a Syrian refugee and added the hashtag #WithSyria. On 13 March, the image was projected on the Eiffel Tower and Nelson's Column. An animated video was released, featuring animation based on Banksy's work, narration by Idris Elba, and music by Elbow. In the following weeks, the singer Justin Bieber got a tattoo based on the original art and posted a picture of it on Instagram before deleting it. Banksy posted this picture on his Facebook page with the comment "Controversial".In July 2017, a Samsung poll of 2,000 people from the United Kingdom asked participants to rank twenty pieces of British art. The poll's results listed Balloon Girl as the people's number one favourite artwork.A print of Balloon Girl – Colour AP (Purple) was sold in an auction in September 2020 for £791,250, making it the highest bidding price for a Banksy print and the most expensive print sold in an online auction. | [
"limited edition prints",
"Waterloo Bridge",
"paintings",
"Justin Bieber",
"hashtag",
"West Bank barrier",
"Elbow",
"Samsung",
"Eiffel Tower",
"Shoreditch",
"Idris Elba",
"Sotheby's",
"balloon",
"Ikea",
"floating above",
"Banksy",
"Nelson's Column"
] |
|
14870_T | Girl with Balloon | In Girl with Balloon, how is the United Kingdom general election controversy of the History elucidated? | In early June 2017 before the United Kingdom general election, Banksy introduced a variant of Girl with Balloon with the balloon coloured with the Union Jack design. Banksy initially offered to send a free print of his art to registered voters in certain constituencies who could offer photographic proof they had voted against the Tories. The offer included a disclaimer: "This print is a souvenir piece of campaign material, it is in no way meant to influence the choices of the electorate." Banksy cancelled this offer on 6 June 2017 after the Electoral Commission warned him it could violate election bribery laws and invalidate the election's results in those constituencies. | [
"Union Jack",
"Electoral Commission",
"bribery",
"United Kingdom general election",
"Tories",
"balloon",
"Banksy"
] |
|
14870_NT | Girl with Balloon | In this artwork, how is the United Kingdom general election controversy of the History elucidated? | In early June 2017 before the United Kingdom general election, Banksy introduced a variant of Girl with Balloon with the balloon coloured with the Union Jack design. Banksy initially offered to send a free print of his art to registered voters in certain constituencies who could offer photographic proof they had voted against the Tories. The offer included a disclaimer: "This print is a souvenir piece of campaign material, it is in no way meant to influence the choices of the electorate." Banksy cancelled this offer on 6 June 2017 after the Electoral Commission warned him it could violate election bribery laws and invalidate the election's results in those constituencies. | [
"Union Jack",
"Electoral Commission",
"bribery",
"United Kingdom general election",
"Tories",
"balloon",
"Banksy"
] |
|
14871_T | Girl with Balloon | In the context of Girl with Balloon, analyze the Shredding at auction of the History. |
On October 5, 2018, a 2006 framed copy of the artwork was auctioned at Sotheby's selling for £1,042,000 – a record high for the artist. Moments after the closing bid, the artwork began to self-destruct by means of a hidden mechanical paper shredder that Banksy had built into the frame bottom. Only the lower half shredded. Banksy released an image of the shredding on Instagram with the words "Going, going gone..". Sotheby's said "We have not experienced this situation in the past where a painting spontaneously shredded", leading some market watchers to speculate the remains of the painting will be worth even more. Banksy released a video of the shredding and how the shredder was installed into the frame in case the picture ever went up for auction.The woman who won the bidding at the auction decided to go through with the purchase. The partially shredded work has been given a new title, Love Is in the Bin, and was authenticated by Banksy's authentication body Pest Control. Sotheby's released a statement that called it "the first artwork in history to have been created live during an auction." Love is in the Bin was itself sold at Sotheby's for £18 million in October 2021. | [
"Love is in the Bin",
"Sotheby's",
"Banksy"
] |
|
14871_NT | Girl with Balloon | In the context of this artwork, analyze the Shredding at auction of the History. |
On October 5, 2018, a 2006 framed copy of the artwork was auctioned at Sotheby's selling for £1,042,000 – a record high for the artist. Moments after the closing bid, the artwork began to self-destruct by means of a hidden mechanical paper shredder that Banksy had built into the frame bottom. Only the lower half shredded. Banksy released an image of the shredding on Instagram with the words "Going, going gone..". Sotheby's said "We have not experienced this situation in the past where a painting spontaneously shredded", leading some market watchers to speculate the remains of the painting will be worth even more. Banksy released a video of the shredding and how the shredder was installed into the frame in case the picture ever went up for auction.The woman who won the bidding at the auction decided to go through with the purchase. The partially shredded work has been given a new title, Love Is in the Bin, and was authenticated by Banksy's authentication body Pest Control. Sotheby's released a statement that called it "the first artwork in history to have been created live during an auction." Love is in the Bin was itself sold at Sotheby's for £18 million in October 2021. | [
"Love is in the Bin",
"Sotheby's",
"Banksy"
] |
|
14872_T | The Fourth Sign | In The Fourth Sign, how is the abstract discussed? | The Fourth Sign is a public artwork by the American artist Tony Smith situated on the lawn outside the Art Building at the University of Hawaiʻi at Mānoa, in Honolulu, Hawaii. The large sculpture is fabricated in steel, painted black, and signifies the fourth Zodiac sign, which is Cancer (a crab). The sculpture was commissioned by the Hawaii State Foundation on Culture and the Arts in accordance with the Art in State Buildings Law. Since its installation, many have seen in its shape as a reference to the legs and claws of a crab. | [
"commissioned",
"Tony Smith",
"Cancer",
"Hawaii State Foundation on Culture and the Arts",
"Honolulu",
"Zodiac sign",
"public art",
"Honolulu, Hawaii",
"University of Hawaiʻi at Mānoa"
] |
|
14872_NT | The Fourth Sign | In this artwork, how is the abstract discussed? | The Fourth Sign is a public artwork by the American artist Tony Smith situated on the lawn outside the Art Building at the University of Hawaiʻi at Mānoa, in Honolulu, Hawaii. The large sculpture is fabricated in steel, painted black, and signifies the fourth Zodiac sign, which is Cancer (a crab). The sculpture was commissioned by the Hawaii State Foundation on Culture and the Arts in accordance with the Art in State Buildings Law. Since its installation, many have seen in its shape as a reference to the legs and claws of a crab. | [
"commissioned",
"Tony Smith",
"Cancer",
"Hawaii State Foundation on Culture and the Arts",
"Honolulu",
"Zodiac sign",
"public art",
"Honolulu, Hawaii",
"University of Hawaiʻi at Mānoa"
] |
|
14873_T | The Fourth Sign | Focus on The Fourth Sign and explore the Description. | The Fourth Sign consists of nine straight sections, fused end to end to form a broken circle. Three horizontal sections rest on the ground. Using the orientation of a clock face, 12 o'clock falls at the center of one of these sections, while the other two converge on 6 o'clock, where the break occurs. Connecting these sections are two broad arches, each composed of three sections. In this way the sculpture defines its own "interior" and "exterior", and while open to the sky offers a startling sense of safe haven and enclosure.
In 1978, the Honolulu-based artist and professor of religion, John Charlot, described how quickly the university community made Smith’s sculpture its own:
When he returns to Hawaii, Smith will see students draping their young bodies over his sculpture and nestle within the circle of its arms, just as they bathe under the pool under Manoa falls. This is the local reaction to what, however awesome, is beautiful and a gift. | [
"Honolulu"
] |
|
14873_NT | The Fourth Sign | Focus on this artwork and explore the Description. | The Fourth Sign consists of nine straight sections, fused end to end to form a broken circle. Three horizontal sections rest on the ground. Using the orientation of a clock face, 12 o'clock falls at the center of one of these sections, while the other two converge on 6 o'clock, where the break occurs. Connecting these sections are two broad arches, each composed of three sections. In this way the sculpture defines its own "interior" and "exterior", and while open to the sky offers a startling sense of safe haven and enclosure.
In 1978, the Honolulu-based artist and professor of religion, John Charlot, described how quickly the university community made Smith’s sculpture its own:
When he returns to Hawaii, Smith will see students draping their young bodies over his sculpture and nestle within the circle of its arms, just as they bathe under the pool under Manoa falls. This is the local reaction to what, however awesome, is beautiful and a gift. | [
"Honolulu"
] |
|
14874_T | The Fourth Sign | Focus on The Fourth Sign and explain the History. | Smith visited Hawaii in the summer of 1969 by university invitation to teach a sculpture course. He contemplated two other projects for the campus (Haole Crater and Hubris), but only The Fourth Sign was realized.In 1976, the Hawaii State Foundation on Culture and the Arts commissioned Mamoru Sato, a professor of art at the university and a sculptor in his own right, to oversee the fabrication of the sculpture. The work was carried out by the Hawaii Welding Company, Inc. at a total cost of $65,000. The National Endowment for the Arts Visual Arts Program supported fabrication of The Fourth Sign with a $20,000 grant.The edition is limited to this single piece, which was completed in 1977. | [
"commissioned",
"National Endowment for the Arts",
"Mamoru Sato",
"Hawaii State Foundation on Culture and the Arts"
] |
|
14874_NT | The Fourth Sign | Focus on this artwork and explain the History. | Smith visited Hawaii in the summer of 1969 by university invitation to teach a sculpture course. He contemplated two other projects for the campus (Haole Crater and Hubris), but only The Fourth Sign was realized.In 1976, the Hawaii State Foundation on Culture and the Arts commissioned Mamoru Sato, a professor of art at the university and a sculptor in his own right, to oversee the fabrication of the sculpture. The work was carried out by the Hawaii Welding Company, Inc. at a total cost of $65,000. The National Endowment for the Arts Visual Arts Program supported fabrication of The Fourth Sign with a $20,000 grant.The edition is limited to this single piece, which was completed in 1977. | [
"commissioned",
"National Endowment for the Arts",
"Mamoru Sato",
"Hawaii State Foundation on Culture and the Arts"
] |
|
14875_T | The Fourth Sign | Explore the Condition of this artwork, The Fourth Sign. | In 1998 it was observed that "virtually all of the outdoor pieces were in stages of disrepair – from neglect to vandalism." The sculpture was surveyed in 1994 as part of the Save Outdoor Sculpture! project, but no record of its condition exists. | [
"Save Outdoor Sculpture!"
] |
|
14875_NT | The Fourth Sign | Explore the Condition of this artwork. | In 1998 it was observed that "virtually all of the outdoor pieces were in stages of disrepair – from neglect to vandalism." The sculpture was surveyed in 1994 as part of the Save Outdoor Sculpture! project, but no record of its condition exists. | [
"Save Outdoor Sculpture!"
] |
|
14876_T | Artillery (Roger de La Fresnaye) | Focus on Artillery (Roger de La Fresnaye) and discuss the abstract. | Artillery is an oil on canvas painting by French artist Roger de La Fresnaye, from 1911. It depicts French soldiers, artillerymen, a French officer, and a field gun (an artillery piece) under tow. The work is in the collection of the Metropolitan Museum of Art, in New York. | [
"Metropolitan Museum of Art",
"artillery piece",
"Roger de La Fresnaye",
"field gun",
"Artillery",
"New York"
] |
|
14876_NT | Artillery (Roger de La Fresnaye) | Focus on this artwork and discuss the abstract. | Artillery is an oil on canvas painting by French artist Roger de La Fresnaye, from 1911. It depicts French soldiers, artillerymen, a French officer, and a field gun (an artillery piece) under tow. The work is in the collection of the Metropolitan Museum of Art, in New York. | [
"Metropolitan Museum of Art",
"artillery piece",
"Roger de La Fresnaye",
"field gun",
"Artillery",
"New York"
] |
|
14877_T | Madonna of the Caves | How does Madonna of the Caves elucidate its abstract? | The Madonna of the Caves (Italian – Madonna delle Cave) is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence.It is named after a stone quarry in the right-hand background, where workers are carving out a capital, a slab, part of a column shaft and a sarcophagus, perhaps alluding to Christ future flagellation and burial. The rock on which the Virgin sits may also be intended to represent the summit of Calvary, whilst in the left-hand background are a shepherd and his flock, farmers gathering hay from a field, a castle and a road leading to a distant walled city. Fiocco argues that the background is based on Carrara whilst Kristeller instead identifies it with Monte Bolca between Vicenza and Verona. Some interpret the shift from dark to light moving from right to left across the background as an allegory of redemption through Christ and the Church, with Mary as the mother of both. | [
"tempera",
"Uffizi Gallery",
"Monte Bolca",
"Calvary",
"Carrara",
"Florence",
"Verona",
"Vicenza",
"Andrea Mantegna",
"Uffizi"
] |
|
14877_NT | Madonna of the Caves | How does this artwork elucidate its abstract? | The Madonna of the Caves (Italian – Madonna delle Cave) is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence.It is named after a stone quarry in the right-hand background, where workers are carving out a capital, a slab, part of a column shaft and a sarcophagus, perhaps alluding to Christ future flagellation and burial. The rock on which the Virgin sits may also be intended to represent the summit of Calvary, whilst in the left-hand background are a shepherd and his flock, farmers gathering hay from a field, a castle and a road leading to a distant walled city. Fiocco argues that the background is based on Carrara whilst Kristeller instead identifies it with Monte Bolca between Vicenza and Verona. Some interpret the shift from dark to light moving from right to left across the background as an allegory of redemption through Christ and the Church, with Mary as the mother of both. | [
"tempera",
"Uffizi Gallery",
"Monte Bolca",
"Calvary",
"Carrara",
"Florence",
"Verona",
"Vicenza",
"Andrea Mantegna",
"Uffizi"
] |
|
14878_T | Madonna of the Caves | Focus on Madonna of the Caves and analyze the Dating. | Its dating to 1488–1490 is based on Giorgio Vasari's description of Francesco I de' Medici's collections, which attributes it to Mantegna's time in Rome. Some have linked it to a work commissioned from Mantegna by Lorenzo de' Medici and mentioned in a letter from Lorenzo. Other historians date it differently due to its style and figuration. However, Mantegna's re-use of certain themes like rocky backgrounds throughout his career makes it difficult to date uncertain works definitively. | [
"Giorgio Vasari",
"Lorenzo de' Medici",
"Francesco I de' Medici"
] |
|
14878_NT | Madonna of the Caves | Focus on this artwork and analyze the Dating. | Its dating to 1488–1490 is based on Giorgio Vasari's description of Francesco I de' Medici's collections, which attributes it to Mantegna's time in Rome. Some have linked it to a work commissioned from Mantegna by Lorenzo de' Medici and mentioned in a letter from Lorenzo. Other historians date it differently due to its style and figuration. However, Mantegna's re-use of certain themes like rocky backgrounds throughout his career makes it difficult to date uncertain works definitively. | [
"Giorgio Vasari",
"Lorenzo de' Medici",
"Francesco I de' Medici"
] |
|
14879_T | Human Fragility (painting) | In Human Fragility (painting), how is the abstract discussed? | Human Fragility is an oil-on-canvas painting of 1656 by the Italian artist Salvator Rosa. It was painted during a plague in Naples; many of Rosa's relatives, including his son, brother, and sister, died. The painting is now in the Fitzwilliam Museum, Cambridge.
The work depicts figures enacting an allegory: the seated woman is said to be Lucrezia, Rosa's mistress, and the young boy his son, wrist clenched by Death. The angel of death is manipulating the boy's hand to write "Conceptio Culpa, Nasci Pena, Labor Vita, Necesse Mori – 'Conception is a sin, Birth is pain, Life is toil, Death a necessity." The canvas is adorned with many foreboding indicia and memento mori(s). | [
"allegory",
"angel of death",
"Fitzwilliam Museum",
"Cambridge",
"memento mori",
"oil-on-canvas",
"plague in Naples",
"Salvator Rosa"
] |
|
14879_NT | Human Fragility (painting) | In this artwork, how is the abstract discussed? | Human Fragility is an oil-on-canvas painting of 1656 by the Italian artist Salvator Rosa. It was painted during a plague in Naples; many of Rosa's relatives, including his son, brother, and sister, died. The painting is now in the Fitzwilliam Museum, Cambridge.
The work depicts figures enacting an allegory: the seated woman is said to be Lucrezia, Rosa's mistress, and the young boy his son, wrist clenched by Death. The angel of death is manipulating the boy's hand to write "Conceptio Culpa, Nasci Pena, Labor Vita, Necesse Mori – 'Conception is a sin, Birth is pain, Life is toil, Death a necessity." The canvas is adorned with many foreboding indicia and memento mori(s). | [
"allegory",
"angel of death",
"Fitzwilliam Museum",
"Cambridge",
"memento mori",
"oil-on-canvas",
"plague in Naples",
"Salvator Rosa"
] |
|
14880_T | The Magpie (Monet) | Focus on The Magpie (Monet) and explore the abstract. | The Magpie (French: La Pie) is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Monet's patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet's girlfriend Camille Doncieux and their newborn son, allowing Monet to paint in relative comfort, surrounded by his family.
Between 1867 and 1893, Monet and fellow Impressionists Alfred Sisley and Camille Pissarro painted hundreds of landscapes illustrating the natural effect of snow (effet de neige). Similar winter paintings of lesser quantity were produced by Pierre-Auguste Renoir, Gustave Caillebotte, and Paul Gauguin. Art historians believe that a series of severe winters in France contributed to an increase in the number of winter landscapes produced by Impressionists.The Magpie is one of approximately 140 snowscapes produced by Monet. His first snowscape, A Cart on the Snowy Road at Honfleur, was painted sometime in either 1865 or 1867, followed by a notable series of snowscapes in the same year, beginning with The Road in Front of Saint-Simeon Farm in Winter. The Magpie was completed in 1869 and is Monet's largest winter painting. It was followed by The Red Cape (1869–1871), the only known winter painting featuring Camille Doncieux.The canvas of The Magpie depicts a solitary black magpie perched on a gate formed in a wattle fence, as the light of the sun shines upon freshly fallen snow creating blue shadows. The painting features one of the first examples of Monet's use of colored shadows, which would later become associated with the Impressionist movement. Monet and the Impressionists used colored shadows to represent the actual, changing conditions of light and shadow as seen in nature, challenging the academic convention of painting shadows black. This subjective theory of color perception was introduced to the art world through the works of Johann Wolfgang von Goethe and Michel Eugène Chevreul earlier in the century.
At the time, Monet's innovative use of light and color led to its rejection by the Paris Salon of 1869. Today, art historians classify The Magpie as one of Monet's best snowscape paintings. The painting was privately held until the Musée d'Orsay acquired it in 1984; it is considered one of the most popular paintings in their permanent collection. | [
"fence",
"Paris Salon",
"Impressionist",
"Salon",
"The Road in Front of Saint-Simeon Farm in Winter",
"Normandy",
"A Cart on the Snowy Road at Honfleur",
"Camille Doncieux",
"W",
"Johann Wolfgang von Goethe",
"wattle",
"Camille Pissarro",
"Étretat",
"Honfleur",
"Musée d'Orsay",
"Gustave Caillebotte",
"Paul Gauguin",
"art world",
"Claude Monet",
"Paris",
"magpie",
"Magpie",
"The Red Cape",
"Alfred Sisley",
"Michel Eugène Chevreul",
"Pierre-Auguste Renoir",
"colored shadow"
] |
|
14880_NT | The Magpie (Monet) | Focus on this artwork and explore the abstract. | The Magpie (French: La Pie) is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Monet's patron, Louis Joachim Gaudibert, helped arrange a house in Étretat for Monet's girlfriend Camille Doncieux and their newborn son, allowing Monet to paint in relative comfort, surrounded by his family.
Between 1867 and 1893, Monet and fellow Impressionists Alfred Sisley and Camille Pissarro painted hundreds of landscapes illustrating the natural effect of snow (effet de neige). Similar winter paintings of lesser quantity were produced by Pierre-Auguste Renoir, Gustave Caillebotte, and Paul Gauguin. Art historians believe that a series of severe winters in France contributed to an increase in the number of winter landscapes produced by Impressionists.The Magpie is one of approximately 140 snowscapes produced by Monet. His first snowscape, A Cart on the Snowy Road at Honfleur, was painted sometime in either 1865 or 1867, followed by a notable series of snowscapes in the same year, beginning with The Road in Front of Saint-Simeon Farm in Winter. The Magpie was completed in 1869 and is Monet's largest winter painting. It was followed by The Red Cape (1869–1871), the only known winter painting featuring Camille Doncieux.The canvas of The Magpie depicts a solitary black magpie perched on a gate formed in a wattle fence, as the light of the sun shines upon freshly fallen snow creating blue shadows. The painting features one of the first examples of Monet's use of colored shadows, which would later become associated with the Impressionist movement. Monet and the Impressionists used colored shadows to represent the actual, changing conditions of light and shadow as seen in nature, challenging the academic convention of painting shadows black. This subjective theory of color perception was introduced to the art world through the works of Johann Wolfgang von Goethe and Michel Eugène Chevreul earlier in the century.
At the time, Monet's innovative use of light and color led to its rejection by the Paris Salon of 1869. Today, art historians classify The Magpie as one of Monet's best snowscape paintings. The painting was privately held until the Musée d'Orsay acquired it in 1984; it is considered one of the most popular paintings in their permanent collection. | [
"fence",
"Paris Salon",
"Impressionist",
"Salon",
"The Road in Front of Saint-Simeon Farm in Winter",
"Normandy",
"A Cart on the Snowy Road at Honfleur",
"Camille Doncieux",
"W",
"Johann Wolfgang von Goethe",
"wattle",
"Camille Pissarro",
"Étretat",
"Honfleur",
"Musée d'Orsay",
"Gustave Caillebotte",
"Paul Gauguin",
"art world",
"Claude Monet",
"Paris",
"magpie",
"Magpie",
"The Red Cape",
"Alfred Sisley",
"Michel Eugène Chevreul",
"Pierre-Auguste Renoir",
"colored shadow"
] |
|
14881_T | The Magpie (Monet) | Focus on The Magpie (Monet) and explain the Background. | In the late 1850s, French landscape painter Eugène Boudin (1824–1898) introduced Monet (1840–1926) to the art of painting en plein air—"in the open air", using natural light. The invention of the collapsible metal paint tube (1841) and portable easel brought painting, formerly confined to studios, into the outdoors. Boudin and Monet spent the summer of 1858 painting nature together. Like Boudin, Monet came to prefer painting outdoors rather than in a studio, the convention of the time. "If I have become a painter," Monet said, "I owe it to Boudin."
The landscape paintings of Dutch painter Johan Barthold Jongkind (1819–1891) influenced both Boudin and Monet and contributed to the development of early Impressionism. After meeting Jongkind in Sainte-Adresse in 1862, Monet began to cultivate an interest in Jongkind's perspective on the changing conditions of the landscape. From Jongkind, Monet learned to substitute optical color for local color. "Complementing the teaching I received from Boudin, Jongkind was from that moment my true master," Monet later reminisced. "It was he who completed the education of my eye". This new way of seeing, a shift from a conceptual to a perceptual approach, formed the basis for Monet's Haystacks (1890-1891), a series of 25 works showing the effects of dynamic atmospheric conditions over time on a single haystack motif.
Gustave Courbet (1819–1877) had been painting effets de neige, "snow effects", from as early as 1856, in a landscape style preferred by Japanese, Dutch, and Flemish artists. Influenced by Courbet, Monet painted his first snowscape, A Cart on the Snowy Road at Honfleur (1865 or 1867). A journalist observed:We have only seen him once. It was in the winter, during several days of snow, when communications were virtually at a standstill. It was cold enough to split stones. We noticed a foot-warmer, then an easel, then a man, swathed in three coats, his hands in gloves, his face half-frozen. It was M. Monet, studying a snow effect.
In A Cart on the Snowy Road at Honfleur, Monet avoided the usual hunting genre and motifs used by Courbet. Instead, he focused on light and color in a new way by reducing the number of shades. Monet chose an earth tone color scheme and increased the number of shades of blue to highlight reflections on the snow. Monet followed A Cart on the Snowy Road at Honfleur with a notable series of snowscapes in 1867 including Road by Saint-Simeon Farm in Winter. | [
"Gustave Courbet",
"metal paint tube",
"A Cart on the Snowy Road at Honfleur",
"Impressionism",
"W",
"haystack",
"Haystacks",
"Sainte-Adresse",
"Honfleur",
"Eugène Boudin",
"earth tone",
"en plein air",
"Hay",
"motif",
"local color",
"portable easel",
"easel",
"studio",
"Road by Saint-Simeon Farm in Winter",
"Johan Barthold Jongkind"
] |
|
14881_NT | The Magpie (Monet) | Focus on this artwork and explain the Background. | In the late 1850s, French landscape painter Eugène Boudin (1824–1898) introduced Monet (1840–1926) to the art of painting en plein air—"in the open air", using natural light. The invention of the collapsible metal paint tube (1841) and portable easel brought painting, formerly confined to studios, into the outdoors. Boudin and Monet spent the summer of 1858 painting nature together. Like Boudin, Monet came to prefer painting outdoors rather than in a studio, the convention of the time. "If I have become a painter," Monet said, "I owe it to Boudin."
The landscape paintings of Dutch painter Johan Barthold Jongkind (1819–1891) influenced both Boudin and Monet and contributed to the development of early Impressionism. After meeting Jongkind in Sainte-Adresse in 1862, Monet began to cultivate an interest in Jongkind's perspective on the changing conditions of the landscape. From Jongkind, Monet learned to substitute optical color for local color. "Complementing the teaching I received from Boudin, Jongkind was from that moment my true master," Monet later reminisced. "It was he who completed the education of my eye". This new way of seeing, a shift from a conceptual to a perceptual approach, formed the basis for Monet's Haystacks (1890-1891), a series of 25 works showing the effects of dynamic atmospheric conditions over time on a single haystack motif.
Gustave Courbet (1819–1877) had been painting effets de neige, "snow effects", from as early as 1856, in a landscape style preferred by Japanese, Dutch, and Flemish artists. Influenced by Courbet, Monet painted his first snowscape, A Cart on the Snowy Road at Honfleur (1865 or 1867). A journalist observed:We have only seen him once. It was in the winter, during several days of snow, when communications were virtually at a standstill. It was cold enough to split stones. We noticed a foot-warmer, then an easel, then a man, swathed in three coats, his hands in gloves, his face half-frozen. It was M. Monet, studying a snow effect.
In A Cart on the Snowy Road at Honfleur, Monet avoided the usual hunting genre and motifs used by Courbet. Instead, he focused on light and color in a new way by reducing the number of shades. Monet chose an earth tone color scheme and increased the number of shades of blue to highlight reflections on the snow. Monet followed A Cart on the Snowy Road at Honfleur with a notable series of snowscapes in 1867 including Road by Saint-Simeon Farm in Winter. | [
"Gustave Courbet",
"metal paint tube",
"A Cart on the Snowy Road at Honfleur",
"Impressionism",
"W",
"haystack",
"Haystacks",
"Sainte-Adresse",
"Honfleur",
"Eugène Boudin",
"earth tone",
"en plein air",
"Hay",
"motif",
"local color",
"portable easel",
"easel",
"studio",
"Road by Saint-Simeon Farm in Winter",
"Johan Barthold Jongkind"
] |
|
14882_T | The Magpie (Monet) | Explore the First Étretat campaign of this artwork, The Magpie (Monet). | In 1867, Monet's girlfriend, Camille Doncieux (1847–1879), gave birth to their son Jean in Paris. Lacking money, Monet returned to his father's house in Sainte-Adresse and lived with his aunt, leaving Doncieux and their child in Paris. Monet married Doncieux in 1870. Mme. Louis Joachim Gaudibert, an art collector, became Monet's first patron. Gaudibert helped Monet rent a house in Étretat for Doncieux and Jean in late 1868. Recovering from an episode of depression, Monet joined Doncieux and Jean at the house in Étretat in October, with Doncieux in the role of muse and life model. By December, Monet was in great spirits, "surrounded by everything that I love", and began to focus on painting. In a letter to Frédéric Bazille (1841–1870), Monet wrote:I spend my time out in the open, on the shingle beach when the weather is bad or the fishing boats go out, or I go into the countryside which is very beautiful here, that I find perhaps still more charming in winter than in summer and, naturally I work all the time, and I believe that this year I am going to do some serious things.
Although he enjoyed living with Camille and Jean in Étretat, Monet preferred to paint alone in the countryside. He told Bazille:Don't you think that directly in nature and alone one does better?...I've always been of this mind, and what I do under these conditions has always been better. One is too much taken up with what one sees and hears in Paris, however firm one may be, and what I am painting here has at least the merit of not resembling anyone...because it will be simply the expression of what I shall have felt, I myself, personally.
During his time in Étretat, Monet completed three paintings of fishing boats, one of a rural road, and, sometime between late 1868 and January or February 1869, The Magpie (W 133). Painted five years before the first major Impressionist exhibition in 1874, The Magpie is one of Monet's 140 winter landscapes, the largest in its class. The exact location of the snow scene depicted in The Magpie is unknown. Ralph T. Coe proposed that Monet painted the scene near the Farm Saint-Siméon above the Seine estuary in Honfleur. | [
"Impressionist",
"Camille Doncieux",
"W",
"Étretat",
"Sainte-Adresse",
"Honfleur",
"Ralph T. Coe",
"Frédéric Bazille",
"Paris",
"Magpie"
] |
|
14882_NT | The Magpie (Monet) | Explore the First Étretat campaign of this artwork. | In 1867, Monet's girlfriend, Camille Doncieux (1847–1879), gave birth to their son Jean in Paris. Lacking money, Monet returned to his father's house in Sainte-Adresse and lived with his aunt, leaving Doncieux and their child in Paris. Monet married Doncieux in 1870. Mme. Louis Joachim Gaudibert, an art collector, became Monet's first patron. Gaudibert helped Monet rent a house in Étretat for Doncieux and Jean in late 1868. Recovering from an episode of depression, Monet joined Doncieux and Jean at the house in Étretat in October, with Doncieux in the role of muse and life model. By December, Monet was in great spirits, "surrounded by everything that I love", and began to focus on painting. In a letter to Frédéric Bazille (1841–1870), Monet wrote:I spend my time out in the open, on the shingle beach when the weather is bad or the fishing boats go out, or I go into the countryside which is very beautiful here, that I find perhaps still more charming in winter than in summer and, naturally I work all the time, and I believe that this year I am going to do some serious things.
Although he enjoyed living with Camille and Jean in Étretat, Monet preferred to paint alone in the countryside. He told Bazille:Don't you think that directly in nature and alone one does better?...I've always been of this mind, and what I do under these conditions has always been better. One is too much taken up with what one sees and hears in Paris, however firm one may be, and what I am painting here has at least the merit of not resembling anyone...because it will be simply the expression of what I shall have felt, I myself, personally.
During his time in Étretat, Monet completed three paintings of fishing boats, one of a rural road, and, sometime between late 1868 and January or February 1869, The Magpie (W 133). Painted five years before the first major Impressionist exhibition in 1874, The Magpie is one of Monet's 140 winter landscapes, the largest in its class. The exact location of the snow scene depicted in The Magpie is unknown. Ralph T. Coe proposed that Monet painted the scene near the Farm Saint-Siméon above the Seine estuary in Honfleur. | [
"Impressionist",
"Camille Doncieux",
"W",
"Étretat",
"Sainte-Adresse",
"Honfleur",
"Ralph T. Coe",
"Frédéric Bazille",
"Paris",
"Magpie"
] |
|
14883_T | The Magpie (Monet) | Focus on The Magpie (Monet) and discuss the Rejection by the Salon. | Monet submitted The Magpie and Fishing Boats at Sea (W 126) to the Salon of 1869. Both paintings were rejected in April. Critic Paul Richard said that the jurors rejected the painting as "too common and too coarse". Monet's experimental use of color and radical departure from the descriptive, academic style surprised the public and probably contributed to its dismissal by the jury. Monet told French novelist Arsène Houssaye (1815–1896), "This rejection has taken the bread from my mouth, and in spite of my low prices, collectors and dealers turn their backs on me." A century later, The Magpie was acquired by the Musée d'Orsay in 1984. It became one of the most popular paintings in their permanent collection. | [
"Salon",
"W",
"Arsène Houssaye",
"Musée d'Orsay",
"Magpie"
] |
|
14883_NT | The Magpie (Monet) | Focus on this artwork and discuss the Rejection by the Salon. | Monet submitted The Magpie and Fishing Boats at Sea (W 126) to the Salon of 1869. Both paintings were rejected in April. Critic Paul Richard said that the jurors rejected the painting as "too common and too coarse". Monet's experimental use of color and radical departure from the descriptive, academic style surprised the public and probably contributed to its dismissal by the jury. Monet told French novelist Arsène Houssaye (1815–1896), "This rejection has taken the bread from my mouth, and in spite of my low prices, collectors and dealers turn their backs on me." A century later, The Magpie was acquired by the Musée d'Orsay in 1984. It became one of the most popular paintings in their permanent collection. | [
"Salon",
"W",
"Arsène Houssaye",
"Musée d'Orsay",
"Magpie"
] |
|
14884_T | The Magpie (Monet) | How does The Magpie (Monet) elucidate its Critical analysis? | In the painting, a black magpie is perched on a gate in a wattle fence as sunlight falls on fresh white snow, creating shadows. With no human figures present, the bird on the gate becomes the focus. Michael Howard of Manchester Metropolitan University called the painting "an extraordinary evocation of the snow-bound chill of a late winter's afternoon. The blueness of the long shadows creates a delicate contrast with the creamy whites of the sky and landscape". Curator Lynn Orr, then of the Fine Arts Museums of San Francisco, noted Monet's interest in the changing light that depended on the hour and the vagaries of the atmosphere:
Unusual weather phenomena, such as snow and mist, fascinated Monet because they altered the chromatic appearance of familiar topography. In such paintings as The Magpie, one of Monet's early masterpieces, form dissolves under the combination of a greatly restricted color range, aerial perspective, and broken brushwork. A virtuoso color performance, the painting is an essay on the variations of white perceptible in the reflection of sun on crisp new snow. Wonderfully abstract passages of flat color, such as the strong violet shades along the fence, are divorced from the spatial realities of the objects portrayed.
The Magpie is an early example of Monet's investigation of colored shadows. In this piece, Monet makes use of the complementary colors of blue and yellow. The shadow produced by yellow sunlight shining on the snow gives the impression of a blue-violet color, the effect of simultaneous contrast. French Impressionists popularized the use of colored shadows, which went against the artistic convention of portraying shadows by darkening and desaturating the color. Colored shadows can be directly observed in nature, particularly in the type of snow scene presented by Monet. In his study of Impressionism, art historian John Rewald observed that artists used snowscapes to "investigate the problem of shadows". The problem is summarized by Fred S. Kleiner in Gardner's Art Through the Ages:After scrutinizing the effects of light and color on forms, the Impressionists concluded that local color—an object's true color in white light— becomes modified by the quality of the light shining on it, by reflections from other objects, and by the effects juxtaposed colors produce. Shadows do not appear gray or black, as many earlier painters thought, but are composed of colors modified by reflections or other conditions. Using various colors and short choppy brush strokes, Monet was able to catch accurately the vibrating quality of light.
Monet's use of colored shadows arose from color theories that were popular in the 19th century. German scientist Johann Wolfgang von Goethe (1749–1832) published one of the first modern descriptions of colored shadows in his Theory of Colours (1810). Goethe attempted to challenge the theory of color propounded by Isaac Newton (1643–1727) in his treatise on Opticks (1704). Goethe raised questions about subjective and objective color theory and perception, but his intuitive, non-mathematical approach was criticized as unscientific, and his attack on Newton was dismissed as a polemic. The questions Goethe raised about color persisted. Thirty years later, French chemist Michel Eugène Chevreul (1786–1889) expanded on Goethe's theory with The Principles of Harmony and Contrast of Colors (1839). Goethe and Chevreul's colour theory greatly influenced the art world. It is generally thought that Vincent van Gogh, Camille Pissarro and Monet incorporated elements of these theories into their work. Georges Seurat (1859–1891) came to prominence in 1886 with his technique of chromatic division, a style influenced by the color scheme theories of Chevreul and American physicist Ogden Rood (1831–1902). | [
"Georges Seurat",
"fence",
"Opticks",
"Impressionist",
"Impressionism",
"John Rewald",
"complementary color",
"W",
"Johann Wolfgang von Goethe",
"wattle",
"Isaac Newton",
"Camille Pissarro",
"Manchester Metropolitan University",
"chromatic division",
"simultaneous contrast",
"desaturating",
"Gardner's Art Through the Ages",
"art world",
"Vincent van Gogh",
"local color",
"Theory of Colours",
"magpie",
"Magpie",
"Fine Arts Museums of San Francisco",
"Ogden Rood",
"Michel Eugène Chevreul",
"colored shadow"
] |
|
14884_NT | The Magpie (Monet) | How does this artwork elucidate its Critical analysis? | In the painting, a black magpie is perched on a gate in a wattle fence as sunlight falls on fresh white snow, creating shadows. With no human figures present, the bird on the gate becomes the focus. Michael Howard of Manchester Metropolitan University called the painting "an extraordinary evocation of the snow-bound chill of a late winter's afternoon. The blueness of the long shadows creates a delicate contrast with the creamy whites of the sky and landscape". Curator Lynn Orr, then of the Fine Arts Museums of San Francisco, noted Monet's interest in the changing light that depended on the hour and the vagaries of the atmosphere:
Unusual weather phenomena, such as snow and mist, fascinated Monet because they altered the chromatic appearance of familiar topography. In such paintings as The Magpie, one of Monet's early masterpieces, form dissolves under the combination of a greatly restricted color range, aerial perspective, and broken brushwork. A virtuoso color performance, the painting is an essay on the variations of white perceptible in the reflection of sun on crisp new snow. Wonderfully abstract passages of flat color, such as the strong violet shades along the fence, are divorced from the spatial realities of the objects portrayed.
The Magpie is an early example of Monet's investigation of colored shadows. In this piece, Monet makes use of the complementary colors of blue and yellow. The shadow produced by yellow sunlight shining on the snow gives the impression of a blue-violet color, the effect of simultaneous contrast. French Impressionists popularized the use of colored shadows, which went against the artistic convention of portraying shadows by darkening and desaturating the color. Colored shadows can be directly observed in nature, particularly in the type of snow scene presented by Monet. In his study of Impressionism, art historian John Rewald observed that artists used snowscapes to "investigate the problem of shadows". The problem is summarized by Fred S. Kleiner in Gardner's Art Through the Ages:After scrutinizing the effects of light and color on forms, the Impressionists concluded that local color—an object's true color in white light— becomes modified by the quality of the light shining on it, by reflections from other objects, and by the effects juxtaposed colors produce. Shadows do not appear gray or black, as many earlier painters thought, but are composed of colors modified by reflections or other conditions. Using various colors and short choppy brush strokes, Monet was able to catch accurately the vibrating quality of light.
Monet's use of colored shadows arose from color theories that were popular in the 19th century. German scientist Johann Wolfgang von Goethe (1749–1832) published one of the first modern descriptions of colored shadows in his Theory of Colours (1810). Goethe attempted to challenge the theory of color propounded by Isaac Newton (1643–1727) in his treatise on Opticks (1704). Goethe raised questions about subjective and objective color theory and perception, but his intuitive, non-mathematical approach was criticized as unscientific, and his attack on Newton was dismissed as a polemic. The questions Goethe raised about color persisted. Thirty years later, French chemist Michel Eugène Chevreul (1786–1889) expanded on Goethe's theory with The Principles of Harmony and Contrast of Colors (1839). Goethe and Chevreul's colour theory greatly influenced the art world. It is generally thought that Vincent van Gogh, Camille Pissarro and Monet incorporated elements of these theories into their work. Georges Seurat (1859–1891) came to prominence in 1886 with his technique of chromatic division, a style influenced by the color scheme theories of Chevreul and American physicist Ogden Rood (1831–1902). | [
"Georges Seurat",
"fence",
"Opticks",
"Impressionist",
"Impressionism",
"John Rewald",
"complementary color",
"W",
"Johann Wolfgang von Goethe",
"wattle",
"Isaac Newton",
"Camille Pissarro",
"Manchester Metropolitan University",
"chromatic division",
"simultaneous contrast",
"desaturating",
"Gardner's Art Through the Ages",
"art world",
"Vincent van Gogh",
"local color",
"Theory of Colours",
"magpie",
"Magpie",
"Fine Arts Museums of San Francisco",
"Ogden Rood",
"Michel Eugène Chevreul",
"colored shadow"
] |
|
14885_T | The Magpie (Monet) | Focus on The Magpie (Monet) and analyze the Related work. | Monet's series of 11 paintings depicting The Bridge at Argenteuil (1874) also explored the use of colored shadows in its portrayal of the blue and purple shadow on the top portion of the bridge. Over the years, Monet became more and more obsessed with color and light. When his wife was dying in September 1879, Monet painted her in Camille Monet on Her Deathbed (1879), noting the "blue, yellow, grey tones". Monet told his friend, French statesman Georges Clemenceau (1841–1929), that he spent the time "focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face." Camille died from cancer at the age of 32. After her death, Monet largely ceased painting people, focusing instead on natural landscapes. Monet later returned to painting snow and colored shadows with Grainstacks Snow Effect (1891). | [
"W",
"Camille Monet on Her Deathbed",
"Grainstacks Snow Effect",
"Georges Clemenceau",
"colored shadow"
] |
|
14885_NT | The Magpie (Monet) | Focus on this artwork and analyze the Related work. | Monet's series of 11 paintings depicting The Bridge at Argenteuil (1874) also explored the use of colored shadows in its portrayal of the blue and purple shadow on the top portion of the bridge. Over the years, Monet became more and more obsessed with color and light. When his wife was dying in September 1879, Monet painted her in Camille Monet on Her Deathbed (1879), noting the "blue, yellow, grey tones". Monet told his friend, French statesman Georges Clemenceau (1841–1929), that he spent the time "focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face." Camille died from cancer at the age of 32. After her death, Monet largely ceased painting people, focusing instead on natural landscapes. Monet later returned to painting snow and colored shadows with Grainstacks Snow Effect (1891). | [
"W",
"Camille Monet on Her Deathbed",
"Grainstacks Snow Effect",
"Georges Clemenceau",
"colored shadow"
] |
|
14886_T | The Magpie (Monet) | In The Magpie (Monet), how is the Derivative work discussed? | In honor of the 150th anniversary of Monet's birth, the Principality of Monaco issued a stamp of The Magpie in 1990, designed by French engraver Pierre Albuisson.French design studio Les 84 created a 3D version of The Magpie for the 2010–2011 Monet exhibition at the Galeries nationales du Grand Palais. | [
"Pierre Albuisson",
"Galeries nationales du Grand Palais",
"Grand Palais",
"Monaco",
"Magpie",
"studio"
] |
|
14886_NT | The Magpie (Monet) | In this artwork, how is the Derivative work discussed? | In honor of the 150th anniversary of Monet's birth, the Principality of Monaco issued a stamp of The Magpie in 1990, designed by French engraver Pierre Albuisson.French design studio Les 84 created a 3D version of The Magpie for the 2010–2011 Monet exhibition at the Galeries nationales du Grand Palais. | [
"Pierre Albuisson",
"Galeries nationales du Grand Palais",
"Grand Palais",
"Monaco",
"Magpie",
"studio"
] |
|
14887_T | The Magpie (Monet) | Focus on The Magpie (Monet) and explore the Provenance. | Thor Carlander collection, Paris (1918)
Durand-Ruel collection, Paris (1941)
Guerlain collection, Paris (1946)
Louvre, Paris (1984)
Musée d'Orsay, Paris (1984) | [
"Louvre",
"Durand-Ruel collection",
"Musée d'Orsay",
"Paris"
] |
|
14887_NT | The Magpie (Monet) | Focus on this artwork and explore the Provenance. | Thor Carlander collection, Paris (1918)
Durand-Ruel collection, Paris (1941)
Guerlain collection, Paris (1946)
Louvre, Paris (1984)
Musée d'Orsay, Paris (1984) | [
"Louvre",
"Durand-Ruel collection",
"Musée d'Orsay",
"Paris"
] |
|
14888_T | Road with Cypress and Star | Focus on Road with Cypress and Star and explain the abstract. | Road with Cypress and Star (Dutch: Cypres bij sterrennacht), also known as Country Road in Provence by Night, is an 1890 oil-on-canvas painting by Dutch post-Impressionist painter Vincent van Gogh. It is the last painting he made in Saint-Rémy-de-Provence, France.
The painting is part of the large van Gogh collection of the Kröller-Müller Museum, located in the Hoge Veluwe National Park at Otterlo in the Netherlands. | [
"post-Impressionist",
"Saint-Rémy-de-Provence",
"Hoge Veluwe National Park",
"Kröller-Müller Museum",
"Netherlands",
"Vincent van Gogh",
"Otterlo",
"Cypress"
] |
|
14888_NT | Road with Cypress and Star | Focus on this artwork and explain the abstract. | Road with Cypress and Star (Dutch: Cypres bij sterrennacht), also known as Country Road in Provence by Night, is an 1890 oil-on-canvas painting by Dutch post-Impressionist painter Vincent van Gogh. It is the last painting he made in Saint-Rémy-de-Provence, France.
The painting is part of the large van Gogh collection of the Kröller-Müller Museum, located in the Hoge Veluwe National Park at Otterlo in the Netherlands. | [
"post-Impressionist",
"Saint-Rémy-de-Provence",
"Hoge Veluwe National Park",
"Kröller-Müller Museum",
"Netherlands",
"Vincent van Gogh",
"Otterlo",
"Cypress"
] |
|
14889_T | Road with Cypress and Star | Explore the Production and influences of this artwork, Road with Cypress and Star. | Road with Cypress and Star was painted in May 1890. In an earlier letter to his brother Theo, van Gogh wrote that cypresses were "always occupying [his] thoughts" and that he found them "beautiful of line" and proportioned like an Egyptian obelisk. He had also intended on painting a nighttime view of the trees since his stay in Arles in 1888.Erickson suggests that the painting is influenced by the Christian allegory The Pilgrim's Progress, visible in the prominent road and cypress tree. The painting is one of several in which van Gogh uses cypresses prominently, and — as in Road with Cypress and Star — many of the paintings depict trees that extend beyond the top of the canvas. After finishing the work, in June 1890 while at Auvers-sur-Oise, van Gogh wrote to his friend and fellow artist Paul Gauguin that the painting's themes are similar to those of Gauguin's work Christ in the Garden of Olives.The orientation of the night sky objects may have been influenced by a conjunction of heavenly bodies on 20 April 1890, when Mercury and Venus were at 3 degrees of separation and together had luminescence comparable to Sirius. | [
"cypress",
"The Pilgrim's Progress",
"Theo",
"Paul Gauguin",
"Arles",
"Sirius",
"Auvers-sur-Oise",
"Cypress"
] |
|
14889_NT | Road with Cypress and Star | Explore the Production and influences of this artwork. | Road with Cypress and Star was painted in May 1890. In an earlier letter to his brother Theo, van Gogh wrote that cypresses were "always occupying [his] thoughts" and that he found them "beautiful of line" and proportioned like an Egyptian obelisk. He had also intended on painting a nighttime view of the trees since his stay in Arles in 1888.Erickson suggests that the painting is influenced by the Christian allegory The Pilgrim's Progress, visible in the prominent road and cypress tree. The painting is one of several in which van Gogh uses cypresses prominently, and — as in Road with Cypress and Star — many of the paintings depict trees that extend beyond the top of the canvas. After finishing the work, in June 1890 while at Auvers-sur-Oise, van Gogh wrote to his friend and fellow artist Paul Gauguin that the painting's themes are similar to those of Gauguin's work Christ in the Garden of Olives.The orientation of the night sky objects may have been influenced by a conjunction of heavenly bodies on 20 April 1890, when Mercury and Venus were at 3 degrees of separation and together had luminescence comparable to Sirius. | [
"cypress",
"The Pilgrim's Progress",
"Theo",
"Paul Gauguin",
"Arles",
"Sirius",
"Auvers-sur-Oise",
"Cypress"
] |
|
14890_T | Road with Cypress and Star | Focus on Road with Cypress and Star and discuss the Analysis. | According to Kathleen Powers Erickson, Road with Cypress and Star more strongly reflects van Gogh's belief that he would soon die than the earlier painting The Starry Night. She supports this by comparing the evening star on the left of the painting, which is barely visible, to the emerging crescent moon on the right side; the cypress tree in the middle, which divides these symbols of the old and the new, is described as an "obelisk of death". She finds the pair of travellers an indication of van Gogh's need for companionship.Naomi Maurer also writes that Road with Cypress and Star reflects the painter's feeling that he would soon die. She views the painting as depicting human life as being "in the context of infinity and eternity", with the two travellers and their journey dominated by the cypress in the centre. The evening star and crescent moon on either side of the tree she describes as adding "cosmic perspective to the earthly scene" and suggesting a "sentient universe filled with love". | [
"cypress",
"The Starry Night",
"Cypress"
] |
|
14890_NT | Road with Cypress and Star | Focus on this artwork and discuss the Analysis. | According to Kathleen Powers Erickson, Road with Cypress and Star more strongly reflects van Gogh's belief that he would soon die than the earlier painting The Starry Night. She supports this by comparing the evening star on the left of the painting, which is barely visible, to the emerging crescent moon on the right side; the cypress tree in the middle, which divides these symbols of the old and the new, is described as an "obelisk of death". She finds the pair of travellers an indication of van Gogh's need for companionship.Naomi Maurer also writes that Road with Cypress and Star reflects the painter's feeling that he would soon die. She views the painting as depicting human life as being "in the context of infinity and eternity", with the two travellers and their journey dominated by the cypress in the centre. The evening star and crescent moon on either side of the tree she describes as adding "cosmic perspective to the earthly scene" and suggesting a "sentient universe filled with love". | [
"cypress",
"The Starry Night",
"Cypress"
] |
|
14891_T | Crouching Boy | How does Crouching Boy elucidate its abstract? | Crouching Boy is a sculpture of the Renaissance Italian painter and sculptor Michelangelo, preserved today at the Hermitage Museum in Saint Petersburg. It is the only work by Michelangelo in the Hermitage. It was originally intended for the tomb of the Medici family in Florence. | [
"Michelangelo",
"Hermitage Museum",
"Florence",
"Medici",
"Saint Petersburg"
] |
|
14891_NT | Crouching Boy | How does this artwork elucidate its abstract? | Crouching Boy is a sculpture of the Renaissance Italian painter and sculptor Michelangelo, preserved today at the Hermitage Museum in Saint Petersburg. It is the only work by Michelangelo in the Hermitage. It was originally intended for the tomb of the Medici family in Florence. | [
"Michelangelo",
"Hermitage Museum",
"Florence",
"Medici",
"Saint Petersburg"
] |
|
14892_T | Crouching Boy | Focus on Crouching Boy and analyze the Description. | The Crouching Boy is a 54 cm marble sculpture and shows a boy, naked and turned in on himself, perhaps pulling a thorn from his foot. Even though the statue is not well finished, facial features, hair and body shapes are easily recognizable. | [
"marble"
] |
|
14892_NT | Crouching Boy | Focus on this artwork and analyze the Description. | The Crouching Boy is a 54 cm marble sculpture and shows a boy, naked and turned in on himself, perhaps pulling a thorn from his foot. Even though the statue is not well finished, facial features, hair and body shapes are easily recognizable. | [
"marble"
] |
|
14893_T | Portrait of Louis XIV | In Portrait of Louis XIV, how is the Context discussed? | On the death of King Charles II of Spain on 18 November 1700, Spain was beset by the dynastic ambitions of other European powers, resulting in a succession war. The Spanish king's will ruled out any idea of sharing and placed Philip, Duke of Anjou, second son of the Grand Dauphin and grand-son of Louis XIV at the forefront of legitimate contenders for the crown.
The future king of Spain, eager to take with him the image of his grandfather, convinced Louis XIV to order Hyacinthe Rigaud to paint what would become the absolute image of royal power and the reference picture for generations to come:His reputation [Rigaud's] having reached the king, because of the portrait he had done of the Grand Dauphin as commander at the siege of Philippsburg, he had the honor in 1700, to be appointed by His Majesty to paint Philip V, king of Spain, his grandson, a few days before his departure to take possession of his kingdom. This work inspired the king of Spain's request to the king, his grandfather, to give him his portrait painted by the same hand, which His Majesty granted him. Rigaud had the honor to start the following year; and when it was finished, the monarch found the resemblance so perfect and so beautifully decorated, he ordered Rigaud to make a copy of the same size, to send to the king of Spain, instead of the original. His Most Christian Majesty is painted standing, clad in his royal apparel. This picture is ten and a half feet high; it is located in Versailles, in the throne room, and the picture of the king of Spain is in the private room of His Majesty.
Such were the statements of Hyacinthe Rigaud, through a friend, in the autobiography he sent to the Grand Duke of Tuscany Cosimo III in 1716.
These statements are corroborated by the mention of the corresponding payment in the books of accounts of the artist, in 1701: "The King and the King of Spain, and a copy of King's portrait of the same size as the original for his Catholic Majesty, in all 12,000 pounds ", the price of three pictures. The same payment is charged to the royal buildings accounts on September 16, 1702: "Two large portraits of the King full-length, with the small sketch for the said portraits, as well as one for the full-length portrait of the king of Spain." | [
"Cosimo III",
"Philip, Duke of Anjou",
"Louis XIV",
"Grand Dauphin",
"Versailles",
"Hyacinthe Rigaud",
"Charles II of Spain",
"Philip V"
] |
|
14893_NT | Portrait of Louis XIV | In this artwork, how is the Context discussed? | On the death of King Charles II of Spain on 18 November 1700, Spain was beset by the dynastic ambitions of other European powers, resulting in a succession war. The Spanish king's will ruled out any idea of sharing and placed Philip, Duke of Anjou, second son of the Grand Dauphin and grand-son of Louis XIV at the forefront of legitimate contenders for the crown.
The future king of Spain, eager to take with him the image of his grandfather, convinced Louis XIV to order Hyacinthe Rigaud to paint what would become the absolute image of royal power and the reference picture for generations to come:His reputation [Rigaud's] having reached the king, because of the portrait he had done of the Grand Dauphin as commander at the siege of Philippsburg, he had the honor in 1700, to be appointed by His Majesty to paint Philip V, king of Spain, his grandson, a few days before his departure to take possession of his kingdom. This work inspired the king of Spain's request to the king, his grandfather, to give him his portrait painted by the same hand, which His Majesty granted him. Rigaud had the honor to start the following year; and when it was finished, the monarch found the resemblance so perfect and so beautifully decorated, he ordered Rigaud to make a copy of the same size, to send to the king of Spain, instead of the original. His Most Christian Majesty is painted standing, clad in his royal apparel. This picture is ten and a half feet high; it is located in Versailles, in the throne room, and the picture of the king of Spain is in the private room of His Majesty.
Such were the statements of Hyacinthe Rigaud, through a friend, in the autobiography he sent to the Grand Duke of Tuscany Cosimo III in 1716.
These statements are corroborated by the mention of the corresponding payment in the books of accounts of the artist, in 1701: "The King and the King of Spain, and a copy of King's portrait of the same size as the original for his Catholic Majesty, in all 12,000 pounds ", the price of three pictures. The same payment is charged to the royal buildings accounts on September 16, 1702: "Two large portraits of the King full-length, with the small sketch for the said portraits, as well as one for the full-length portrait of the king of Spain." | [
"Cosimo III",
"Philip, Duke of Anjou",
"Louis XIV",
"Grand Dauphin",
"Versailles",
"Hyacinthe Rigaud",
"Charles II of Spain",
"Philip V"
] |
|
14894_T | Portrait of Louis XIV | Focus on Portrait of Louis XIV and explore the Genesis. | It seems that Philip V had obtained satisfaction through the intercession of Madame de Maintenon, who in a letter to the Duke of Noailles, dated March 11, 1701 wrote:"I am working to send him the portrait which he has ordered me to make him do. Here are two after-dinners that I return from Saint-Cyr to oblige the King to be painted. Gout came to our rescue. Without it we will not have held him for three or four hours"
The day before, the Marquis de Dangeau left in his journal testimony corroborating the statements of Mme de Maintenon, describing the beginning of the Louis XIV painting, painted in privacy and designed to be embedded later into the final composition:"Thursday 10 [March 1701] at Versailles – The King's gout continues, he was painted after dinner by Rigaud to send his portrait to the King of Spain to whom he promised him [...]. "The next day, the work actually continued:" Friday 11 at Versailles – The King's gout grew a little, and on leaving the sermon, where he was carried, he was carried back to Madame de Maintenon's, where Rigaud worked on his portrait.."
On September 3, 1703, in a touching letter he wrote to the Marquise, Philip V in turn confessed: "Thank you for the care you took to get me the portrait of the king, I look forward..."
The size and complexity of the composition justified the expectations of the sponsors and the time spent by the artist to complete his work. All the evidence is that Rigaud painted from life while completing the portrait, which never did get sent to Spain.
Thursday, January 19, 1702, Rigaud is seeking a new session, wrote the Marquis de Dangeau: "the King, who had no advice to keep, had the patience to be painted at Madame de Maintenon's by Rigaud; he sends this portrait to the King of Spain, who had urged on".
"The portrait of the King has been exhibited in the great apartment of Versailles; It is full with the royal habit. This work is by M. Rigaud. Never has a portrait been better painted, nor more resembling; The whole court saw it and everyone admired it. A work must be very beautiful and perfect to attract general applause in a place where good taste reigns and where one is not lavish of praise. His Majesty has promised his portrait to the King of Spain, wants to keep his word by giving him the original, and Mr. Rigaud must make a copy that is desired by the entire Court ."
The director of the King's Buildings ordered from the painter's studio a number of copies (in various forms for European courts or provincial royal dispensaries, such as that commissioned by François Stiémart, for example) or engravings, proved by a payment order dated September 16, 1702: "To Sieur Rigaud, ordinary painter of the King, for two large portraits of the King in full, with the sketch in small of the said portraits, as also of the full-length portrait of the King of Spain he made during the current year, 10,000 livres".Pierre Drevet was appointed to carry out the engravings and receives "perfect payment of five thousand livres for the engraving [ sic ] he made of the portrait at the foot of the King Louis XIV, according to M. Rigaud, during 1714–1715."
To do this, Drevet been assisted by a drawing executed by the young Jean-Marc Nattier and to who the director of buildings records payment, on August 20, 1713: "to the Sr Nattier the young, painter, for the drawing of a portrait of the king after Rigaud, which he copied to serve as a model for engraving during 1713, [...] 500 livres"
Drevet owes a great deal to Nattier's work, which has recreated Rigaud's painting to its smallest details, to the projected dimensions of an etching. However, it extended the marble gallery in the background slightly, a variation followed by the engraver. There is no doubt that Rigaud himself supervised Nattier's work, since the drawing was intended for his friend Prevet, and Marc's father, Natier
Mariette considers the work of Drevet as "what [the artist] has made more considerable" and that she " engraved by order of his very Christian Majesty and Estre put in his Cabinet." In 1733, he noted the rarity in a letter to Gabburri: "For my part I can encourage you to acquire a portrait of the reigning king and the queen, but the one engraved by Drevet is very difficult to have, and I have it Seen for sale at more than eight livres. I can have it for a discreet price but I have to give me time." | [
"Madame de Maintenon",
"Duke of Noailles",
"Saint-Cyr",
"Louis XIV",
"Gabburri",
"Gout",
"Versailles",
"Pierre Drevet",
"Marquis de Dangeau",
"Jean-Marc Nattier",
"Philip V"
] |
|
14894_NT | Portrait of Louis XIV | Focus on this artwork and explore the Genesis. | It seems that Philip V had obtained satisfaction through the intercession of Madame de Maintenon, who in a letter to the Duke of Noailles, dated March 11, 1701 wrote:"I am working to send him the portrait which he has ordered me to make him do. Here are two after-dinners that I return from Saint-Cyr to oblige the King to be painted. Gout came to our rescue. Without it we will not have held him for three or four hours"
The day before, the Marquis de Dangeau left in his journal testimony corroborating the statements of Mme de Maintenon, describing the beginning of the Louis XIV painting, painted in privacy and designed to be embedded later into the final composition:"Thursday 10 [March 1701] at Versailles – The King's gout continues, he was painted after dinner by Rigaud to send his portrait to the King of Spain to whom he promised him [...]. "The next day, the work actually continued:" Friday 11 at Versailles – The King's gout grew a little, and on leaving the sermon, where he was carried, he was carried back to Madame de Maintenon's, where Rigaud worked on his portrait.."
On September 3, 1703, in a touching letter he wrote to the Marquise, Philip V in turn confessed: "Thank you for the care you took to get me the portrait of the king, I look forward..."
The size and complexity of the composition justified the expectations of the sponsors and the time spent by the artist to complete his work. All the evidence is that Rigaud painted from life while completing the portrait, which never did get sent to Spain.
Thursday, January 19, 1702, Rigaud is seeking a new session, wrote the Marquis de Dangeau: "the King, who had no advice to keep, had the patience to be painted at Madame de Maintenon's by Rigaud; he sends this portrait to the King of Spain, who had urged on".
"The portrait of the King has been exhibited in the great apartment of Versailles; It is full with the royal habit. This work is by M. Rigaud. Never has a portrait been better painted, nor more resembling; The whole court saw it and everyone admired it. A work must be very beautiful and perfect to attract general applause in a place where good taste reigns and where one is not lavish of praise. His Majesty has promised his portrait to the King of Spain, wants to keep his word by giving him the original, and Mr. Rigaud must make a copy that is desired by the entire Court ."
The director of the King's Buildings ordered from the painter's studio a number of copies (in various forms for European courts or provincial royal dispensaries, such as that commissioned by François Stiémart, for example) or engravings, proved by a payment order dated September 16, 1702: "To Sieur Rigaud, ordinary painter of the King, for two large portraits of the King in full, with the sketch in small of the said portraits, as also of the full-length portrait of the King of Spain he made during the current year, 10,000 livres".Pierre Drevet was appointed to carry out the engravings and receives "perfect payment of five thousand livres for the engraving [ sic ] he made of the portrait at the foot of the King Louis XIV, according to M. Rigaud, during 1714–1715."
To do this, Drevet been assisted by a drawing executed by the young Jean-Marc Nattier and to who the director of buildings records payment, on August 20, 1713: "to the Sr Nattier the young, painter, for the drawing of a portrait of the king after Rigaud, which he copied to serve as a model for engraving during 1713, [...] 500 livres"
Drevet owes a great deal to Nattier's work, which has recreated Rigaud's painting to its smallest details, to the projected dimensions of an etching. However, it extended the marble gallery in the background slightly, a variation followed by the engraver. There is no doubt that Rigaud himself supervised Nattier's work, since the drawing was intended for his friend Prevet, and Marc's father, Natier
Mariette considers the work of Drevet as "what [the artist] has made more considerable" and that she " engraved by order of his very Christian Majesty and Estre put in his Cabinet." In 1733, he noted the rarity in a letter to Gabburri: "For my part I can encourage you to acquire a portrait of the reigning king and the queen, but the one engraved by Drevet is very difficult to have, and I have it Seen for sale at more than eight livres. I can have it for a discreet price but I have to give me time." | [
"Madame de Maintenon",
"Duke of Noailles",
"Saint-Cyr",
"Louis XIV",
"Gabburri",
"Gout",
"Versailles",
"Pierre Drevet",
"Marquis de Dangeau",
"Jean-Marc Nattier",
"Philip V"
] |
|
14895_T | Portrait of Louis XIV | Focus on Portrait of Louis XIV and explain the Description. | Signed and dated, "Painted by Hyacinthe Rigaud in 1701" on the base of the column supporting the goddess of Justice, and with Themis holding a set of scales in her hand, this vast portrait is that of an aging (64 years old) King, having reached the summit of his glory.
Rigaud executed the face on a small rectangular canvas subsequently sewn in small dots onto a larger canvas painted with the figure and background.
This original, now in the Louvre 3, from the crown collections, has a replica (now shown in the Apollo Room of the Palace of Versailles ), also signed although of slightly different dimensions than the original. One can also find a copy at the Hotel Negresco.
The king is depicted standing upright, three quarters to the left, his head low and his feet in view, a pose calculated to presenting the greater part of his person. The king occupies the central space of the painting whose composition is constructed from vertical lines (column, king, throne) and a pyramid in which the sovereign inscribes, which creates an elevated space. The drama of the scene is accentuated by a heavy draped curtain which traditionally means that the king does not appear but appears. A large marble pillar, traditional evocation of power since the Renaissance (as a stability symbol, the world axis that unites the earthly and heavenly powers) holds the composition left. The massive barrel rests on a stylobate whose two visible sides are decorated with reliefs depicting two royal virtues: The allegories of Justice (front) and strength (left, very difficult to see).Stood before a throne upholstered in blue and embroidered with fleur de lys placed high up on a platform and under a purple (the color of power and wealth since antiquity) silk canopy, the king embodies the majesty of choice because he need not bear regalia (he is uncrowned, the hand of justice posed on a stool covered with a blue fleur de lys drapery, scepter of his grandfather Henry IV held upside down as a cane), except to the sword of Charlemagne whose sole custody is visible. Wearing this sword with the coronation mantle is an obvious incongruity. The monarch is clothed in a leonine wig and court garments ( lace shirt and cuffs, brocade rhingraves, red - heeled shoes adorned with diamond buckles, and silk stockings held by garters ) wears the necklace of the Order the Holy Spirit and the royal coat pinned high on the shoulder to highlight the former sword dancer and his thin legs as Louis XIV had insisted that his features be "true" | [
"stylobate",
"rhingraves",
"Henry IV",
"Palace of Versailles",
"Louis XIV",
"Versailles",
"Hyacinthe Rigaud",
"coronation mantle",
"Themis",
"Louvre",
"fleur de lys"
] |
|
14895_NT | Portrait of Louis XIV | Focus on this artwork and explain the Description. | Signed and dated, "Painted by Hyacinthe Rigaud in 1701" on the base of the column supporting the goddess of Justice, and with Themis holding a set of scales in her hand, this vast portrait is that of an aging (64 years old) King, having reached the summit of his glory.
Rigaud executed the face on a small rectangular canvas subsequently sewn in small dots onto a larger canvas painted with the figure and background.
This original, now in the Louvre 3, from the crown collections, has a replica (now shown in the Apollo Room of the Palace of Versailles ), also signed although of slightly different dimensions than the original. One can also find a copy at the Hotel Negresco.
The king is depicted standing upright, three quarters to the left, his head low and his feet in view, a pose calculated to presenting the greater part of his person. The king occupies the central space of the painting whose composition is constructed from vertical lines (column, king, throne) and a pyramid in which the sovereign inscribes, which creates an elevated space. The drama of the scene is accentuated by a heavy draped curtain which traditionally means that the king does not appear but appears. A large marble pillar, traditional evocation of power since the Renaissance (as a stability symbol, the world axis that unites the earthly and heavenly powers) holds the composition left. The massive barrel rests on a stylobate whose two visible sides are decorated with reliefs depicting two royal virtues: The allegories of Justice (front) and strength (left, very difficult to see).Stood before a throne upholstered in blue and embroidered with fleur de lys placed high up on a platform and under a purple (the color of power and wealth since antiquity) silk canopy, the king embodies the majesty of choice because he need not bear regalia (he is uncrowned, the hand of justice posed on a stool covered with a blue fleur de lys drapery, scepter of his grandfather Henry IV held upside down as a cane), except to the sword of Charlemagne whose sole custody is visible. Wearing this sword with the coronation mantle is an obvious incongruity. The monarch is clothed in a leonine wig and court garments ( lace shirt and cuffs, brocade rhingraves, red - heeled shoes adorned with diamond buckles, and silk stockings held by garters ) wears the necklace of the Order the Holy Spirit and the royal coat pinned high on the shoulder to highlight the former sword dancer and his thin legs as Louis XIV had insisted that his features be "true" | [
"stylobate",
"rhingraves",
"Henry IV",
"Palace of Versailles",
"Louis XIV",
"Versailles",
"Hyacinthe Rigaud",
"coronation mantle",
"Themis",
"Louvre",
"fleur de lys"
] |
|
14896_T | Portrait of Louis XIV | Explore the Copies of this artwork, Portrait of Louis XIV. | A copy of this portrait, made by Pierre Legendre, is in the library of the Palais Rohan, Strasbourg, opposite the portrait of Louis XV, also in costume de sacre.
Another copy is present at the Paris Observatory, between portraits of Giovanni Domenico Cassini and Urbain Le Verrier.
There's one copy at the J. Paul Getty Museum in LA and one at the Versailles Palace. | [
"Urbain Le Verrier",
"Palais Rohan, Strasbourg",
"Versailles",
"J. Paul Getty Museum",
"Versailles Palace",
"Paris Observatory",
"Giovanni Domenico Cassini"
] |
|
14896_NT | Portrait of Louis XIV | Explore the Copies of this artwork. | A copy of this portrait, made by Pierre Legendre, is in the library of the Palais Rohan, Strasbourg, opposite the portrait of Louis XV, also in costume de sacre.
Another copy is present at the Paris Observatory, between portraits of Giovanni Domenico Cassini and Urbain Le Verrier.
There's one copy at the J. Paul Getty Museum in LA and one at the Versailles Palace. | [
"Urbain Le Verrier",
"Palais Rohan, Strasbourg",
"Versailles",
"J. Paul Getty Museum",
"Versailles Palace",
"Paris Observatory",
"Giovanni Domenico Cassini"
] |
|
14897_T | Portrait of Maria Trip | Focus on Portrait of Maria Trip and discuss the abstract. | Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.
It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE.
Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists.
A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.
The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans. | [
"Amsterdam",
"Hofstede de Groot",
"Trip",
"Dut.",
"Dutch",
"Bode",
"Michel",
"Rembrandt",
"Vosmaer",
"Dutch Golden Age painting",
"Isa van Eeghen",
"oil painting",
"Rijksmuseum",
"Gazette des Beaux-Arts",
"British Museum",
"Wb."
] |
|
14897_NT | Portrait of Maria Trip | Focus on this artwork and discuss the abstract. | Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.
It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE.
Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists.
A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.
The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans. | [
"Amsterdam",
"Hofstede de Groot",
"Trip",
"Dut.",
"Dutch",
"Bode",
"Michel",
"Rembrandt",
"Vosmaer",
"Dutch Golden Age painting",
"Isa van Eeghen",
"oil painting",
"Rijksmuseum",
"Gazette des Beaux-Arts",
"British Museum",
"Wb."
] |
|
14898_T | Bust of Cardinal Guido Bentivoglio | How does Bust of Cardinal Guido Bentivoglio elucidate its abstract? | The Bust of Cardinal Guido Bentivoglio is a marble sculpture by an unknown artist active in Rome in the 1630s. It was formerly attributed to the Flemish sculptor François Duquesnoy. It was realized after 1638, possibly around 1641, and is currently housed at the National Gallery of Ireland.Bentivoglio was nuncio in Brussels from 1607 to 1615. He later was entrusted with the post of Cardinal Protector of France in Rome. In Rome, he came into contact with the artists Peter Paul Rubens and Anthony van Dyck, who belonged to the same circle as François Duquesnoy. Bentivoglio was a patron of Flemish artists in Rome. He was also an intimate collaborator of Pope Urban VIII. Duquesnoy had become Urban's protégé in 1626.The bust is relatively static, with carefully carved details such as the pouches under the Cardinal's eyes. The sitter was identified by comparing the bust with a portrait of Bentivoglio by Van Dyck. | [
"Pope Urban VIII",
"Cardinal Protector",
"Bentivoglio",
"François Duquesnoy",
"Peter Paul Rubens",
"Anthony van Dyck",
"Rome",
"Flemish",
"Guido Bentivoglio",
"National Gallery of Ireland",
"nuncio",
"Brussels"
] |
|
14898_NT | Bust of Cardinal Guido Bentivoglio | How does this artwork elucidate its abstract? | The Bust of Cardinal Guido Bentivoglio is a marble sculpture by an unknown artist active in Rome in the 1630s. It was formerly attributed to the Flemish sculptor François Duquesnoy. It was realized after 1638, possibly around 1641, and is currently housed at the National Gallery of Ireland.Bentivoglio was nuncio in Brussels from 1607 to 1615. He later was entrusted with the post of Cardinal Protector of France in Rome. In Rome, he came into contact with the artists Peter Paul Rubens and Anthony van Dyck, who belonged to the same circle as François Duquesnoy. Bentivoglio was a patron of Flemish artists in Rome. He was also an intimate collaborator of Pope Urban VIII. Duquesnoy had become Urban's protégé in 1626.The bust is relatively static, with carefully carved details such as the pouches under the Cardinal's eyes. The sitter was identified by comparing the bust with a portrait of Bentivoglio by Van Dyck. | [
"Pope Urban VIII",
"Cardinal Protector",
"Bentivoglio",
"François Duquesnoy",
"Peter Paul Rubens",
"Anthony van Dyck",
"Rome",
"Flemish",
"Guido Bentivoglio",
"National Gallery of Ireland",
"nuncio",
"Brussels"
] |
|
14899_T | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | Focus on Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) and analyze the abstract. | The Metropolitan Museum of Art possesses a collection of items used for the celebration of the Eucharist. The ensemble, which includes a paten, a chalice, and a straw, is currently on display at The Cloisters. | [
"Eucharist",
"chalice",
"straw",
"The Cloisters",
"paten",
"Metropolitan Museum of Art"
] |
|
14899_NT | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | Focus on this artwork and analyze the abstract. | The Metropolitan Museum of Art possesses a collection of items used for the celebration of the Eucharist. The ensemble, which includes a paten, a chalice, and a straw, is currently on display at The Cloisters. | [
"Eucharist",
"chalice",
"straw",
"The Cloisters",
"paten",
"Metropolitan Museum of Art"
] |
|
14900_T | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | In Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art), how is the Description discussed? | In Catholicism, the Eucharist is a liturgical rite that is performed as a holy sacrament. In the course of the ceremony, bread and wine are consecrated and considered changed in substance into the body and blood of Christ and are then consumed by the participants. The ceremony is considered of great importance, and thus special items are made exclusively for use during the sacrament. These items are commonly made of valuable materials such as gold or silver, earthly elements strongly associated with Christ. The principal items used are a plate (called a paten) and a chalice; the paten holds the communion bread, while the chalice holds the wine. | [
"sacrament",
"silver",
"Eucharist",
"chalice",
"wine",
"bread",
"changed in substance",
"communion bread",
"Christ",
"paten",
"gold",
"liturgical rite",
"ceremony",
"Catholicism"
] |
|
14900_NT | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | In this artwork, how is the Description discussed? | In Catholicism, the Eucharist is a liturgical rite that is performed as a holy sacrament. In the course of the ceremony, bread and wine are consecrated and considered changed in substance into the body and blood of Christ and are then consumed by the participants. The ceremony is considered of great importance, and thus special items are made exclusively for use during the sacrament. These items are commonly made of valuable materials such as gold or silver, earthly elements strongly associated with Christ. The principal items used are a plate (called a paten) and a chalice; the paten holds the communion bread, while the chalice holds the wine. | [
"sacrament",
"silver",
"Eucharist",
"chalice",
"wine",
"bread",
"changed in substance",
"communion bread",
"Christ",
"paten",
"gold",
"liturgical rite",
"ceremony",
"Catholicism"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.