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14901_T | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | In the context of Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art), explore the Paten of the Description. | The paten in the collection of the Metropolitan Museum of Art dates to the late 13th century. The piece was likely made for the monastery of Saint Trudpert in Southern Germany. Made from gilded silver, the plate depicts four figures arranged in a four-pointed cross centered around a golden disc. At the top of the cross, Christ is depicted holding a chalice. On the sides of the cross, two figures from the Old Testament flank Christ; the priest-king Melchizedek to Christ's left, Abel to his right. Saint Trudpert is seen at the bottom of the cross, indicating that the pattern was made for the monks of Saint Trudpert. | [
"silver",
"chalice",
"Abel",
"Christ",
"paten",
"gilded",
"Saint Trudpert",
"Paten",
"gold",
"Trudpert",
"Melchizedek",
"monastery of Saint Trudpert",
"Old Testament",
"Metropolitan Museum of Art"
] |
|
14901_NT | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | In the context of this artwork, explore the Paten of the Description. | The paten in the collection of the Metropolitan Museum of Art dates to the late 13th century. The piece was likely made for the monastery of Saint Trudpert in Southern Germany. Made from gilded silver, the plate depicts four figures arranged in a four-pointed cross centered around a golden disc. At the top of the cross, Christ is depicted holding a chalice. On the sides of the cross, two figures from the Old Testament flank Christ; the priest-king Melchizedek to Christ's left, Abel to his right. Saint Trudpert is seen at the bottom of the cross, indicating that the pattern was made for the monks of Saint Trudpert. | [
"silver",
"chalice",
"Abel",
"Christ",
"paten",
"gilded",
"Saint Trudpert",
"Paten",
"gold",
"Trudpert",
"Melchizedek",
"monastery of Saint Trudpert",
"Old Testament",
"Metropolitan Museum of Art"
] |
|
14902_T | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | In the context of Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art), explain the Chalice of the Description. | The MET possess in its collection a chalice from Medieval Germany; as with the pattern it is displayed with, the chalice is likely from the monastery of Saint Trudpert in Germany. The chalice, done in silver, gold, and niello, is intricately detailed and adorned with jewels. The chalice's relief metalwork depicts scenes from scenes from the New Testament and the Twelve Apostles. | [
"Twelve Apostles",
"Chalice",
"silver",
"niello",
"chalice",
"New Testament",
"Saint Trudpert",
"gold",
"Trudpert",
"monastery of Saint Trudpert"
] |
|
14902_NT | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | In the context of this artwork, explain the Chalice of the Description. | The MET possess in its collection a chalice from Medieval Germany; as with the pattern it is displayed with, the chalice is likely from the monastery of Saint Trudpert in Germany. The chalice, done in silver, gold, and niello, is intricately detailed and adorned with jewels. The chalice's relief metalwork depicts scenes from scenes from the New Testament and the Twelve Apostles. | [
"Twelve Apostles",
"Chalice",
"silver",
"niello",
"chalice",
"New Testament",
"Saint Trudpert",
"gold",
"Trudpert",
"monastery of Saint Trudpert"
] |
|
14903_T | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | Explore the Straw about the Description of this artwork, Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art). | The third item in the ensemble is a straw, also known as a fistula or calamus, used to sip the wine held by the chalice. Historically, a straw was needed to ensure that none of the consecrated wine was spilled during the Eucharist. Made from gilded silver, the straw features an intricate, vine-like grip made from silver and studded with gems. | [
"silver",
"Eucharist",
"chalice",
"wine",
"straw",
"gilded"
] |
|
14903_NT | Ensemble for the celebration of the Eucharist (Metropolitan Museum of Art) | Explore the Straw about the Description of this artwork. | The third item in the ensemble is a straw, also known as a fistula or calamus, used to sip the wine held by the chalice. Historically, a straw was needed to ensure that none of the consecrated wine was spilled during the Eucharist. Made from gilded silver, the straw features an intricate, vine-like grip made from silver and studded with gems. | [
"silver",
"Eucharist",
"chalice",
"wine",
"straw",
"gilded"
] |
|
14904_T | Statue of Heydar Aliyev, Mexico City | Focus on Statue of Heydar Aliyev, Mexico City and discuss the abstract. | The statue of Heydar Aliyev is a bronze sculpture of the third president of Azerbaijan, Heydar Aliyev, previously installed along Paseo de la Reforma, in Chapultepec, Miguel Hidalgo, Mexico City.
In the early 2010s, the embassy of Azerbaijan in Mexico donated two statues to the city: the first being the statue of Aliyev, installed on 22 August 2012 in Mexico-Azerbaijan Friendship Park in Chapultepec; the second, a woman mourning the Khojaly massacre, was placed in Tlaxcoaque Plaza, in the historic center of the city. According to Ilgar Mukhtarov, Azerbaijan Ambassador to Mexico, both statues were given to the country to show appreciation for being one of the first to recognize the independence of Azerbaijan.After its installation, the statue of Aliyev received protests from neighbors and human rights activists, who called it "disrespectful and insensitive" due to his controversial political background; the Azeri community, however, supported the installation. On 26 January 2013, the government of Mexico City removed the statue and returned it to the embassy. Since then, the location and status of the statue are not publicly known. | [
"Tlaxcoaque Plaza",
"historic center of the city",
"Khojaly massacre",
"right",
"bronze sculpture",
"Chapultepec",
"president of Azerbaijan",
"Heydar Aliyev",
"Miguel Hidalgo",
"Tlaxcoaque",
"Miguel Hidalgo, Mexico City",
"Paseo de la Reforma",
"Khojaly",
"Mexico City"
] |
|
14904_NT | Statue of Heydar Aliyev, Mexico City | Focus on this artwork and discuss the abstract. | The statue of Heydar Aliyev is a bronze sculpture of the third president of Azerbaijan, Heydar Aliyev, previously installed along Paseo de la Reforma, in Chapultepec, Miguel Hidalgo, Mexico City.
In the early 2010s, the embassy of Azerbaijan in Mexico donated two statues to the city: the first being the statue of Aliyev, installed on 22 August 2012 in Mexico-Azerbaijan Friendship Park in Chapultepec; the second, a woman mourning the Khojaly massacre, was placed in Tlaxcoaque Plaza, in the historic center of the city. According to Ilgar Mukhtarov, Azerbaijan Ambassador to Mexico, both statues were given to the country to show appreciation for being one of the first to recognize the independence of Azerbaijan.After its installation, the statue of Aliyev received protests from neighbors and human rights activists, who called it "disrespectful and insensitive" due to his controversial political background; the Azeri community, however, supported the installation. On 26 January 2013, the government of Mexico City removed the statue and returned it to the embassy. Since then, the location and status of the statue are not publicly known. | [
"Tlaxcoaque Plaza",
"historic center of the city",
"Khojaly massacre",
"right",
"bronze sculpture",
"Chapultepec",
"president of Azerbaijan",
"Heydar Aliyev",
"Miguel Hidalgo",
"Tlaxcoaque",
"Miguel Hidalgo, Mexico City",
"Paseo de la Reforma",
"Khojaly",
"Mexico City"
] |
|
14905_T | Statue of Heydar Aliyev, Mexico City | How does Statue of Heydar Aliyev, Mexico City elucidate its Background? | Heydar Aliyev was an Azerbaijani politician. From 1969 to 1982, he was the First Secretary of the Communist Party of Azerbaijan. In 1992, Abulfaz Elchibey was elected president, becoming the country's first non-communist leader. However, after a coup d'état the following year, Elchibey was overthrown. Aliyev, founder and then-leader of the New Azerbaijan Party, took position as acting president, and months later he was officially elected as president of Azerbaijan. Aliyev was re-elected in 1998 and died in 2003.Although Heydarism became significant for the national politics and Azeri society, Aliyev has been criticized internationally, being described as an "iron fist" leader, "dictator", and "authoritarian".In December 1991, Mexico recognized the independence of Azerbaijan after the dissolution of the Soviet Union, and diplomatic relations were established the following month. In 2009, Azerbaijan established diplomatic missions on Mexican soil. In 2011, the Mexican Senate recognized the 1992 Khojaly massacre, where ethnic Azerbaijani civilians were killed in Khojaly, in the de facto independent Republic of Artsakh, by Armenian forces. | [
"coup d'état the following year",
"de facto",
"Khojaly massacre",
"Heydarism",
"president of Azerbaijan",
"re-elected in 1998",
"Communist Party of Azerbaijan",
"Abulfaz Elchibey",
"Heydar Aliyev",
"New Azerbaijan Party",
"Republic of Artsakh",
"Mexican Senate",
"Azerbaijani",
"was elected",
"dissolution of the Soviet Union",
"diplomatic relations",
"Khojaly",
"he was officially elected"
] |
|
14905_NT | Statue of Heydar Aliyev, Mexico City | How does this artwork elucidate its Background? | Heydar Aliyev was an Azerbaijani politician. From 1969 to 1982, he was the First Secretary of the Communist Party of Azerbaijan. In 1992, Abulfaz Elchibey was elected president, becoming the country's first non-communist leader. However, after a coup d'état the following year, Elchibey was overthrown. Aliyev, founder and then-leader of the New Azerbaijan Party, took position as acting president, and months later he was officially elected as president of Azerbaijan. Aliyev was re-elected in 1998 and died in 2003.Although Heydarism became significant for the national politics and Azeri society, Aliyev has been criticized internationally, being described as an "iron fist" leader, "dictator", and "authoritarian".In December 1991, Mexico recognized the independence of Azerbaijan after the dissolution of the Soviet Union, and diplomatic relations were established the following month. In 2009, Azerbaijan established diplomatic missions on Mexican soil. In 2011, the Mexican Senate recognized the 1992 Khojaly massacre, where ethnic Azerbaijani civilians were killed in Khojaly, in the de facto independent Republic of Artsakh, by Armenian forces. | [
"coup d'état the following year",
"de facto",
"Khojaly massacre",
"Heydarism",
"president of Azerbaijan",
"re-elected in 1998",
"Communist Party of Azerbaijan",
"Abulfaz Elchibey",
"Heydar Aliyev",
"New Azerbaijan Party",
"Republic of Artsakh",
"Mexican Senate",
"Azerbaijani",
"was elected",
"dissolution of the Soviet Union",
"diplomatic relations",
"Khojaly",
"he was officially elected"
] |
|
14906_T | Statue of Heydar Aliyev, Mexico City | Focus on Statue of Heydar Aliyev, Mexico City and analyze the Description and installation. | According to Ilgar Mukhtarov, Azerbaijan Ambassador to Mexico, negotiations for the project began in 2008, but it was not until 2010 that they were materialized. He also said the project was a way to show appreciation to Mexico for being one of the first countries to recognize the independence of Azerbaijan. On 13 July 2011, both nations signed an agreement to start a project. In the same month, it was endorsed by the Citizens' Governing Council of Chapultepec Park (Spanish: Consejo Rector Ciudadano del Bosque de Chapultepec; CRC).The accorded space was named "Mexico-Azerbaijan Friendship Park" (Spanish: Parque de la Amistad México-Azerbaiyán), located along Paseo de la Reforma, at the edge of Chapultepec, the area measures 1,700 square meters (18,298 sq ft), illuminated with solar street lights. Construction began in April 2012. The statue was donated by the embassy of Azerbaijan in Mexico, measures 3.60 meters (around 11.81 feet), and was transported by ship from Azerbaijan.On 22 August 2012, Marcelo Ebrard, then-head of government of Mexico City, inaugurated the project. Tracy Wilkinson of Los Angeles Times described the memorial as "Aliyev [sitting] on a white marble pedestal [with] his name embossed in golden letters" and placed "in front of a jagged stone map of Azerbaijan"; the latter is almost eight meters high (up to 26 ft). Also, Will Grant of BBC News described a plaque calling Aliyev "a great politician and statesman". | [
"Marcelo Ebrard",
"Chapultepec",
"BBC News",
"solar street light",
"Los Angeles Times",
"Spanish",
"Paseo de la Reforma",
"head of government of Mexico City",
"Time",
"Mexico City"
] |
|
14906_NT | Statue of Heydar Aliyev, Mexico City | Focus on this artwork and analyze the Description and installation. | According to Ilgar Mukhtarov, Azerbaijan Ambassador to Mexico, negotiations for the project began in 2008, but it was not until 2010 that they were materialized. He also said the project was a way to show appreciation to Mexico for being one of the first countries to recognize the independence of Azerbaijan. On 13 July 2011, both nations signed an agreement to start a project. In the same month, it was endorsed by the Citizens' Governing Council of Chapultepec Park (Spanish: Consejo Rector Ciudadano del Bosque de Chapultepec; CRC).The accorded space was named "Mexico-Azerbaijan Friendship Park" (Spanish: Parque de la Amistad México-Azerbaiyán), located along Paseo de la Reforma, at the edge of Chapultepec, the area measures 1,700 square meters (18,298 sq ft), illuminated with solar street lights. Construction began in April 2012. The statue was donated by the embassy of Azerbaijan in Mexico, measures 3.60 meters (around 11.81 feet), and was transported by ship from Azerbaijan.On 22 August 2012, Marcelo Ebrard, then-head of government of Mexico City, inaugurated the project. Tracy Wilkinson of Los Angeles Times described the memorial as "Aliyev [sitting] on a white marble pedestal [with] his name embossed in golden letters" and placed "in front of a jagged stone map of Azerbaijan"; the latter is almost eight meters high (up to 26 ft). Also, Will Grant of BBC News described a plaque calling Aliyev "a great politician and statesman". | [
"Marcelo Ebrard",
"Chapultepec",
"BBC News",
"solar street light",
"Los Angeles Times",
"Spanish",
"Paseo de la Reforma",
"head of government of Mexico City",
"Time",
"Mexico City"
] |
|
14907_T | Statue of Heydar Aliyev, Mexico City | Describe the characteristics of the Khojaly massacre memorial in Statue of Heydar Aliyev, Mexico City's Description and installation. |
Additionally, the embassy donated a second statue. The statue was installed in the Tlaxcoaque Plaza, in the historic center of Mexico City. The plaque initially called the Khojaly massacre a "genocide", but this was later changed to "massacre". The embassy also donated around 65 million Mexican pesos (around five to six million US dollars) which were used to improve Friendship Park and Tlaxcoaque Plaza. According to Mukhtarov, the embassy never gave money directly to the city but paid private construction companies for the improvement of the areas. | [
"Tlaxcoaque Plaza",
"Khojaly massacre",
"Tlaxcoaque",
"historic center of Mexico City",
"Khojaly",
"Mexican peso",
"US dollars",
"Mexico City"
] |
|
14907_NT | Statue of Heydar Aliyev, Mexico City | Describe the characteristics of the Khojaly massacre memorial in this artwork's Description and installation. |
Additionally, the embassy donated a second statue. The statue was installed in the Tlaxcoaque Plaza, in the historic center of Mexico City. The plaque initially called the Khojaly massacre a "genocide", but this was later changed to "massacre". The embassy also donated around 65 million Mexican pesos (around five to six million US dollars) which were used to improve Friendship Park and Tlaxcoaque Plaza. According to Mukhtarov, the embassy never gave money directly to the city but paid private construction companies for the improvement of the areas. | [
"Tlaxcoaque Plaza",
"Khojaly massacre",
"Tlaxcoaque",
"historic center of Mexico City",
"Khojaly",
"Mexican peso",
"US dollars",
"Mexico City"
] |
|
14908_T | Statue of Heydar Aliyev, Mexico City | Focus on Statue of Heydar Aliyev, Mexico City and explore the Reception. | By November 2011, after researching Aliyev further, the CRC withdrew their endorsement and requested that the government of the city reconsider the installation of the statue. According to Denise Dresser, Mexican writer and former member of the CRC, "[after requesting them to reconsider it,] they thought we were making a mountain out of a molehill [...] They were clueless and they were ignorant, and we alerted them to the fact that they were clueless and ignorant."Controversy started by early September 2012. On 27 September, Chapultepec neighbors protested the installation, calling the statue "disrespectful and insensitive". The National Human Rights Commission recommended its removal. Elnur Majidli, organizer of the 2011 Azerbaijani protests, criticized the installation, saying that corruption was involved "necessarily" in the project. Cuauhtémoc Cárdenas, working as Mexico City's international affairs coordinator, said that "The statue of Mr. Aliyev does not honor Mexico City, and Mexico City does not have any reason to honor him".In October, Eduard Nalbandyan, then-Ministry of Foreign Affairs of Armenia, complained to Patricia Espinosa, then-Secretary of Foreign Affairs of Mexico, about the statue of Aliyev and the classification of the Khojaly massacre as "genocide" against the position taken by the OSCE Minsk Group. Armenia and Azerbaijan have been in a geopolitical conflict over Nagorno-Karabakh since the 1917 October Revolution and they have no diplomatic relations.Mukhtarov said the information concerning Aliyev was "erroneous and manipulated by the Armenian opposition", as Aliyev "abolished capital punishment and promoted policies that improved Azerbaijan's economy". On 27 November 2012, 30 Azeri protestors based in Mexico requested the statue to be kept. | [
"2011 Azerbaijani protests",
"Nagorno-Karabakh",
"October Revolution",
"Khojaly massacre",
"Chapultepec",
"Ministry of Foreign Affairs of Armenia",
"Cuauhtémoc Cárdenas",
"Denise Dresser",
"Foreign Affairs",
"Secretary of Foreign Affairs of Mexico",
"Eduard Nalbandyan",
"capital punishment",
"Azerbaijani",
"Elnur Majidli",
"diplomatic relations",
"Khojaly",
"National Human Rights Commission",
"OSCE Minsk Group",
"Mexico City",
"Patricia Espinosa"
] |
|
14908_NT | Statue of Heydar Aliyev, Mexico City | Focus on this artwork and explore the Reception. | By November 2011, after researching Aliyev further, the CRC withdrew their endorsement and requested that the government of the city reconsider the installation of the statue. According to Denise Dresser, Mexican writer and former member of the CRC, "[after requesting them to reconsider it,] they thought we were making a mountain out of a molehill [...] They were clueless and they were ignorant, and we alerted them to the fact that they were clueless and ignorant."Controversy started by early September 2012. On 27 September, Chapultepec neighbors protested the installation, calling the statue "disrespectful and insensitive". The National Human Rights Commission recommended its removal. Elnur Majidli, organizer of the 2011 Azerbaijani protests, criticized the installation, saying that corruption was involved "necessarily" in the project. Cuauhtémoc Cárdenas, working as Mexico City's international affairs coordinator, said that "The statue of Mr. Aliyev does not honor Mexico City, and Mexico City does not have any reason to honor him".In October, Eduard Nalbandyan, then-Ministry of Foreign Affairs of Armenia, complained to Patricia Espinosa, then-Secretary of Foreign Affairs of Mexico, about the statue of Aliyev and the classification of the Khojaly massacre as "genocide" against the position taken by the OSCE Minsk Group. Armenia and Azerbaijan have been in a geopolitical conflict over Nagorno-Karabakh since the 1917 October Revolution and they have no diplomatic relations.Mukhtarov said the information concerning Aliyev was "erroneous and manipulated by the Armenian opposition", as Aliyev "abolished capital punishment and promoted policies that improved Azerbaijan's economy". On 27 November 2012, 30 Azeri protestors based in Mexico requested the statue to be kept. | [
"2011 Azerbaijani protests",
"Nagorno-Karabakh",
"October Revolution",
"Khojaly massacre",
"Chapultepec",
"Ministry of Foreign Affairs of Armenia",
"Cuauhtémoc Cárdenas",
"Denise Dresser",
"Foreign Affairs",
"Secretary of Foreign Affairs of Mexico",
"Eduard Nalbandyan",
"capital punishment",
"Azerbaijani",
"Elnur Majidli",
"diplomatic relations",
"Khojaly",
"National Human Rights Commission",
"OSCE Minsk Group",
"Mexico City",
"Patricia Espinosa"
] |
|
14909_T | Statue of Heydar Aliyev, Mexico City | Focus on Statue of Heydar Aliyev, Mexico City and explain the Removal. | On 22 October, to determine the future of the statue, a special commission was created. In January 2013, the group recommended its removal. Five months after its installation, the sculpture was removed by Mexico City authorities during the early morning of 26 January. The city had previously signed an agreement to keep the statue in place for 99 years. It was transported to a warehouse of the Urban Development and Housing Secretariat, located at Camarones Avenue and Eloudy Street, colonia (Mexican Spanish for "neighborhood") of Del Recreo in the Azcapotzalco borough. Joshua Kucera described the place as "strewn with debris and stacks of bricks", calling it an "ignominious fate" for Aliyev.Manuel Luna, private secretary of Mukhtarov, said the embassy of Azerbaijan was never notified about the removal. The embassy asked the city government to give them back the statue. Salvador Campos, former Mexican ambassador to Azerbaijan and Turkey, considered the problem was that the government of Mexico City never consulted the Secretary of Foreign Affairs. As a consequence, Azerbaijan withdrew 3.8 billion US dollars of investment that would be used for building oil refineries and for improving public spaces in Mexico.As of November 2013, the statue was placed in a private home in the colonia of Lomas de Chapultepec. In January 2015, the government of Mexico City donated to the embassy of Azerbaijan a property along Paseo de la Reforma in Lomas de Chapultepec. On account of the controversy, the Committee for Monuments and Artistic Works in Public Spaces (Comité de Monumentos y Obras Artísticas en Espacios Públicos, COMAEP) was created to avoid similar incidents in the city. | [
"Mexican Spanish",
"oil refineries",
"Chapultepec",
"Lomas de Chapultepec",
"Spanish",
"Foreign Affairs",
"colonia",
"Azcapotzalco",
"Paseo de la Reforma",
"US dollars",
"Mexico City"
] |
|
14909_NT | Statue of Heydar Aliyev, Mexico City | Focus on this artwork and explain the Removal. | On 22 October, to determine the future of the statue, a special commission was created. In January 2013, the group recommended its removal. Five months after its installation, the sculpture was removed by Mexico City authorities during the early morning of 26 January. The city had previously signed an agreement to keep the statue in place for 99 years. It was transported to a warehouse of the Urban Development and Housing Secretariat, located at Camarones Avenue and Eloudy Street, colonia (Mexican Spanish for "neighborhood") of Del Recreo in the Azcapotzalco borough. Joshua Kucera described the place as "strewn with debris and stacks of bricks", calling it an "ignominious fate" for Aliyev.Manuel Luna, private secretary of Mukhtarov, said the embassy of Azerbaijan was never notified about the removal. The embassy asked the city government to give them back the statue. Salvador Campos, former Mexican ambassador to Azerbaijan and Turkey, considered the problem was that the government of Mexico City never consulted the Secretary of Foreign Affairs. As a consequence, Azerbaijan withdrew 3.8 billion US dollars of investment that would be used for building oil refineries and for improving public spaces in Mexico.As of November 2013, the statue was placed in a private home in the colonia of Lomas de Chapultepec. In January 2015, the government of Mexico City donated to the embassy of Azerbaijan a property along Paseo de la Reforma in Lomas de Chapultepec. On account of the controversy, the Committee for Monuments and Artistic Works in Public Spaces (Comité de Monumentos y Obras Artísticas en Espacios Públicos, COMAEP) was created to avoid similar incidents in the city. | [
"Mexican Spanish",
"oil refineries",
"Chapultepec",
"Lomas de Chapultepec",
"Spanish",
"Foreign Affairs",
"colonia",
"Azcapotzalco",
"Paseo de la Reforma",
"US dollars",
"Mexico City"
] |
|
14910_T | Summer (Goya) | Explore the abstract of this artwork, Summer (Goya). | Summer (Spanish - El verano) or The Threshing Floor (Spanish - La era) is the largest cartoon painted by Francisco de Goya as a tapestry design for Spain's Royal Tapestry Factory. Painted from 1786 to 1787, it was part of his fifth series, dedicated to traditional themes and intended for the heir to the Spanish throne and his wife (the Prince and Princess of Asturias). The tapestries were to hang in the couple's dining room at the Pardo Palace.
The cartoon is now in the Museo del Prado in Madrid, whilst a smaller sketch for the work known as The Threshing Floor is in the Lázaro Galdiano Museum. | [
"cartoon",
"Museo del Prado",
"Pardo Palace",
"Francisco de Goya",
"The Threshing Floor",
"Royal Tapestry Factory",
"Lázaro Galdiano Museum"
] |
|
14910_NT | Summer (Goya) | Explore the abstract of this artwork. | Summer (Spanish - El verano) or The Threshing Floor (Spanish - La era) is the largest cartoon painted by Francisco de Goya as a tapestry design for Spain's Royal Tapestry Factory. Painted from 1786 to 1787, it was part of his fifth series, dedicated to traditional themes and intended for the heir to the Spanish throne and his wife (the Prince and Princess of Asturias). The tapestries were to hang in the couple's dining room at the Pardo Palace.
The cartoon is now in the Museo del Prado in Madrid, whilst a smaller sketch for the work known as The Threshing Floor is in the Lázaro Galdiano Museum. | [
"cartoon",
"Museo del Prado",
"Pardo Palace",
"Francisco de Goya",
"The Threshing Floor",
"Royal Tapestry Factory",
"Lázaro Galdiano Museum"
] |
|
14911_T | Summer (Goya) | In Summer (Goya), how is the Modern Analysis of the Description elucidated? | In spite of avoiding the traditionally used emblem for summer, the goddess Ceres crowned with wheat ears, Goya was still able to make use of popular symbols for his representation of the season in the largest cartoon tapestry from the Fifth Series. In his pursuit to uniquely depict the season, Goya created a scene of harvesters taking a break from the summer heat by sitting beside or on top of a pile of recently harvested wheat sheafs. Featured to the right of the painting is those whom Goya presents as the ones that continued their laborious work, while on the left side of the painting a group of peasants are portrayed trying to inebriate another character; by the clothing and posture of this character, it can be assumed that Goya was attempting to depict “the village idiot.” Additionally, the artist suggests a feeling of siesta time- commonly known as the short nap taken around midday in Spanish culture- with the portrayal of the men laying down and relaxing on the pile of wheat sheafs. | [
"goddess Ceres",
"siesta",
"cartoon"
] |
|
14911_NT | Summer (Goya) | In this artwork, how is the Modern Analysis of the Description elucidated? | In spite of avoiding the traditionally used emblem for summer, the goddess Ceres crowned with wheat ears, Goya was still able to make use of popular symbols for his representation of the season in the largest cartoon tapestry from the Fifth Series. In his pursuit to uniquely depict the season, Goya created a scene of harvesters taking a break from the summer heat by sitting beside or on top of a pile of recently harvested wheat sheafs. Featured to the right of the painting is those whom Goya presents as the ones that continued their laborious work, while on the left side of the painting a group of peasants are portrayed trying to inebriate another character; by the clothing and posture of this character, it can be assumed that Goya was attempting to depict “the village idiot.” Additionally, the artist suggests a feeling of siesta time- commonly known as the short nap taken around midday in Spanish culture- with the portrayal of the men laying down and relaxing on the pile of wheat sheafs. | [
"goddess Ceres",
"siesta",
"cartoon"
] |
|
14912_T | Summer (Goya) | In the context of Summer (Goya), analyze the Fifth Series of Tapestries of the Description. | Apart from being recognized as one of the most important Spanish artists during the late eighteenth and early nineteenth centuries, Francisco José de Goya y Lucientes was also highly associated with the royal workshops of the Spanish monarchy. Beginning in 1774, Goya worked in this setting throughout the rest of his life which covered a span of four ruling monarchies. After being asked by painter Anton Raphael Mengs to work on preliminary paintings for the Royal Tapestry Factory, Goya painted sixty-three large cartoons on commission for Charles III. Within these cartoons, twelve were grouped and named the Fifth Series of Francisco Goya’s Tapestry Cartoons (Fig. 1). Included in this series is Summer (El verano). All the paintings of the fifth series are intended for the dining room of the Prince of Asturias, that is to say of the one who was to become Charles IV and his wife Marie Louise of Parma, in the Pardo Palace. The painting was painted in the fall of 1786. It was considered lost until 1869, when the canvas was discovered in the basement of the Royal Palace of Madrid by Gregorio Cruzada Villaamil, and was returned to the Prado Museum in 1870 by orders of January 19 and February 9, 1870, where it is exhibited in room 943. The canvas is mentioned for the first time in the catalog of the Prado Museum in 1876.Fig. 1; List of Francisco Goya's tapestry cartoons | [
"Francisco Goya",
"List of Francisco Goya's tapestry cartoons",
"Gregorio Cruzada Villaamil",
"cartoon",
"Anton Raphael Mengs",
"Pardo Palace",
"Royal Tapestry Factory"
] |
|
14912_NT | Summer (Goya) | In the context of this artwork, analyze the Fifth Series of Tapestries of the Description. | Apart from being recognized as one of the most important Spanish artists during the late eighteenth and early nineteenth centuries, Francisco José de Goya y Lucientes was also highly associated with the royal workshops of the Spanish monarchy. Beginning in 1774, Goya worked in this setting throughout the rest of his life which covered a span of four ruling monarchies. After being asked by painter Anton Raphael Mengs to work on preliminary paintings for the Royal Tapestry Factory, Goya painted sixty-three large cartoons on commission for Charles III. Within these cartoons, twelve were grouped and named the Fifth Series of Francisco Goya’s Tapestry Cartoons (Fig. 1). Included in this series is Summer (El verano). All the paintings of the fifth series are intended for the dining room of the Prince of Asturias, that is to say of the one who was to become Charles IV and his wife Marie Louise of Parma, in the Pardo Palace. The painting was painted in the fall of 1786. It was considered lost until 1869, when the canvas was discovered in the basement of the Royal Palace of Madrid by Gregorio Cruzada Villaamil, and was returned to the Prado Museum in 1870 by orders of January 19 and February 9, 1870, where it is exhibited in room 943. The canvas is mentioned for the first time in the catalog of the Prado Museum in 1876.Fig. 1; List of Francisco Goya's tapestry cartoons | [
"Francisco Goya",
"List of Francisco Goya's tapestry cartoons",
"Gregorio Cruzada Villaamil",
"cartoon",
"Anton Raphael Mengs",
"Pardo Palace",
"Royal Tapestry Factory"
] |
|
14913_T | Summer (Goya) | In the context of Summer (Goya), explore the Goya and Romanticism of the Context of the work. | While the art style of Romanticism is one that scholars often find themselves debating over, many believe the style itself is tied to a certain period of time that reflects the culture of its era. However, others approach it as an overarching timeless depiction of an attitude or feeling that is carried throughout humanity. Dark Romanticism is a direct subgenre of the art style as a whole. Across the board discussion between artists and scholars alike has determined Dark Romanticism as a prevalent and important genre of visual arts. Francisco de Goya's work has contrasting opinions in regard to this specific genre of art. Many scholars deemed Goya's earlier work as light and idyllic. In his earlier work, there is a theme of happiness that instills a feeling of festivity and tranquility in its viewers. In 1792 Goya suffered a serious illness that many attribute to his shift in art work, however, some argue the opposite. There are hints of darker themes in his earlier works that go unnoticed if not looking at the bigger picture of his artistic expression. It is proven though that the drastic change in his art style was a direct result of Napoleon's invasion of Spain and the resulting Peninsular War of 1808. Goya produced the piece The Disasters of War, exhibiting his shift in expression as a result of the horrors he witnessed. This and many other works depict Goya’s switch into a Dark Romanticist way of art. This switch in themes can be evidently seen in the designs of his Four Seasons in the Fifth Series. Within the medium of tapestries, he inflicted the Dark Romanticism style and pushed critical and satirical messages. Many of Goya's works in cartoons and tapestries are negligible in scholarly discourse because they go against the status quo of the typical styles. When the exhibition Dark Romanticism: From Goya to Max Ernst was launched in 2012 there was a stark relationship between the exhibit's works and Goya's art. Goya's gradual inclusion of aspects of Dark Romanticism prove a direct engagement between the art style and the artist. | [
"Dark Romanticism",
"cartoon",
"Romanticism",
"Francisco de Goya",
"The Disasters of War",
"Peninsular War"
] |
|
14913_NT | Summer (Goya) | In the context of this artwork, explore the Goya and Romanticism of the Context of the work. | While the art style of Romanticism is one that scholars often find themselves debating over, many believe the style itself is tied to a certain period of time that reflects the culture of its era. However, others approach it as an overarching timeless depiction of an attitude or feeling that is carried throughout humanity. Dark Romanticism is a direct subgenre of the art style as a whole. Across the board discussion between artists and scholars alike has determined Dark Romanticism as a prevalent and important genre of visual arts. Francisco de Goya's work has contrasting opinions in regard to this specific genre of art. Many scholars deemed Goya's earlier work as light and idyllic. In his earlier work, there is a theme of happiness that instills a feeling of festivity and tranquility in its viewers. In 1792 Goya suffered a serious illness that many attribute to his shift in art work, however, some argue the opposite. There are hints of darker themes in his earlier works that go unnoticed if not looking at the bigger picture of his artistic expression. It is proven though that the drastic change in his art style was a direct result of Napoleon's invasion of Spain and the resulting Peninsular War of 1808. Goya produced the piece The Disasters of War, exhibiting his shift in expression as a result of the horrors he witnessed. This and many other works depict Goya’s switch into a Dark Romanticist way of art. This switch in themes can be evidently seen in the designs of his Four Seasons in the Fifth Series. Within the medium of tapestries, he inflicted the Dark Romanticism style and pushed critical and satirical messages. Many of Goya's works in cartoons and tapestries are negligible in scholarly discourse because they go against the status quo of the typical styles. When the exhibition Dark Romanticism: From Goya to Max Ernst was launched in 2012 there was a stark relationship between the exhibit's works and Goya's art. Goya's gradual inclusion of aspects of Dark Romanticism prove a direct engagement between the art style and the artist. | [
"Dark Romanticism",
"cartoon",
"Romanticism",
"Francisco de Goya",
"The Disasters of War",
"Peninsular War"
] |
|
14914_T | Ophelia (John William Waterhouse) | Focus on Ophelia (John William Waterhouse) and explain the abstract. | Ophelia is a 1894 oil on canvas painting by the English painter John William Waterhouse, depicting a character in William Shakespeare's drama Hamlet. She is a young noblewoman of Denmark, a potential wife for Prince Hamlet. In the 1894 version by Waterhouse, Ophelia is depicted, in the last moments before her death, sitting on a willow branch extending out over a pond of lilies. Her royal dress strongly contrasts with her natural surroundings. Waterhouse has placed flowers on her lap and in her hair, tying her into her natural surroundings. | [
"Hamlet",
"Prince Hamlet",
"William Shakespeare",
"lilies",
"John William Waterhouse",
"Denmark",
"Ophelia"
] |
|
14914_NT | Ophelia (John William Waterhouse) | Focus on this artwork and explain the abstract. | Ophelia is a 1894 oil on canvas painting by the English painter John William Waterhouse, depicting a character in William Shakespeare's drama Hamlet. She is a young noblewoman of Denmark, a potential wife for Prince Hamlet. In the 1894 version by Waterhouse, Ophelia is depicted, in the last moments before her death, sitting on a willow branch extending out over a pond of lilies. Her royal dress strongly contrasts with her natural surroundings. Waterhouse has placed flowers on her lap and in her hair, tying her into her natural surroundings. | [
"Hamlet",
"Prince Hamlet",
"William Shakespeare",
"lilies",
"John William Waterhouse",
"Denmark",
"Ophelia"
] |
|
14915_T | Chicago Rising from the Lake | Explore the History of this artwork, Chicago Rising from the Lake. | In 1953 the Chicago Department of Public Works awarded Milton Horn a US$5,000 commission to create the sculpture. It was the first sculpture purchased by the city of Chicago since 1892. Horn began by constructing a quarter-sized model of the sculpture in his studio. He completed the main sculpture in 1954 and it was installed in a parking garage in 1955. In 1983 the statue was removed when the garage was razed. After removal it was intended to be installed at Chicago's Civic Opera House, but funds could not be raised. The sculpture was then lost until 1987: it was eventually found in an empty swimming pool at that time, and moved. The bronze sculpture was lost again until a Chicago firefighter found it lying in a makeshift dump in 1997.The city decided to restore the piece and in 1998 it was placed on the Chicago Riverwalk, affixed to a wall beneath the northwest corner of the Columbus Drive bridge. The city paid $60,000 to restore the sculpture but three bronze bars were missing when the sculpture was installed in 1998. A private donor paid to have the bars recast and added to the sculpture in 2004. | [
"Chicago Riverwalk",
"Chicago Department of Public Works",
"Civic Opera House",
"Milton Horn",
"Chicago"
] |
|
14915_NT | Chicago Rising from the Lake | Explore the History of this artwork. | In 1953 the Chicago Department of Public Works awarded Milton Horn a US$5,000 commission to create the sculpture. It was the first sculpture purchased by the city of Chicago since 1892. Horn began by constructing a quarter-sized model of the sculpture in his studio. He completed the main sculpture in 1954 and it was installed in a parking garage in 1955. In 1983 the statue was removed when the garage was razed. After removal it was intended to be installed at Chicago's Civic Opera House, but funds could not be raised. The sculpture was then lost until 1987: it was eventually found in an empty swimming pool at that time, and moved. The bronze sculpture was lost again until a Chicago firefighter found it lying in a makeshift dump in 1997.The city decided to restore the piece and in 1998 it was placed on the Chicago Riverwalk, affixed to a wall beneath the northwest corner of the Columbus Drive bridge. The city paid $60,000 to restore the sculpture but three bronze bars were missing when the sculpture was installed in 1998. A private donor paid to have the bars recast and added to the sculpture in 2004. | [
"Chicago Riverwalk",
"Chicago Department of Public Works",
"Civic Opera House",
"Milton Horn",
"Chicago"
] |
|
14916_T | Chicago Rising from the Lake | Focus on Chicago Rising from the Lake and discuss the Design. | It is a 7 ft (2.1 m) x 12 ft (3.7 m) sculpture and it weighs 3.5 tons. The sculpture is a depiction of a woman holding grain in her hand while she embraces a bull. There is also an eagle in the piece. The design of the sculpture represents the city of Chicago's dominance of commodities markets in the mid-1950s. The design elements also show the rebirth of Chicago as a leader in transportation, and it was a depiction of the Chicago Stockyards.The woman in the sculpture is standing hip deep in the water of Lake Michigan with carved flames representing the Great Chicago Fire. She is rising from both the lake and from the fire that once destroyed Chicago. The sculpture also has three-dimensional bronze bars which represent the railroad. The bars run diagonally across the center of the piece representing Chicago's location in the middle of the United States. | [
"Great Chicago Fire",
"Chicago Stockyards",
"commodities market",
"Lake Michigan",
"Chicago",
"commodities"
] |
|
14916_NT | Chicago Rising from the Lake | Focus on this artwork and discuss the Design. | It is a 7 ft (2.1 m) x 12 ft (3.7 m) sculpture and it weighs 3.5 tons. The sculpture is a depiction of a woman holding grain in her hand while she embraces a bull. There is also an eagle in the piece. The design of the sculpture represents the city of Chicago's dominance of commodities markets in the mid-1950s. The design elements also show the rebirth of Chicago as a leader in transportation, and it was a depiction of the Chicago Stockyards.The woman in the sculpture is standing hip deep in the water of Lake Michigan with carved flames representing the Great Chicago Fire. She is rising from both the lake and from the fire that once destroyed Chicago. The sculpture also has three-dimensional bronze bars which represent the railroad. The bars run diagonally across the center of the piece representing Chicago's location in the middle of the United States. | [
"Great Chicago Fire",
"Chicago Stockyards",
"commodities market",
"Lake Michigan",
"Chicago",
"commodities"
] |
|
14917_T | The Bowls Player | How does The Bowls Player elucidate its abstract? | The Bowls Player is an 1857 bronze statue by the Danish sculptor Georg Christian Freund. It is a modern adaptation of classical sculptures of athletes such as Polykleitos's Doryphoros and Myron's Discobolus.
The plaster model for the work and the first casting from it were lost in the fire which destroyed the Christiansborg Palace in Copenhagen in 1884. Three other casts are known to survive:Ny Carlsberg Glyptotek, Copenhagen
National Gallery of Denmark, Copenhagen
Alte Nationalgalerie, Berlin - previously owned by the archaeologist Theodor Wiegand and now on long-term loan to his house in Berlin-Dahlem, where it is displayed on the terrace as it was during Wiegand's lifetime | [
"Polykleitos",
"Theodor Wiegand",
"National Gallery of Denmark",
"Georg Christian Freund",
"Doryphoros",
"Christiansborg Palace",
"Ny Carlsberg Glyptotek",
"Discobolus",
"Myron",
"Alte Nationalgalerie",
"Berlin-Dahlem"
] |
|
14917_NT | The Bowls Player | How does this artwork elucidate its abstract? | The Bowls Player is an 1857 bronze statue by the Danish sculptor Georg Christian Freund. It is a modern adaptation of classical sculptures of athletes such as Polykleitos's Doryphoros and Myron's Discobolus.
The plaster model for the work and the first casting from it were lost in the fire which destroyed the Christiansborg Palace in Copenhagen in 1884. Three other casts are known to survive:Ny Carlsberg Glyptotek, Copenhagen
National Gallery of Denmark, Copenhagen
Alte Nationalgalerie, Berlin - previously owned by the archaeologist Theodor Wiegand and now on long-term loan to his house in Berlin-Dahlem, where it is displayed on the terrace as it was during Wiegand's lifetime | [
"Polykleitos",
"Theodor Wiegand",
"National Gallery of Denmark",
"Georg Christian Freund",
"Doryphoros",
"Christiansborg Palace",
"Ny Carlsberg Glyptotek",
"Discobolus",
"Myron",
"Alte Nationalgalerie",
"Berlin-Dahlem"
] |
|
14918_T | The Bowls Player | Focus on The Bowls Player and analyze the Bibliography (in German). | Wolfram Hoepfner, Fritz Neumeyer (editors): Das Haus Wiegand von Peter Behrens in Berlin-Dahlem. Baugeschichte und Kunstgegenstände eines herrschaftlichen Wohnhauses, Philipp von Zabern, Mainz 2004, ISBN 3-8053-0399-8 (Das Deutsche Archäologische Institut. Geschichte und Dokumente, Band 6), S. 138–139, Nr. 36.
Martin Maischberger: Von Konstantinopel nach Berlin: Theodor Wiegands Sammlung antiker Kunst in der Dahlemer Villa, In: Klaus Rheidt, Barbara Anna Lutz (editors): Peter Behrens, Theodor Wiegand und die Villa in Dahlem, Philipp von Zabern, Mainz 2004, ISBN 3-8053-3374-9, S. 57–82, 187. | [
"Theodor Wiegand",
"Wolfram Hoepfner",
"Berlin-Dahlem"
] |
|
14918_NT | The Bowls Player | Focus on this artwork and analyze the Bibliography (in German). | Wolfram Hoepfner, Fritz Neumeyer (editors): Das Haus Wiegand von Peter Behrens in Berlin-Dahlem. Baugeschichte und Kunstgegenstände eines herrschaftlichen Wohnhauses, Philipp von Zabern, Mainz 2004, ISBN 3-8053-0399-8 (Das Deutsche Archäologische Institut. Geschichte und Dokumente, Band 6), S. 138–139, Nr. 36.
Martin Maischberger: Von Konstantinopel nach Berlin: Theodor Wiegands Sammlung antiker Kunst in der Dahlemer Villa, In: Klaus Rheidt, Barbara Anna Lutz (editors): Peter Behrens, Theodor Wiegand und die Villa in Dahlem, Philipp von Zabern, Mainz 2004, ISBN 3-8053-3374-9, S. 57–82, 187. | [
"Theodor Wiegand",
"Wolfram Hoepfner",
"Berlin-Dahlem"
] |
|
14919_T | Alexander Mosaic | In Alexander Mosaic, how is the abstract discussed? | The Alexander Mosaic, also known as the Battle of Issus Mosaic, is a Roman floor mosaic originally from the House of the Faun in Pompeii.
It is typically dated between c. 120 and 100 B.C. and depicts a battle between the armies of Alexander the Great and Darius III of Persia. This work of art is a combination of different artistic traditions such as Italic, Hellenistic, and Roman. The mosaic is considered "Roman" based on the broader context of its time and location in relation to the later Roman Republic. The original is preserved in the National Archaeological Museum, Naples. The mosaic is believed to be a copy of a late 4th or early 3rd-century BC Hellenistic painting, perhaps by Philoxenus of Eretria or Apelles. | [
"Pompei",
"Alexander the Great",
"Naples",
"Battle of Issus",
"Mosaic",
"Philoxenus of Eretria",
"National Archaeological Museum",
"mosaic",
"Roman",
"House of the Faun",
"National Archaeological Museum, Naples",
"Persia",
"Pompeii",
"Apelles",
"Darius III"
] |
|
14919_NT | Alexander Mosaic | In this artwork, how is the abstract discussed? | The Alexander Mosaic, also known as the Battle of Issus Mosaic, is a Roman floor mosaic originally from the House of the Faun in Pompeii.
It is typically dated between c. 120 and 100 B.C. and depicts a battle between the armies of Alexander the Great and Darius III of Persia. This work of art is a combination of different artistic traditions such as Italic, Hellenistic, and Roman. The mosaic is considered "Roman" based on the broader context of its time and location in relation to the later Roman Republic. The original is preserved in the National Archaeological Museum, Naples. The mosaic is believed to be a copy of a late 4th or early 3rd-century BC Hellenistic painting, perhaps by Philoxenus of Eretria or Apelles. | [
"Pompei",
"Alexander the Great",
"Naples",
"Battle of Issus",
"Mosaic",
"Philoxenus of Eretria",
"National Archaeological Museum",
"mosaic",
"Roman",
"House of the Faun",
"National Archaeological Museum, Naples",
"Persia",
"Pompeii",
"Apelles",
"Darius III"
] |
|
14920_T | Alexander Mosaic | Focus on Alexander Mosaic and explore the Subject. | This mosaic represents a battle in which Alexander of Macedonia charges the Persian king Darius III, the commander-in-chief of the Persian army. Alexander fought Darius III in a series of battles over control of the Persian Empire. Alexander defeated Darius at the Battle of Issus and again two years later at the Battle of Gaugamela. The work is traditionally believed to show the Battle of Issus.The battle scene comprises over 50 men. It stands out among ancient works of art because it represents a large group of soldiers, depicts each figure with meticulous attention to detail, expertly captures the expressions that appear on the warriors' faces, and uses muted colors. The mosaic features many figures in a very large space. The two most distinguished and recognizable figures are Alexander the Great and King Darius III of Persia. On the left side of the picture, Alexander of Macedonia is seen with his helmet fallen off his head and a worried expression on his face. He stabs the soldier on the horse in front of him with his spear and kills him. Alexander is depicted in a profile view facing the left side of the mosaic. He is posed in action with his lance in his right arm being warded off by the hand of an enemy cavalryman gripping it on the shaft below its sharp head as his mount tumbles to the ground. Alexander wears a breastplate with the head of Medusa, the traditional emblem of Athena and rides his horse Bucephalus. He is shown with a lot of curly soft-textured hair. His hair is typical of Greek royal portraiture as established in the 4th century BC. Alexander's gaze is trained on the Persian King Darius. Alexander does not wear a helmet, allowing him to be recognized.
The painting's protagonist, Darius III, is reaching out to the dying soldier, while another soldier tries to get the king's chariot out of the battle scene. At this precise moment, Darius is making the order, because the Persian spears are still pointed in the direction of the Greeks, and the king is riding in a chariot being wheeled around. Darius can be recognized as the other large figure in the mosaic. Darius and his charioteer take up a large portion of the right half of the mosaic. There are various precarious elements surrounding him. In the background Darius' charioteer whips the horses to flee from the battle scene. There is visible fear and anxiety in the Persian king's face, seen especially in his furrowed brows and deep frown. Darius is positioned holding a bow in his left hand while his right arm is outstretched towards Alexander. Darius' brother Oxyathres is also portrayed, sacrificing himself to save the King. Directly in front of the king's chariot is a soldier holding the reins to his horse. The horse is a large figure that draws much attention because of its backward facing positioning. The horse's hindquarters are facing the audience with a raised tail. This may be seen as a reference to the Persian defeat and weak leadership displayed, or, more simply, a reference to Darius being "a horse's ass," a turn of phrase that may have been around since ancient days. Radical foreshortening – as in the central horse, seen from behind – and the use of shading to convey a sense of mass and volume enhance the naturalistic effect of the scene. Repeated diagonal spears, clashing metal, and the crowding of men and horses evoke the din of battle. At the same time, action is arrested by dramatic details such as the fallen horse and the Persian soldier in the foreground who watches his own death throes reflected in a shield. | [
"Battle of Gaugamela",
"Persian Empire",
"Alexander the Great",
"Medusa",
"Bucephalus",
"Battle of Issus",
"mosaic",
"Persia",
"foreshortening",
"Oxyathres",
"Darius III"
] |
|
14920_NT | Alexander Mosaic | Focus on this artwork and explore the Subject. | This mosaic represents a battle in which Alexander of Macedonia charges the Persian king Darius III, the commander-in-chief of the Persian army. Alexander fought Darius III in a series of battles over control of the Persian Empire. Alexander defeated Darius at the Battle of Issus and again two years later at the Battle of Gaugamela. The work is traditionally believed to show the Battle of Issus.The battle scene comprises over 50 men. It stands out among ancient works of art because it represents a large group of soldiers, depicts each figure with meticulous attention to detail, expertly captures the expressions that appear on the warriors' faces, and uses muted colors. The mosaic features many figures in a very large space. The two most distinguished and recognizable figures are Alexander the Great and King Darius III of Persia. On the left side of the picture, Alexander of Macedonia is seen with his helmet fallen off his head and a worried expression on his face. He stabs the soldier on the horse in front of him with his spear and kills him. Alexander is depicted in a profile view facing the left side of the mosaic. He is posed in action with his lance in his right arm being warded off by the hand of an enemy cavalryman gripping it on the shaft below its sharp head as his mount tumbles to the ground. Alexander wears a breastplate with the head of Medusa, the traditional emblem of Athena and rides his horse Bucephalus. He is shown with a lot of curly soft-textured hair. His hair is typical of Greek royal portraiture as established in the 4th century BC. Alexander's gaze is trained on the Persian King Darius. Alexander does not wear a helmet, allowing him to be recognized.
The painting's protagonist, Darius III, is reaching out to the dying soldier, while another soldier tries to get the king's chariot out of the battle scene. At this precise moment, Darius is making the order, because the Persian spears are still pointed in the direction of the Greeks, and the king is riding in a chariot being wheeled around. Darius can be recognized as the other large figure in the mosaic. Darius and his charioteer take up a large portion of the right half of the mosaic. There are various precarious elements surrounding him. In the background Darius' charioteer whips the horses to flee from the battle scene. There is visible fear and anxiety in the Persian king's face, seen especially in his furrowed brows and deep frown. Darius is positioned holding a bow in his left hand while his right arm is outstretched towards Alexander. Darius' brother Oxyathres is also portrayed, sacrificing himself to save the King. Directly in front of the king's chariot is a soldier holding the reins to his horse. The horse is a large figure that draws much attention because of its backward facing positioning. The horse's hindquarters are facing the audience with a raised tail. This may be seen as a reference to the Persian defeat and weak leadership displayed, or, more simply, a reference to Darius being "a horse's ass," a turn of phrase that may have been around since ancient days. Radical foreshortening – as in the central horse, seen from behind – and the use of shading to convey a sense of mass and volume enhance the naturalistic effect of the scene. Repeated diagonal spears, clashing metal, and the crowding of men and horses evoke the din of battle. At the same time, action is arrested by dramatic details such as the fallen horse and the Persian soldier in the foreground who watches his own death throes reflected in a shield. | [
"Battle of Gaugamela",
"Persian Empire",
"Alexander the Great",
"Medusa",
"Bucephalus",
"Battle of Issus",
"mosaic",
"Persia",
"foreshortening",
"Oxyathres",
"Darius III"
] |
|
14921_T | Alexander Mosaic | Explore the Production about the History of the mosaic of this artwork, Alexander Mosaic. | The mosaic is made of about one and a half million tiny colored tiles called tesserae, arranged in gradual curves called opus vermiculatum (also known as "worm work", because they seem to replicate the slow motion of a crawling worm) rather than opus signinum or other forms of stone chips put in mortar. These tesserae were about 0.08 inches (0.20 cm) wide, and it is estimated that over four million pieces were used in the mosaic.The color scale of Roman mosaics are extremely rich in gradation. The process of gathering materials for mosaics was a complex undertaking since the color scale was based solely on the pieces of marble that could be found in nature. Following the style of many other Hellenistic artists, the entire mosaic is composed of reds, yellows, black, and white. The mosaic is an unusually detailed work for a private residence and was likely commissioned by a wealthy person or family. There is evidence that the mosaic was imported from the East, as there are places where some details are distorted and changed. Some scholars argue that this is evidence that the mosaic was created in pieces and reassembled in Pompeii.The fact that this scene was made to be viewed in the house of a Roman civilian reveals that Alexander the Great was more than just a heroic image to the Romans. Because Roman leaders followed after Alexander's image, Roman civilians also aspired to emulate the power he represented. Since the mosaic was arranged on the floor where the patron could receive guests, it was the first decorative object a visitor would see upon entering that room. Modern research indicates that there may have been multiple columns removed from the colonnade to improve lighting and viewing of the mosaic.Similar to Greek paintings, the mosaic of Alexander the Great lacks rich iconography towards the top, which, on a vertical surface, would have been considerably higher above the viewer's line of sight and garnered less creative attention. This is one way in which the two forms of art are comparable to one another. As a bonus, the mosaic displays the realism and naturalism typical of Greek portrayals of humans, especially regarding facial expression, emotional tone, and anatomical structure. | [
"opus vermiculatum",
"Pompei",
"Alexander the Great",
"mosaic",
"Roman",
"opus signinum",
"Roman mosaic",
"Pompeii",
"tessera",
"tesserae"
] |
|
14921_NT | Alexander Mosaic | Explore the Production about the History of the mosaic of this artwork. | The mosaic is made of about one and a half million tiny colored tiles called tesserae, arranged in gradual curves called opus vermiculatum (also known as "worm work", because they seem to replicate the slow motion of a crawling worm) rather than opus signinum or other forms of stone chips put in mortar. These tesserae were about 0.08 inches (0.20 cm) wide, and it is estimated that over four million pieces were used in the mosaic.The color scale of Roman mosaics are extremely rich in gradation. The process of gathering materials for mosaics was a complex undertaking since the color scale was based solely on the pieces of marble that could be found in nature. Following the style of many other Hellenistic artists, the entire mosaic is composed of reds, yellows, black, and white. The mosaic is an unusually detailed work for a private residence and was likely commissioned by a wealthy person or family. There is evidence that the mosaic was imported from the East, as there are places where some details are distorted and changed. Some scholars argue that this is evidence that the mosaic was created in pieces and reassembled in Pompeii.The fact that this scene was made to be viewed in the house of a Roman civilian reveals that Alexander the Great was more than just a heroic image to the Romans. Because Roman leaders followed after Alexander's image, Roman civilians also aspired to emulate the power he represented. Since the mosaic was arranged on the floor where the patron could receive guests, it was the first decorative object a visitor would see upon entering that room. Modern research indicates that there may have been multiple columns removed from the colonnade to improve lighting and viewing of the mosaic.Similar to Greek paintings, the mosaic of Alexander the Great lacks rich iconography towards the top, which, on a vertical surface, would have been considerably higher above the viewer's line of sight and garnered less creative attention. This is one way in which the two forms of art are comparable to one another. As a bonus, the mosaic displays the realism and naturalism typical of Greek portrayals of humans, especially regarding facial expression, emotional tone, and anatomical structure. | [
"opus vermiculatum",
"Pompei",
"Alexander the Great",
"mosaic",
"Roman",
"opus signinum",
"Roman mosaic",
"Pompeii",
"tessera",
"tesserae"
] |
|
14922_T | Alexander Mosaic | In the context of Alexander Mosaic, discuss the Originality of the History of the mosaic. | The Alexander Mosaic is believed to be a copy of a Hellenistic Greek painting made during the 4th century BC. The style of the mosaic is distinctly Greek in that it depicts close up portraits of the main heroes of the battle. Typically within Greek battle scenes the heroes are difficult to define within the commotion. The mosaic contains very specific details that scholars believe would have been lost if the mosaic was created any later than a couple hundred years after the battle. It is a commonly accepted belief concerning the Alexander mosaic that one must use the Greek original to interpret the meaning of the Roman copy. The debate among scholars over the significance of the Roman copy is that it cannot and should not be interpreted in the same cultural and historical context as the Greek original. Some believe that in doing so, it takes away both context and achievement from Roman artists. The mosaic is held to be a copy either of a painting by Aristides of Thebes, or of a lost late 4th-century BC fresco by the painter Philoxenus of Eretria. The latter is mentioned by Pliny the Elder (XXXV, 110) as a commission for the Macedonian king Cassander. | [
"Mosaic",
"Philoxenus of Eretria",
"mosaic",
"Macedonian",
"Roman",
"Aristides of Thebes",
"Cassander",
"Pliny the Elder",
"fresco"
] |
|
14922_NT | Alexander Mosaic | In the context of this artwork, discuss the Originality of the History of the mosaic. | The Alexander Mosaic is believed to be a copy of a Hellenistic Greek painting made during the 4th century BC. The style of the mosaic is distinctly Greek in that it depicts close up portraits of the main heroes of the battle. Typically within Greek battle scenes the heroes are difficult to define within the commotion. The mosaic contains very specific details that scholars believe would have been lost if the mosaic was created any later than a couple hundred years after the battle. It is a commonly accepted belief concerning the Alexander mosaic that one must use the Greek original to interpret the meaning of the Roman copy. The debate among scholars over the significance of the Roman copy is that it cannot and should not be interpreted in the same cultural and historical context as the Greek original. Some believe that in doing so, it takes away both context and achievement from Roman artists. The mosaic is held to be a copy either of a painting by Aristides of Thebes, or of a lost late 4th-century BC fresco by the painter Philoxenus of Eretria. The latter is mentioned by Pliny the Elder (XXXV, 110) as a commission for the Macedonian king Cassander. | [
"Mosaic",
"Philoxenus of Eretria",
"mosaic",
"Macedonian",
"Roman",
"Aristides of Thebes",
"Cassander",
"Pliny the Elder",
"fresco"
] |
|
14923_T | Alexander Mosaic | In Alexander Mosaic, how is the Contextualizing both Greek and Roman versions of the History of the mosaic elucidated? | There is limited evidence in existence today to contextualize many, if not most, rediscovered Roman artworks. The Alexander Mosaic depicts a rich subject narrative of two historical figures engaged in a defining battle. This imagery was most likely placed in the House of the Faun to incorporate and evoke the power of Alexander the Great into Roman canonical depictions. This mosaic is fully capable of communicating a broader message due to its find date and location site, conveying a rich Greek and Roman historical context and background, particularly through its commemoration of a decisive Greek victory over the Persians.
Since the mosaic associates the figures of Alexander and Darius with untraditional symbols, Alexander with the gorgon and Darius with the cross, some scholars have argued that it depicts the Persians in a sympathetic manner. | [
"Alexander the Great",
"Mosaic",
"mosaic",
"Roman",
"House of the Faun",
"Persia"
] |
|
14923_NT | Alexander Mosaic | In this artwork, how is the Contextualizing both Greek and Roman versions of the History of the mosaic elucidated? | There is limited evidence in existence today to contextualize many, if not most, rediscovered Roman artworks. The Alexander Mosaic depicts a rich subject narrative of two historical figures engaged in a defining battle. This imagery was most likely placed in the House of the Faun to incorporate and evoke the power of Alexander the Great into Roman canonical depictions. This mosaic is fully capable of communicating a broader message due to its find date and location site, conveying a rich Greek and Roman historical context and background, particularly through its commemoration of a decisive Greek victory over the Persians.
Since the mosaic associates the figures of Alexander and Darius with untraditional symbols, Alexander with the gorgon and Darius with the cross, some scholars have argued that it depicts the Persians in a sympathetic manner. | [
"Alexander the Great",
"Mosaic",
"mosaic",
"Roman",
"House of the Faun",
"Persia"
] |
|
14924_T | Alexander Mosaic | In the context of Alexander Mosaic, analyze the Modern history of the History of the mosaic. | The Alexander Mosaic was preserved due to the volcanic ash that collected over the mosaic during the eruption of Mount Vesuvius in the city of Pompeii in 79 AD. This Roman artwork was found inlaid into the ground of the House of the Faun in between two open peristyles. The mosaic was used to decorate the floor of a second tablinum or exedra (an open room or area that contains seating that is used for conversing). The House of the Faun was a large estate comprising one whole block in Pompeii; this is an area of about 3,000 square meters.
As a significant artwork and piece of history, the scene of the Mosaic remained in the social and cultural sphere. The mosaic was rediscovered in 1831 in Pompeii, Italy, and was later transported to Naples in September 1843. The Alexander Mosaic is now displayed on a wall and preserved in Naples. Until recently it has been on display at the Museo Archeologico Nazionale, although currently its site is covered with a facsimile banner and it appears to have been removed for restoration or display elsewhere. In 1956, the Alexander Mosaic was featured on the ₯1,000 banknote. | [
"Pompei",
"Naples",
"Mosaic",
"mosaic",
"Roman",
"House of the Faun",
"Mount Vesuvius",
"Pompeii",
"Museo Archeologico Nazionale",
"₯"
] |
|
14924_NT | Alexander Mosaic | In the context of this artwork, analyze the Modern history of the History of the mosaic. | The Alexander Mosaic was preserved due to the volcanic ash that collected over the mosaic during the eruption of Mount Vesuvius in the city of Pompeii in 79 AD. This Roman artwork was found inlaid into the ground of the House of the Faun in between two open peristyles. The mosaic was used to decorate the floor of a second tablinum or exedra (an open room or area that contains seating that is used for conversing). The House of the Faun was a large estate comprising one whole block in Pompeii; this is an area of about 3,000 square meters.
As a significant artwork and piece of history, the scene of the Mosaic remained in the social and cultural sphere. The mosaic was rediscovered in 1831 in Pompeii, Italy, and was later transported to Naples in September 1843. The Alexander Mosaic is now displayed on a wall and preserved in Naples. Until recently it has been on display at the Museo Archeologico Nazionale, although currently its site is covered with a facsimile banner and it appears to have been removed for restoration or display elsewhere. In 1956, the Alexander Mosaic was featured on the ₯1,000 banknote. | [
"Pompei",
"Naples",
"Mosaic",
"mosaic",
"Roman",
"House of the Faun",
"Mount Vesuvius",
"Pompeii",
"Museo Archeologico Nazionale",
"₯"
] |
|
14925_T | Alexander Mosaic | Describe the characteristics of the Modern copy in Alexander Mosaic's History of the mosaic. | In 2003, the International Center for the Study and Teaching of Mosaic (CISIM) in Ravenna, Italy, proposed creating a copy of the mosaic. After CISIM received approval for the project, the mosaic master Severo Bignami and his eight-person team took a large photograph of the mosaic, made a tracing of the image with a dark marker and created a negative impression of it.
The team composed the mosaic in sections in 44 clay frames, trying to preserve the pieces of the mosaic in the exact positions they are in the original mosaic. They had to keep the plates wet at all times. Then they pressed a tissue on the clay to create an image of the outlines of the mosaic in the clay. The team recreated the mosaic with about 2 million pieces of various marble types. When they had placed all the pieces, they covered the result with a layer of glue and gauze and pulled it out of the clay. They placed each section on synthetic concrete and then united the sections with the compound of glass, wool and plastic.
The project took 22 months and cost the equivalent of $216,000. The copy was installed in the House of the Faun in 2005. | [
"Mosaic",
"mosaic",
"House of the Faun",
"Ravenna"
] |
|
14925_NT | Alexander Mosaic | Describe the characteristics of the Modern copy in this artwork's History of the mosaic. | In 2003, the International Center for the Study and Teaching of Mosaic (CISIM) in Ravenna, Italy, proposed creating a copy of the mosaic. After CISIM received approval for the project, the mosaic master Severo Bignami and his eight-person team took a large photograph of the mosaic, made a tracing of the image with a dark marker and created a negative impression of it.
The team composed the mosaic in sections in 44 clay frames, trying to preserve the pieces of the mosaic in the exact positions they are in the original mosaic. They had to keep the plates wet at all times. Then they pressed a tissue on the clay to create an image of the outlines of the mosaic in the clay. The team recreated the mosaic with about 2 million pieces of various marble types. When they had placed all the pieces, they covered the result with a layer of glue and gauze and pulled it out of the clay. They placed each section on synthetic concrete and then united the sections with the compound of glass, wool and plastic.
The project took 22 months and cost the equivalent of $216,000. The copy was installed in the House of the Faun in 2005. | [
"Mosaic",
"mosaic",
"House of the Faun",
"Ravenna"
] |
|
14926_T | Alexander Mosaic | In the context of Alexander Mosaic, explore the Conservation of the History of the mosaic. | In 2015, IPERION CH, the Integrated Platform for the European Research Infrastructure ON Cultural Heritage, researched the mosaic and used various non-invasive analysis techniques to discover the physical composition of the mosaic, in addition to learning which parts were original and which were added after rediscovery. In 2018, a photogrammetric model was created of the mosaic, revealing flaws and cracks invisible to the human eye.
In January 2021 the National Archaeological Museum of Naples began a major restoration project to attempt to conserve the mosaic. In the initial assessment of the mosaic, multiple issues were discovered, including detached tesserae, cracks, bulges and surface depressions. Some areas had been already treated, such as multiple cracks that had been covered by thin paper bandages in a "velinatura" technique, in prior restoration efforts. | [
"Naples",
"photogrammetric",
"National Archaeological Museum",
"mosaic",
"tessera",
"tesserae"
] |
|
14926_NT | Alexander Mosaic | In the context of this artwork, explore the Conservation of the History of the mosaic. | In 2015, IPERION CH, the Integrated Platform for the European Research Infrastructure ON Cultural Heritage, researched the mosaic and used various non-invasive analysis techniques to discover the physical composition of the mosaic, in addition to learning which parts were original and which were added after rediscovery. In 2018, a photogrammetric model was created of the mosaic, revealing flaws and cracks invisible to the human eye.
In January 2021 the National Archaeological Museum of Naples began a major restoration project to attempt to conserve the mosaic. In the initial assessment of the mosaic, multiple issues were discovered, including detached tesserae, cracks, bulges and surface depressions. Some areas had been already treated, such as multiple cracks that had been covered by thin paper bandages in a "velinatura" technique, in prior restoration efforts. | [
"Naples",
"photogrammetric",
"National Archaeological Museum",
"mosaic",
"tessera",
"tesserae"
] |
|
14927_T | Alexander Mosaic | In the context of Alexander Mosaic, explain the The Alexander Mosaic in the History of the House of the History of the mosaic. | The House of the Faun at Pompeii was immediately recognized by its size and decoration as one of the town’s most important houses. Adolf Hoffmann argues that the House of the Faun was constructed in two principal phases.The first phase was distinctive from the second that Hoffmann refers to it as the "first House of the Faun" and has recently attempted a reconstruction. In the first half-or at latest by the middle of the second century B.C., the two atria (from image: 27 and 7) and the first peristyle (from image: 36, originally in the Doric order) were constructed. Another distinctive feature of this first phase was the absence, from the north side of the first peristyle, of the Alexander Mosaic and its exedra (37). A large room, underlying the later rooms to the east of the Alexander exedra (from image: 42, 38, and 43), served the first peristyle as its principal exedra during this first phase. Overall, the first incarnation of the House of the Faun dated back to ca. 180 B.C.E., occupied two-thirds of the insula and consisted of two atria, one small house and one peristyle.According to Hoffmann, the Alexander exedra was not originally part of the layout of the first peristyle. Hoffmann has observed that the first peristyle, originally built in the Doric order, belongs to the earliest phase of the house. The layout of the first peristyle is the key to the house's design, in both practice and theory. The first peristyle dominates the house not only visually and functionally, but it also commands the design, determining the locations and the dimensions of the other major parts. The room is so strategically placed that it would not be an exaggeration to say that the rest of the house had been designed and built around the site with the great treasure of mosaic art set in its floor.Next, Hoffmann argues, the second phase of the house-the second House of the Faun-commenced through an extensive rebuilding and renovating of the first house. The first peristyle (36) was "refashioned in the Ionic order and was reconstructed into a new peristyle. The Alexander exedra (37) was constructed, facing south, onto the first peristyle. A major renovation phase beginning ca. 110 B.C.E. and ending ca. 75 B.C.E., comprised a new decoration in the so-called First Style (including all the well-known mosaic pavements), as well as the insertion of a second entrance into the tetrastyle atrium, a switch from Doric to Ionic in the portico of the small peristyle, and the construction of the large north peristyle.In addition to the Alexander Mosaic, several other floor mosaics representing Nilotic events and theatrical masks surround the Alexander Mosaic. This piece of art draws from various artistic periods and movements, including Roman, Hellenistic, and Italic. The name of this mosaic comes from the fact that it was found in a period of the Roman Empire known as the "late Roman Republic."Eight pictorial mosaics were laid in the House of the Faun as part of a major renovation program of the early 1st c. BCE Many of them have iconography linking them to Ptolemaic Egypt like a mosaic triptych depicting Egyptian animals in a Nilotic landscape, fish emblema, an emblema depicting a cat attacking a bird that represents statues with the same theme from Ptolemaic Egypt and emblemas of other animals with Ptolemaic Egypt themes. It has traditionally been held that these compositions were laid at different times, the Alexander Mosaic in ca. 110 BCE and the Nilotic triptych in ca. 80 BCE. This view rests on the observation that the bases of the threshold columns were cut back to accommodate the panels of the triptych, and on a perception that the triptych is technically less accomplished than the Alexander Mosaic. | [
"Pompei",
"Mosaic",
"mosaic",
"Roman",
"House of the Faun",
"Pompeii"
] |
|
14927_NT | Alexander Mosaic | In the context of this artwork, explain the The Alexander Mosaic in the History of the House of the History of the mosaic. | The House of the Faun at Pompeii was immediately recognized by its size and decoration as one of the town’s most important houses. Adolf Hoffmann argues that the House of the Faun was constructed in two principal phases.The first phase was distinctive from the second that Hoffmann refers to it as the "first House of the Faun" and has recently attempted a reconstruction. In the first half-or at latest by the middle of the second century B.C., the two atria (from image: 27 and 7) and the first peristyle (from image: 36, originally in the Doric order) were constructed. Another distinctive feature of this first phase was the absence, from the north side of the first peristyle, of the Alexander Mosaic and its exedra (37). A large room, underlying the later rooms to the east of the Alexander exedra (from image: 42, 38, and 43), served the first peristyle as its principal exedra during this first phase. Overall, the first incarnation of the House of the Faun dated back to ca. 180 B.C.E., occupied two-thirds of the insula and consisted of two atria, one small house and one peristyle.According to Hoffmann, the Alexander exedra was not originally part of the layout of the first peristyle. Hoffmann has observed that the first peristyle, originally built in the Doric order, belongs to the earliest phase of the house. The layout of the first peristyle is the key to the house's design, in both practice and theory. The first peristyle dominates the house not only visually and functionally, but it also commands the design, determining the locations and the dimensions of the other major parts. The room is so strategically placed that it would not be an exaggeration to say that the rest of the house had been designed and built around the site with the great treasure of mosaic art set in its floor.Next, Hoffmann argues, the second phase of the house-the second House of the Faun-commenced through an extensive rebuilding and renovating of the first house. The first peristyle (36) was "refashioned in the Ionic order and was reconstructed into a new peristyle. The Alexander exedra (37) was constructed, facing south, onto the first peristyle. A major renovation phase beginning ca. 110 B.C.E. and ending ca. 75 B.C.E., comprised a new decoration in the so-called First Style (including all the well-known mosaic pavements), as well as the insertion of a second entrance into the tetrastyle atrium, a switch from Doric to Ionic in the portico of the small peristyle, and the construction of the large north peristyle.In addition to the Alexander Mosaic, several other floor mosaics representing Nilotic events and theatrical masks surround the Alexander Mosaic. This piece of art draws from various artistic periods and movements, including Roman, Hellenistic, and Italic. The name of this mosaic comes from the fact that it was found in a period of the Roman Empire known as the "late Roman Republic."Eight pictorial mosaics were laid in the House of the Faun as part of a major renovation program of the early 1st c. BCE Many of them have iconography linking them to Ptolemaic Egypt like a mosaic triptych depicting Egyptian animals in a Nilotic landscape, fish emblema, an emblema depicting a cat attacking a bird that represents statues with the same theme from Ptolemaic Egypt and emblemas of other animals with Ptolemaic Egypt themes. It has traditionally been held that these compositions were laid at different times, the Alexander Mosaic in ca. 110 BCE and the Nilotic triptych in ca. 80 BCE. This view rests on the observation that the bases of the threshold columns were cut back to accommodate the panels of the triptych, and on a perception that the triptych is technically less accomplished than the Alexander Mosaic. | [
"Pompei",
"Mosaic",
"mosaic",
"Roman",
"House of the Faun",
"Pompeii"
] |
|
14928_T | Equestrian statue of George Washington (Morristown, New Jersey) | Explore the abstract of this artwork, Equestrian statue of George Washington (Morristown, New Jersey). | George Washington is an outdoor equestrian statue by the American sculptor Frederick Roth located near the Ford Mansion, Washington's Headquarters, in Morristown, New Jersey, United States. It was commissioned by philanthropist E. Mabel Clark to commemorate General George Washington's importance to the history of the city. The bronze sculpture was dedicated on October 19, 1928, the anniversary of the surrender of British General Charles Cornwallis at Yorktown in 1781. | [
"Charles Cornwallis",
"Frederick Roth",
"bronze sculpture",
"equestrian statue",
"Morristown, New Jersey",
"Ford Mansion",
"philanthropist",
"George Washington",
"Yorktown"
] |
|
14928_NT | Equestrian statue of George Washington (Morristown, New Jersey) | Explore the abstract of this artwork. | George Washington is an outdoor equestrian statue by the American sculptor Frederick Roth located near the Ford Mansion, Washington's Headquarters, in Morristown, New Jersey, United States. It was commissioned by philanthropist E. Mabel Clark to commemorate General George Washington's importance to the history of the city. The bronze sculpture was dedicated on October 19, 1928, the anniversary of the surrender of British General Charles Cornwallis at Yorktown in 1781. | [
"Charles Cornwallis",
"Frederick Roth",
"bronze sculpture",
"equestrian statue",
"Morristown, New Jersey",
"Ford Mansion",
"philanthropist",
"George Washington",
"Yorktown"
] |
|
14929_T | Equestrian statue of George Washington (Morristown, New Jersey) | Focus on Equestrian statue of George Washington (Morristown, New Jersey) and discuss the History. | Morristown was the site of two winter encampments by the Continental Army during the American Revolutionary War. The first one was from January to May 1777, with Washington's headquarters at Arnold's Tavern. The second one was from December 1779 to June 1780, with Washington's headquarters at the Ford Mansion.E. Mabel Clark was the daughter of Charles F. Clark, President of the Bradstreet Company, now Dun & Bradstreet. The family lived in New York City and had a country house, Fairacres, in the Normandy Park section of Morristown. She commissioned Frederick Roth for an equestrian statue of Washington and specified that the horse be modeled after the workhorse she had seen pulling a milk wagon in New York. Roth was known as an animal sculptor, especially for his 1925 Statue of Balto in New York's Central Park. He finished c. 1927 and had the statue cast in Florence, Italy, at the bronze works foundry of Gusmano Vignali c. 1927–1928. The installation site, a small triangular plot bounded by Morris and Washington Avenues, was donated to the city by Dr. Henry M. Dodge. Clark donated the statue to the city at the dedication on October 19, 1928. Speakers included Mayor Clyde W. Potts and Justice Charles W. Parker of the New Jersey Supreme Court. The sculptor attended the ceremony and was honored at a reception hosted by Clark. | [
"New York City",
"Arnold's Tavern",
"Florence",
"Frederick Roth",
"equestrian statue",
"Italy",
"New Jersey Supreme Court",
"Normandy Park",
"Ford Mansion",
"Statue of Balto",
"Dun & Bradstreet",
"American Revolution",
"Charles W. Parker",
"Continental Army",
"Central Park",
"American Revolutionary War"
] |
|
14929_NT | Equestrian statue of George Washington (Morristown, New Jersey) | Focus on this artwork and discuss the History. | Morristown was the site of two winter encampments by the Continental Army during the American Revolutionary War. The first one was from January to May 1777, with Washington's headquarters at Arnold's Tavern. The second one was from December 1779 to June 1780, with Washington's headquarters at the Ford Mansion.E. Mabel Clark was the daughter of Charles F. Clark, President of the Bradstreet Company, now Dun & Bradstreet. The family lived in New York City and had a country house, Fairacres, in the Normandy Park section of Morristown. She commissioned Frederick Roth for an equestrian statue of Washington and specified that the horse be modeled after the workhorse she had seen pulling a milk wagon in New York. Roth was known as an animal sculptor, especially for his 1925 Statue of Balto in New York's Central Park. He finished c. 1927 and had the statue cast in Florence, Italy, at the bronze works foundry of Gusmano Vignali c. 1927–1928. The installation site, a small triangular plot bounded by Morris and Washington Avenues, was donated to the city by Dr. Henry M. Dodge. Clark donated the statue to the city at the dedication on October 19, 1928. Speakers included Mayor Clyde W. Potts and Justice Charles W. Parker of the New Jersey Supreme Court. The sculptor attended the ceremony and was honored at a reception hosted by Clark. | [
"New York City",
"Arnold's Tavern",
"Florence",
"Frederick Roth",
"equestrian statue",
"Italy",
"New Jersey Supreme Court",
"Normandy Park",
"Ford Mansion",
"Statue of Balto",
"Dun & Bradstreet",
"American Revolution",
"Charles W. Parker",
"Continental Army",
"Central Park",
"American Revolutionary War"
] |
|
14930_T | Equestrian statue of George Washington (Morristown, New Jersey) | How does Equestrian statue of George Washington (Morristown, New Jersey) elucidate its Description? | The sculpture depicts Washington in winter, wearing a uniform with a mantle and tricorner hat. The sculptor signed it: F.G.R. Roth. The statue measures approximately 12 feet (3.7 m) high x 4 feet 7 inches (1.40 m) wide x 10 feet (3.0 m) long and is on a granite base that measures approximately 5 feet (1.5 m) high x 5 feet 10 inches (1.78 m) wide x 11 feet (3.4 m) long. The front of the base is inscribed: Washington, the back is inscribed: | [
"mantle",
"tricorner hat"
] |
|
14930_NT | Equestrian statue of George Washington (Morristown, New Jersey) | How does this artwork elucidate its Description? | The sculpture depicts Washington in winter, wearing a uniform with a mantle and tricorner hat. The sculptor signed it: F.G.R. Roth. The statue measures approximately 12 feet (3.7 m) high x 4 feet 7 inches (1.40 m) wide x 10 feet (3.0 m) long and is on a granite base that measures approximately 5 feet (1.5 m) high x 5 feet 10 inches (1.78 m) wide x 11 feet (3.4 m) long. The front of the base is inscribed: Washington, the back is inscribed: | [
"mantle",
"tricorner hat"
] |
|
14931_T | Equestrian statue of George Washington (Morristown, New Jersey) | Focus on Equestrian statue of George Washington (Morristown, New Jersey) and analyze the Legacy. | A photograph of the statue, with Washington's Headquarters in the background, was featured in the booklet for the dedication of the Morristown National Historical Park on July 4, 1933. Clark was a member of the reception committee. The statue was surveyed by the Save Outdoor Sculpture program of the Smithsonian American Art Museum in 1994. | [
"Smithsonian American Art Museum",
"Save Outdoor Sculpture",
"Morristown National Historical Park"
] |
|
14931_NT | Equestrian statue of George Washington (Morristown, New Jersey) | Focus on this artwork and analyze the Legacy. | A photograph of the statue, with Washington's Headquarters in the background, was featured in the booklet for the dedication of the Morristown National Historical Park on July 4, 1933. Clark was a member of the reception committee. The statue was surveyed by the Save Outdoor Sculpture program of the Smithsonian American Art Museum in 1994. | [
"Smithsonian American Art Museum",
"Save Outdoor Sculpture",
"Morristown National Historical Park"
] |
|
14932_T | Bison (sculpture) | In Bison (sculpture), how is the abstract discussed? | Bison is an outdoor c. 1960 stone sculpture of an American bison by an unknown artist, installed at the west entrance to the courtyard of Lawrence Hall on the University of Oregon campus in Eugene, Oregon, in the United States. | [
"American bison",
"Eugene, Oregon",
"University of Oregon"
] |
|
14932_NT | Bison (sculpture) | In this artwork, how is the abstract discussed? | Bison is an outdoor c. 1960 stone sculpture of an American bison by an unknown artist, installed at the west entrance to the courtyard of Lawrence Hall on the University of Oregon campus in Eugene, Oregon, in the United States. | [
"American bison",
"Eugene, Oregon",
"University of Oregon"
] |
|
14933_T | Bison (sculpture) | Focus on Bison (sculpture) and explore the Description and history. | The Bison measures approximately 22.5 inches (0.57 m) long, 16 inches (0.41 m) wide, and 28 inches (0.71 m) tall. The statue rests on a brick base that measures approximately 15 inches (0.38 m) wide, 20.5 metres (67 ft) long, and 42 inches (1.1 m) tall. The work was surveyed and deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1994. It is administered by the University of Oregon. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"University of Oregon"
] |
|
14933_NT | Bison (sculpture) | Focus on this artwork and explore the Description and history. | The Bison measures approximately 22.5 inches (0.57 m) long, 16 inches (0.41 m) wide, and 28 inches (0.71 m) tall. The statue rests on a brick base that measures approximately 15 inches (0.38 m) wide, 20.5 metres (67 ft) long, and 42 inches (1.1 m) tall. The work was surveyed and deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1994. It is administered by the University of Oregon. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"University of Oregon"
] |
|
14934_T | China Trade Gate | Focus on China Trade Gate and explain the abstract. | China Trade Gate is a paifang archway at the Beach Street entrance to the Chinatown neighborhood of Boston, Massachusetts, United States. It was designed by David Judelson and was originally donated to the city by the government of Taiwan in 1982. | [
"Boston",
"Taiwan",
"Chinatown",
"paifang",
"David Judelson",
"Massachusetts"
] |
|
14934_NT | China Trade Gate | Focus on this artwork and explain the abstract. | China Trade Gate is a paifang archway at the Beach Street entrance to the Chinatown neighborhood of Boston, Massachusetts, United States. It was designed by David Judelson and was originally donated to the city by the government of Taiwan in 1982. | [
"Boston",
"Taiwan",
"Chinatown",
"paifang",
"David Judelson",
"Massachusetts"
] |
|
14935_T | China Trade Gate | Explore the Description and history of this artwork, China Trade Gate. | The work, made of painted steel tubing on a concrete base, was commissioned by the China Trade Center, installed in 1988, and rededicated in 1990. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1995. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
14935_NT | China Trade Gate | Explore the Description and history of this artwork. | The work, made of painted steel tubing on a concrete base, was commissioned by the China Trade Center, installed in 1988, and rededicated in 1990. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1995. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
14936_T | Don Quixote (Kennedy Center sculpture) | Focus on Don Quixote (Kennedy Center sculpture) and discuss the abstract. | Don Quixote is a 1976 sculpture by Aurelio Teno located at the northeast corner of the Kennedy Center in Washington, D.C. The sculpture of Don Quixote and his horse Rocinante was a gift from Spain for the United States Bicentennial.
In 1993, the Smithsonian Institution's Save Outdoor Sculpture! program surveyed and assessed the work and found that it needed treatment. | [
"Washington, D.C.",
"Rocinante",
"Kennedy Center",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Spain",
"Aurelio Teno",
"Don Quixote",
"United States Bicentennial"
] |
|
14936_NT | Don Quixote (Kennedy Center sculpture) | Focus on this artwork and discuss the abstract. | Don Quixote is a 1976 sculpture by Aurelio Teno located at the northeast corner of the Kennedy Center in Washington, D.C. The sculpture of Don Quixote and his horse Rocinante was a gift from Spain for the United States Bicentennial.
In 1993, the Smithsonian Institution's Save Outdoor Sculpture! program surveyed and assessed the work and found that it needed treatment. | [
"Washington, D.C.",
"Rocinante",
"Kennedy Center",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Spain",
"Aurelio Teno",
"Don Quixote",
"United States Bicentennial"
] |
|
14937_T | Don Quixote (Kennedy Center sculpture) | How does Don Quixote (Kennedy Center sculpture) elucidate its Description? | Don Quixote depicts a bronze and stone figure of Don Quixote wearing a full suit of armor riding his horse Rocinante which emerges from a jagged piece of stone. The jagged stone is Colmenar stone from Pamplona. Only the front portion of Don Quixote and his horse are visible. The horse appears to be charging forward out of the stone with his head raised, mouth open, and hooves kicking. The left foot of the horse is not formed, intentionally, by Teno. In Don Quixote's hand is a 12 feet (3.7 m) lance of steel. Both figures are loosely modeled and the figures and stone rest on a 66 short tons (60,000 kg) oval base measuring 4 by 5 by 12 feet (1.2 m × 1.5 m × 3.7 m) which was cut into three pieces for transport by ship to the United States.An inscription on the sculpture reads SCULPTOR / A. TENO / MADRID / ESPAÑA – 1976. | [
"suit of armor",
"Rocinante",
"United States",
"Pamplona",
"lance",
"Don Quixote"
] |
|
14937_NT | Don Quixote (Kennedy Center sculpture) | How does this artwork elucidate its Description? | Don Quixote depicts a bronze and stone figure of Don Quixote wearing a full suit of armor riding his horse Rocinante which emerges from a jagged piece of stone. The jagged stone is Colmenar stone from Pamplona. Only the front portion of Don Quixote and his horse are visible. The horse appears to be charging forward out of the stone with his head raised, mouth open, and hooves kicking. The left foot of the horse is not formed, intentionally, by Teno. In Don Quixote's hand is a 12 feet (3.7 m) lance of steel. Both figures are loosely modeled and the figures and stone rest on a 66 short tons (60,000 kg) oval base measuring 4 by 5 by 12 feet (1.2 m × 1.5 m × 3.7 m) which was cut into three pieces for transport by ship to the United States.An inscription on the sculpture reads SCULPTOR / A. TENO / MADRID / ESPAÑA – 1976. | [
"suit of armor",
"Rocinante",
"United States",
"Pamplona",
"lance",
"Don Quixote"
] |
|
14938_T | Don Quixote (Kennedy Center sculpture) | Focus on Don Quixote (Kennedy Center sculpture) and analyze the Acquisition. | King Juan Carlos I and Queen Sofía presented the sculpture June 3, 1976, on behalf of Spain to the United States in honor of its bicentennial. | [
"King Juan Carlos I",
"United States",
"Queen Sofía",
"Spain"
] |
|
14938_NT | Don Quixote (Kennedy Center sculpture) | Focus on this artwork and analyze the Acquisition. | King Juan Carlos I and Queen Sofía presented the sculpture June 3, 1976, on behalf of Spain to the United States in honor of its bicentennial. | [
"King Juan Carlos I",
"United States",
"Queen Sofía",
"Spain"
] |
|
14939_T | Don Quixote (Kennedy Center sculpture) | In Don Quixote (Kennedy Center sculpture), how is the About the artist discussed? | Spanish artist Aurelio Teno started his professional sculpture career at age eight. He described Don Quixote as his life's work, having devoted his career to creating art about the subject. | [
"Aurelio Teno",
"Don Quixote"
] |
|
14939_NT | Don Quixote (Kennedy Center sculpture) | In this artwork, how is the About the artist discussed? | Spanish artist Aurelio Teno started his professional sculpture career at age eight. He described Don Quixote as his life's work, having devoted his career to creating art about the subject. | [
"Aurelio Teno",
"Don Quixote"
] |
|
14940_T | Rain, Steam and Speed – The Great Western Railway | Focus on Rain, Steam and Speed – The Great Western Railway and explore the Background. | The painting was painted close to the end of the Industrial Revolution, which brought a massive shift from an agrarian economy to one dominated by machine manufacturing in the Victorian era. The railway was among the most potent symbols of industrialisation, since this new way of transportation heavily affected industrial and social life. Turner seemed to be a generation ahead of other artists, as he was among the few painters at the time to consider industrial advancement as a commendable subject of art. The painting suggests that modern technology is a reality racing towards us.The Great Western Railway (GWR) was one of a number of private British railway companies created to develop the new means of transport. The location of the painting is widely accepted as Maidenhead Railway Bridge, across the River Thames between Taplow and Maidenhead; a place that Turner had been exploring for over thirty years. The view is looking east towards London. The bridge was designed by Isambard Kingdom Brunel and completed in 1839. | [
"Isambard Kingdom Brunel",
"Maidenhead Railway Bridge",
"Industrial Revolution",
"Victorian era",
"Great Western Railway",
"London"
] |
|
14940_NT | Rain, Steam and Speed – The Great Western Railway | Focus on this artwork and explore the Background. | The painting was painted close to the end of the Industrial Revolution, which brought a massive shift from an agrarian economy to one dominated by machine manufacturing in the Victorian era. The railway was among the most potent symbols of industrialisation, since this new way of transportation heavily affected industrial and social life. Turner seemed to be a generation ahead of other artists, as he was among the few painters at the time to consider industrial advancement as a commendable subject of art. The painting suggests that modern technology is a reality racing towards us.The Great Western Railway (GWR) was one of a number of private British railway companies created to develop the new means of transport. The location of the painting is widely accepted as Maidenhead Railway Bridge, across the River Thames between Taplow and Maidenhead; a place that Turner had been exploring for over thirty years. The view is looking east towards London. The bridge was designed by Isambard Kingdom Brunel and completed in 1839. | [
"Isambard Kingdom Brunel",
"Maidenhead Railway Bridge",
"Industrial Revolution",
"Victorian era",
"Great Western Railway",
"London"
] |
|
14941_T | Rain, Steam and Speed – The Great Western Railway | Explore the Sublime about the Style and interpretation of this artwork, Rain, Steam and Speed – The Great Western Railway. | This celebrated picture demonstrates Turner's commitment to classical landscape, as well as his passion for experimentation and interest in the modern world. The painting is interpreted as a celebration of travel and new technological power, with the railways representing the convergence of technology and natural forces. These elements create an emotional tension associated with the overwhelming power of the sublime. The thrilling essence of speed was an innovative factor of life, with the power to alter our emotions of nature, while the steam of the locomotive provided a groundbreaking atmospheric scenery. Turner was not painting a factual view of the Great Western Railway, but rather an allegory of the powers of nature and technology. | [
"sublime",
"Great Western Railway"
] |
|
14941_NT | Rain, Steam and Speed – The Great Western Railway | Explore the Sublime about the Style and interpretation of this artwork. | This celebrated picture demonstrates Turner's commitment to classical landscape, as well as his passion for experimentation and interest in the modern world. The painting is interpreted as a celebration of travel and new technological power, with the railways representing the convergence of technology and natural forces. These elements create an emotional tension associated with the overwhelming power of the sublime. The thrilling essence of speed was an innovative factor of life, with the power to alter our emotions of nature, while the steam of the locomotive provided a groundbreaking atmospheric scenery. Turner was not painting a factual view of the Great Western Railway, but rather an allegory of the powers of nature and technology. | [
"sublime",
"Great Western Railway"
] |
|
14942_T | Rain, Steam and Speed – The Great Western Railway | In the context of Rain, Steam and Speed – The Great Western Railway, discuss the Hare of the Style and interpretation. | A hare runs along the track in the bottom right of the painting, possibly symbolizing speed itself. Some think this is a reference to the limits of technology. Others believe the animal is running in fear of the new machinery and Turner meant to hint at the danger of man's new technology destroying the sublime elements of nature. Turner considered both hound and hare as the most characteristic emblems of speed, in which the hare does everything in its power to stay safe from the predator who chases it. In fact, he had used these symbols in previous works. In the 1810s, in Battle Abbey; the Spot Where Harold Fell, and later in 1837, in the Apollo and Daphne, he portrayed this detail of a hare being chased. A hare was likely to outpace a Great Western steam locomotive pulling a luggage train of open passenger wagons as depicted by Turner yet in Rain, Steam, and Speed, the modern observer might experience a feeling the poor hare could be crushed in an instant. It is speculated that Turner, played on the idea of an animal chase, aware that a Great Western Firefly type of passenger locomotive engine was named Greyhound but his rendering of the engine is so indistinct to prevent any identification of its type and, in any case, fast and powerful Firefly locomotives were not allocated to luggage trains. | [
"hare",
"sublime"
] |
|
14942_NT | Rain, Steam and Speed – The Great Western Railway | In the context of this artwork, discuss the Hare of the Style and interpretation. | A hare runs along the track in the bottom right of the painting, possibly symbolizing speed itself. Some think this is a reference to the limits of technology. Others believe the animal is running in fear of the new machinery and Turner meant to hint at the danger of man's new technology destroying the sublime elements of nature. Turner considered both hound and hare as the most characteristic emblems of speed, in which the hare does everything in its power to stay safe from the predator who chases it. In fact, he had used these symbols in previous works. In the 1810s, in Battle Abbey; the Spot Where Harold Fell, and later in 1837, in the Apollo and Daphne, he portrayed this detail of a hare being chased. A hare was likely to outpace a Great Western steam locomotive pulling a luggage train of open passenger wagons as depicted by Turner yet in Rain, Steam, and Speed, the modern observer might experience a feeling the poor hare could be crushed in an instant. It is speculated that Turner, played on the idea of an animal chase, aware that a Great Western Firefly type of passenger locomotive engine was named Greyhound but his rendering of the engine is so indistinct to prevent any identification of its type and, in any case, fast and powerful Firefly locomotives were not allocated to luggage trains. | [
"hare",
"sublime"
] |
|
14943_T | Rain, Steam and Speed – The Great Western Railway | In Rain, Steam and Speed – The Great Western Railway, how is the Analogues of the Style and interpretation elucidated? | Some people interpret this painting as analogous to that of The Fighting Téméraire, since there seems to be a transition from the past towards the future as the train speeds towards us. Additionally, both paintings create a contrast between technology and the beautiful, peaceful landscape. Other interpretations say that at the left of the painting, Turner features a second stone bridge that serves as an analogue to the bridge in Apullia and Appullus of 1814, emphasizing that both principal structural elements have been pushed to the edges of the canvas. | [
"left",
"The Fighting Téméraire"
] |
|
14943_NT | Rain, Steam and Speed – The Great Western Railway | In this artwork, how is the Analogues of the Style and interpretation elucidated? | Some people interpret this painting as analogous to that of The Fighting Téméraire, since there seems to be a transition from the past towards the future as the train speeds towards us. Additionally, both paintings create a contrast between technology and the beautiful, peaceful landscape. Other interpretations say that at the left of the painting, Turner features a second stone bridge that serves as an analogue to the bridge in Apullia and Appullus of 1814, emphasizing that both principal structural elements have been pushed to the edges of the canvas. | [
"left",
"The Fighting Téméraire"
] |
|
14944_T | The Fall of the Rebel Angels | Focus on The Fall of the Rebel Angels and analyze the abstract. | The Fall of the Rebel Angels is an oil-on-panel painting of 1562 by the Netherlandish Renaissance artist, Pieter Bruegel the Elder. The painting is 117cm x 162cm (46 inches by 64 inches) and is now in the Royal Museums of Fine Arts of Belgium in Brussels, Belgium. The Fall of Rebel Angels depicts Lucifer along with the other fallen angels that have been banished from heaven. Angels are falling from the sun in a stacked manner along with ungodly creatures that Bruegel created. This piece by Bruegel was previously thought to be by Hieronymus Bosch. Bruegel was influenced by a variety of artists such as Albrecht Dürer, Frans Floris I, and Hieronymus Bosch. He also got ideas for the creation of his creatures in his previous works. | [
"Frans Floris I",
"Pieter Bruegel the Elder",
"Brussels",
"the Netherlandish Renaissance",
"Hieronymus Bosch",
"fallen angel",
"Royal Museums of Fine Arts of Belgium",
"Lucifer",
"Albrecht Dürer",
"Frans Floris"
] |
|
14944_NT | The Fall of the Rebel Angels | Focus on this artwork and analyze the abstract. | The Fall of the Rebel Angels is an oil-on-panel painting of 1562 by the Netherlandish Renaissance artist, Pieter Bruegel the Elder. The painting is 117cm x 162cm (46 inches by 64 inches) and is now in the Royal Museums of Fine Arts of Belgium in Brussels, Belgium. The Fall of Rebel Angels depicts Lucifer along with the other fallen angels that have been banished from heaven. Angels are falling from the sun in a stacked manner along with ungodly creatures that Bruegel created. This piece by Bruegel was previously thought to be by Hieronymus Bosch. Bruegel was influenced by a variety of artists such as Albrecht Dürer, Frans Floris I, and Hieronymus Bosch. He also got ideas for the creation of his creatures in his previous works. | [
"Frans Floris I",
"Pieter Bruegel the Elder",
"Brussels",
"the Netherlandish Renaissance",
"Hieronymus Bosch",
"fallen angel",
"Royal Museums of Fine Arts of Belgium",
"Lucifer",
"Albrecht Dürer",
"Frans Floris"
] |
|
14945_T | The Fall of the Rebel Angels | In The Fall of the Rebel Angels, how is the Description discussed? | Painted in 1562, Bruegel's depiction of this subject of Lucifer falling with his fallen angels is taken from a passage from Revelation 12, and reveals the artist's profound debt to Hieronymus Bosch. This is shown through the grotesque, ugly or distorted, figures painted as half-human and half-apocalyptic creatures.Lucifer was designed to be a perfect angel. He fell from heaven because of his pride and rebellion against God's divine plan, which was to appoint Jesus as the people's savior. Lucifer coerced one-third of the angels to follow his lead in the rebellion and to assist in appointing him to be the new "God." The sin of pride caused the fall of Lucifer and his companions and resulted in the "war in heaven." The archangel Michael was given the duty to drive Lucifer and the fallen angels out of heaven. The conflict of good and evil as well as vice and virtue are constant recurring themes throughout Bruegel's work.The composition with a central figure placed among many smaller figures was favored by Bruegel during this time. This is not only shown through The Fall of Rebel Angels but through art pieces such as Dulle Griet and in the series of engravings of the Vices and the Virtues completed for the Antwerp publisher Hieronymus Cock. The painting is a split landscape with the top portion being heaven and the bottom portion representing hell. Heaven is illustrated with light blues, vibrant colors, and surrounded by flying angels, while hell is much darker than heaven. This is illustrated through dark tones and demonic creatures to set the distinct difference between the two. The entire space is filled and little absent space is present. | [
"Antwerp",
"archangel Michael",
"Hieronymus Bosch",
"fallen angel",
"war in heaven.",
"Revelation 12",
"Lucifer",
"Hieronymus Cock"
] |
|
14945_NT | The Fall of the Rebel Angels | In this artwork, how is the Description discussed? | Painted in 1562, Bruegel's depiction of this subject of Lucifer falling with his fallen angels is taken from a passage from Revelation 12, and reveals the artist's profound debt to Hieronymus Bosch. This is shown through the grotesque, ugly or distorted, figures painted as half-human and half-apocalyptic creatures.Lucifer was designed to be a perfect angel. He fell from heaven because of his pride and rebellion against God's divine plan, which was to appoint Jesus as the people's savior. Lucifer coerced one-third of the angels to follow his lead in the rebellion and to assist in appointing him to be the new "God." The sin of pride caused the fall of Lucifer and his companions and resulted in the "war in heaven." The archangel Michael was given the duty to drive Lucifer and the fallen angels out of heaven. The conflict of good and evil as well as vice and virtue are constant recurring themes throughout Bruegel's work.The composition with a central figure placed among many smaller figures was favored by Bruegel during this time. This is not only shown through The Fall of Rebel Angels but through art pieces such as Dulle Griet and in the series of engravings of the Vices and the Virtues completed for the Antwerp publisher Hieronymus Cock. The painting is a split landscape with the top portion being heaven and the bottom portion representing hell. Heaven is illustrated with light blues, vibrant colors, and surrounded by flying angels, while hell is much darker than heaven. This is illustrated through dark tones and demonic creatures to set the distinct difference between the two. The entire space is filled and little absent space is present. | [
"Antwerp",
"archangel Michael",
"Hieronymus Bosch",
"fallen angel",
"war in heaven.",
"Revelation 12",
"Lucifer",
"Hieronymus Cock"
] |
|
14946_T | The Fall of the Rebel Angels | In the context of The Fall of the Rebel Angels, explore the Figures of the Description. | The central figure is the archangel Michael depicted with a sword. He is in triumph as he defeats the fallen angels and demonic creatures. Above the archangel, there are figures coming out of what looks like a hole in the sky which is the sun. The figures represent Lucifer, the fallen angels, and demonic creatures. There are also an abundance of exotic animals alongside deformed and mutated figures. There are two other prominent figures on either side of archangel Michael who are dressed in all white to contrast the dark colors underneath them. These figures are good angels who are assisting in the fight against the rebellious angels. In the upper portion in both corners, there are angelic musicians playing their instruments as if the war between good and evil has already been played out. The action of playing the trumpets foreshadow a successful triumph. | [
"archangel Michael",
"fallen angel",
"Lucifer"
] |
|
14946_NT | The Fall of the Rebel Angels | In the context of this artwork, explore the Figures of the Description. | The central figure is the archangel Michael depicted with a sword. He is in triumph as he defeats the fallen angels and demonic creatures. Above the archangel, there are figures coming out of what looks like a hole in the sky which is the sun. The figures represent Lucifer, the fallen angels, and demonic creatures. There are also an abundance of exotic animals alongside deformed and mutated figures. There are two other prominent figures on either side of archangel Michael who are dressed in all white to contrast the dark colors underneath them. These figures are good angels who are assisting in the fight against the rebellious angels. In the upper portion in both corners, there are angelic musicians playing their instruments as if the war between good and evil has already been played out. The action of playing the trumpets foreshadow a successful triumph. | [
"archangel Michael",
"fallen angel",
"Lucifer"
] |
|
14947_T | The Fall of the Rebel Angels | Focus on The Fall of the Rebel Angels and explain the Attribution Debate. | Due to not finding a signature on the painting, the Royal Museum of Fine Arts first inherited the painting with the idea that the artist of the painting was Hieronymus Bosch. The signature was found under the frame in 1900 with the name of Pieter Bruegel on it. With this finding, they assumed the painting came from Pieter the Younger. Later, after finding a date on the painting, it was clarified that the artist was not Pieter the Younger but Pieter Bruegel the Elder. | [
"Pieter Bruegel the Elder",
"Hieronymus Bosch"
] |
|
14947_NT | The Fall of the Rebel Angels | Focus on this artwork and explain the Attribution Debate. | Due to not finding a signature on the painting, the Royal Museum of Fine Arts first inherited the painting with the idea that the artist of the painting was Hieronymus Bosch. The signature was found under the frame in 1900 with the name of Pieter Bruegel on it. With this finding, they assumed the painting came from Pieter the Younger. Later, after finding a date on the painting, it was clarified that the artist was not Pieter the Younger but Pieter Bruegel the Elder. | [
"Pieter Bruegel the Elder",
"Hieronymus Bosch"
] |
|
14948_T | The Fall of the Rebel Angels | Explore the Interpretation of this artwork, The Fall of the Rebel Angels. | There has been a comparison between this art work and cabinets of curiosities. Because this painting is so full and depicted with natural and artificial objects, Tine Luk Meganck states this is Bruegel's own cabinet of curiosity portrayed as an art piece. Bruegel utilizes natural objects such as a butterfly, fish, and other known creatures. He also uses artificial objects such as the instruments, armor, and weapons. The incorporation of both natural and artificial objects reflect his stance on how he feels about the new found foreign land of the Americas. | [] |
|
14948_NT | The Fall of the Rebel Angels | Explore the Interpretation of this artwork. | There has been a comparison between this art work and cabinets of curiosities. Because this painting is so full and depicted with natural and artificial objects, Tine Luk Meganck states this is Bruegel's own cabinet of curiosity portrayed as an art piece. Bruegel utilizes natural objects such as a butterfly, fish, and other known creatures. He also uses artificial objects such as the instruments, armor, and weapons. The incorporation of both natural and artificial objects reflect his stance on how he feels about the new found foreign land of the Americas. | [] |
|
14949_T | The Fall of the Rebel Angels | Focus on The Fall of the Rebel Angels and discuss the In popular culture. | A reproduction of the painting appears at the beginning of the music video for the Korean version of the song Blood Sweat & Tears by South Korean group BTS. As the group somewhat cheerfully walks through a museum, member Jin stops in front of the painting and observes it briefly with a more serious demeanor, at which point the song begins. The painting was also featured in a collaboration between Supreme and Undercover, a Japanese clothing brand by Jun Takahashi. The collection released during the Fall/Winter 2016 season and featured the painting on an all-over-print jacket and a sticker. Damiano David the lead singer of Italian rock band Måneskin has the piece tattooed on his back. | [
"Jin",
"Blood Sweat & Tears",
"Damiano David",
"Måneskin",
"South Korea",
"Supreme",
"BTS",
"South Korean",
"Jun Takahashi"
] |
|
14949_NT | The Fall of the Rebel Angels | Focus on this artwork and discuss the In popular culture. | A reproduction of the painting appears at the beginning of the music video for the Korean version of the song Blood Sweat & Tears by South Korean group BTS. As the group somewhat cheerfully walks through a museum, member Jin stops in front of the painting and observes it briefly with a more serious demeanor, at which point the song begins. The painting was also featured in a collaboration between Supreme and Undercover, a Japanese clothing brand by Jun Takahashi. The collection released during the Fall/Winter 2016 season and featured the painting on an all-over-print jacket and a sticker. Damiano David the lead singer of Italian rock band Måneskin has the piece tattooed on his back. | [
"Jin",
"Blood Sweat & Tears",
"Damiano David",
"Måneskin",
"South Korea",
"Supreme",
"BTS",
"South Korean",
"Jun Takahashi"
] |
|
14950_T | The Young Sailor II | How does The Young Sailor II elucidate its abstract? | The Young Sailor II is a painting by Henri Matisse from 1906. It is in the collection of the Metropolitan Museum of Art, New York. | [
"Henri Matisse",
"Metropolitan Museum of Art",
"New York"
] |
|
14950_NT | The Young Sailor II | How does this artwork elucidate its abstract? | The Young Sailor II is a painting by Henri Matisse from 1906. It is in the collection of the Metropolitan Museum of Art, New York. | [
"Henri Matisse",
"Metropolitan Museum of Art",
"New York"
] |
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