ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
sequence |
|---|---|---|---|---|---|
14951_T | The Young Sailor II | Focus on The Young Sailor II and analyze the Painting style. | In this the second version of The Young Sailor, Matisse expresses sharper edges, and brighter, flatter colors than in his earlier version of the painting. Painted in vivid pink, blue, and green, the expression of the sailor is playful and primitive. The sailor's stylized face is a mask, a collection of angles and deep lines.
An icon of Fauve portraiture, The Young Sailor II shows greater simplicity and more distortion than the first version of the painting. Contrary to the first version, the second uses more vivid colors which are more blended and distorted. The figure drawing is more succinct, and made up of fewer lines. The young man has a soft body- his legs lazily straddle widely, his head hangs at a small angle. He has a quick curve for a nose, and youthful lips. The whole figure is so logically condensed that it's hypnotizing. Recently established research indicates the model for Young Sailor II was an eighteen-year-old fisherman named Germain Augustin Barthélémy Montargès (1888–1938).
Overall, between the flat, bold color planes and the simplified figure of the boy, Young Sailor II seems to be a more childlike expression of the first portrait. Many elements of the painting are not articulated totally, but implied, rather. The sailor's footwear is a good example. His booties or shoes are not very visible, it's not clear if he is wearing boots for work or leisure. But the decorative elements are there, simplified as they are. The sailor's hands are also a summation of figurative hands. Painted as large gloves of color, fingers are dashes, his palm is shown on his left hand in one deep v-shape.
There is a major contrast between the still, mask-like quality of the sailor's face and the wild, frenetic brushstrokes of his clothing. Whereas the sailor's eyebrows, nose, and lips all are painted in concrete, heavy lines, his pants and sweater are composed of moving, wild painted curves and turns. The folds of the jumper (sweater) alone mimic the rushing, lapping waves of the sea from where the boy probably just returned.
The sailor was painted in Collioure, during Matisse's "fauve summer." He had been painting great self-portraits when he convinced an eighteen-year old fisherman to pose for him. When he returned to Paris, Matisse had both a drawing and a painting of the young man to show. The work Matisse brought back seemed to have been created in a whirlwind.
The first version of the painting is more figurative, the second is more abstract and strategic. Alfred H. Barr Jr. saw in the sailor's face an expression of “almond-eyed charm verging on prettiness.” His theatrical, sweetly aggressive features set against a candy-pink background make this one of the most arresting portraits in the Metropolitan collection. It was donated to the Metropolitan Museum of Art as part of the Jacques and Natasha Gelman Collection, in 1998 (1999.363.41).
The painting is on show in the Metropolitan Museums Gallery 904. | [
"the first version of the painting",
"Fauve",
"Jacques and Natasha Gelman Collection",
"Metropolitan Museum of Art"
] |
|
14951_NT | The Young Sailor II | Focus on this artwork and analyze the Painting style. | In this the second version of The Young Sailor, Matisse expresses sharper edges, and brighter, flatter colors than in his earlier version of the painting. Painted in vivid pink, blue, and green, the expression of the sailor is playful and primitive. The sailor's stylized face is a mask, a collection of angles and deep lines.
An icon of Fauve portraiture, The Young Sailor II shows greater simplicity and more distortion than the first version of the painting. Contrary to the first version, the second uses more vivid colors which are more blended and distorted. The figure drawing is more succinct, and made up of fewer lines. The young man has a soft body- his legs lazily straddle widely, his head hangs at a small angle. He has a quick curve for a nose, and youthful lips. The whole figure is so logically condensed that it's hypnotizing. Recently established research indicates the model for Young Sailor II was an eighteen-year-old fisherman named Germain Augustin Barthélémy Montargès (1888–1938).
Overall, between the flat, bold color planes and the simplified figure of the boy, Young Sailor II seems to be a more childlike expression of the first portrait. Many elements of the painting are not articulated totally, but implied, rather. The sailor's footwear is a good example. His booties or shoes are not very visible, it's not clear if he is wearing boots for work or leisure. But the decorative elements are there, simplified as they are. The sailor's hands are also a summation of figurative hands. Painted as large gloves of color, fingers are dashes, his palm is shown on his left hand in one deep v-shape.
There is a major contrast between the still, mask-like quality of the sailor's face and the wild, frenetic brushstrokes of his clothing. Whereas the sailor's eyebrows, nose, and lips all are painted in concrete, heavy lines, his pants and sweater are composed of moving, wild painted curves and turns. The folds of the jumper (sweater) alone mimic the rushing, lapping waves of the sea from where the boy probably just returned.
The sailor was painted in Collioure, during Matisse's "fauve summer." He had been painting great self-portraits when he convinced an eighteen-year old fisherman to pose for him. When he returned to Paris, Matisse had both a drawing and a painting of the young man to show. The work Matisse brought back seemed to have been created in a whirlwind.
The first version of the painting is more figurative, the second is more abstract and strategic. Alfred H. Barr Jr. saw in the sailor's face an expression of “almond-eyed charm verging on prettiness.” His theatrical, sweetly aggressive features set against a candy-pink background make this one of the most arresting portraits in the Metropolitan collection. It was donated to the Metropolitan Museum of Art as part of the Jacques and Natasha Gelman Collection, in 1998 (1999.363.41).
The painting is on show in the Metropolitan Museums Gallery 904. | [
"the first version of the painting",
"Fauve",
"Jacques and Natasha Gelman Collection",
"Metropolitan Museum of Art"
] |
|
14952_T | Ham's Redemption | In Ham's Redemption, how is the abstract discussed? | Ham's Redemption, in Portuguese: A Redenção de Cam (pronounced [ɐ ʁidẽˈsɐ̃w dʒi kɐ̃]); is an oil painting made by painter Modesto Brocos in 1895. Brocos completed the work while teaching at the National School of Fine Arts of Rio de Janeiro.The piece deals with the controversial racial theories of the late nineteenth century, and the phenomenon of the search for the gradual "branqueamento" of the generations of the same family through miscegenation.The work earned Modesto Brocos y Gómez a gold medal at the National Salon of Fine Arts in 1895, and is an example of the direction Brazilian art took in the late nineteenth century. | [
"miscegenation",
"Modesto Brocos",
"Rio de Janeiro",
"1895",
"Ham",
"Portuguese",
"oil painting"
] |
|
14952_NT | Ham's Redemption | In this artwork, how is the abstract discussed? | Ham's Redemption, in Portuguese: A Redenção de Cam (pronounced [ɐ ʁidẽˈsɐ̃w dʒi kɐ̃]); is an oil painting made by painter Modesto Brocos in 1895. Brocos completed the work while teaching at the National School of Fine Arts of Rio de Janeiro.The piece deals with the controversial racial theories of the late nineteenth century, and the phenomenon of the search for the gradual "branqueamento" of the generations of the same family through miscegenation.The work earned Modesto Brocos y Gómez a gold medal at the National Salon of Fine Arts in 1895, and is an example of the direction Brazilian art took in the late nineteenth century. | [
"miscegenation",
"Modesto Brocos",
"Rio de Janeiro",
"1895",
"Ham",
"Portuguese",
"oil painting"
] |
|
14953_T | Ham's Redemption | Focus on Ham's Redemption and explore the Description and analysis of painting. | The painting is the fruit of a moment of post-emancipation, marked by the adhesion of racialism in the public sphere and the "necessity" of actions in relation to the destiny of the black and mixed population in the free and republican order. The painting alludes to the first book of the Bible, Genesis, Chapter 9. In the episode, a drunk and naked Noah is exposed, instead of covered, by his son Ham to the latter's brothers Shem and Japheth. For bringing shame upon him, Noah condemns Ham to be a slave along with his son Canaan, who is cursed as "the servant of the servants". Noah prophesied that he, Ham, would be "the last of the slaves of his brethren." Ham was then pointed out in the Bible as the supposed father of the African races. This was the basis for Christians from the 16th to the 17th centuries to justify slavery in colonial economies.The painting shows a sort of reversal of the "curse" (being Afro-descendant), by whitening the other characters. It is noticeable the realism present in the work, which brings gradations of colors between the three generations of the characters. The baby is the whitest, followed by the father, sitting next to the mother, who holds the child in her lap. In the left corner, the one with the darkest skin is the grandmother, her hands raised to the sky in prayerful thanksgiving. By being born white, her grandchild was freed from the "curse" of being black, since her daughter, a mulata, had married the white man.Seated are the child's mother, who carries her on her knees, and a man with crossed legs – supposedly the white husband and responsible for the "bleaching" of the offspring. This gradation of color notably follows from left to right, showing miscegenation in its entire process. Here, it is not only a question of cultural and racial elimination, but also of the need for progress that, in Brocos's eyes, would come only through the "laundering" of the population and the approximation to European culture, eliminating and ignoring other ethnicities and customs.This denial of African culture becomes apparent in the robes of the female figures; both women wear Westernized clothes and not costumes that recall their African descent. The seated woman's body is covered in clothing, making it look more European than African. Here is an idea of black women's adjustment to white Christian morality and an ideal of a "whitening reproduction". In addition, it is notable that the two characters who do not have white skin are women: the mother and the grandmother, establishing a color opposition to the baby and the father. The whole composition is strengthened when the viewer realizes that the ground on which the man treads is stone, showing an "evolution" in relation to the bare earth the women's feet touch. Once again, the white-skinned European is shown as superior, and this is evident even in his pose: his back is turned as he looks at the rest of the scene.The position of the hands and gazes between the characters brings coherence to the message that Modesto Brocos wanted to pass. There is also a theory that the young mother alludes to the Blessed Virgin Mary and the baby, the Child Jesus. This is due to the woman's shawl being blue, which was (and still is) linked to Mary in art.The period in which the work was produced was marked by intense scientific mobilizations; however, in referring to the biblical episode narrated in the book of Genesis, The Redemption of Ham seems to bet more on religion than science to corroborate its perspective. There is, in the work, a perspective of religious court rather than a "scientific" look. The work reflects the racist ideologies of the time by showing the laundering passed on by the family members as something to be praised by them. As Tatiana Lotierzo and Lilia Schwarcz point out in the article "Gender, Race and Whitening Project: The Redemption of Cam" the adult women in the painting are disposed as if there was voluntarism from them in the process of laundering which sought to extinguish their own ethnic group. The work became the mark of an era that, imbued with a racialist thought, left indelible marks in the Brazilian tradition. | [
"Bible",
"Canaan",
"Japheth",
"Genesis",
"Lilia Schwarcz",
"European culture",
"miscegenation",
"right",
"republican",
"racialist",
"Modesto Brocos",
"African culture",
"Child Jesus",
"racialism",
"realism",
"slavery",
"races",
"whitening",
"Ham",
"emancipation",
"Blessed Virgin Mary",
"Shem",
"Noah"
] |
|
14953_NT | Ham's Redemption | Focus on this artwork and explore the Description and analysis of painting. | The painting is the fruit of a moment of post-emancipation, marked by the adhesion of racialism in the public sphere and the "necessity" of actions in relation to the destiny of the black and mixed population in the free and republican order. The painting alludes to the first book of the Bible, Genesis, Chapter 9. In the episode, a drunk and naked Noah is exposed, instead of covered, by his son Ham to the latter's brothers Shem and Japheth. For bringing shame upon him, Noah condemns Ham to be a slave along with his son Canaan, who is cursed as "the servant of the servants". Noah prophesied that he, Ham, would be "the last of the slaves of his brethren." Ham was then pointed out in the Bible as the supposed father of the African races. This was the basis for Christians from the 16th to the 17th centuries to justify slavery in colonial economies.The painting shows a sort of reversal of the "curse" (being Afro-descendant), by whitening the other characters. It is noticeable the realism present in the work, which brings gradations of colors between the three generations of the characters. The baby is the whitest, followed by the father, sitting next to the mother, who holds the child in her lap. In the left corner, the one with the darkest skin is the grandmother, her hands raised to the sky in prayerful thanksgiving. By being born white, her grandchild was freed from the "curse" of being black, since her daughter, a mulata, had married the white man.Seated are the child's mother, who carries her on her knees, and a man with crossed legs – supposedly the white husband and responsible for the "bleaching" of the offspring. This gradation of color notably follows from left to right, showing miscegenation in its entire process. Here, it is not only a question of cultural and racial elimination, but also of the need for progress that, in Brocos's eyes, would come only through the "laundering" of the population and the approximation to European culture, eliminating and ignoring other ethnicities and customs.This denial of African culture becomes apparent in the robes of the female figures; both women wear Westernized clothes and not costumes that recall their African descent. The seated woman's body is covered in clothing, making it look more European than African. Here is an idea of black women's adjustment to white Christian morality and an ideal of a "whitening reproduction". In addition, it is notable that the two characters who do not have white skin are women: the mother and the grandmother, establishing a color opposition to the baby and the father. The whole composition is strengthened when the viewer realizes that the ground on which the man treads is stone, showing an "evolution" in relation to the bare earth the women's feet touch. Once again, the white-skinned European is shown as superior, and this is evident even in his pose: his back is turned as he looks at the rest of the scene.The position of the hands and gazes between the characters brings coherence to the message that Modesto Brocos wanted to pass. There is also a theory that the young mother alludes to the Blessed Virgin Mary and the baby, the Child Jesus. This is due to the woman's shawl being blue, which was (and still is) linked to Mary in art.The period in which the work was produced was marked by intense scientific mobilizations; however, in referring to the biblical episode narrated in the book of Genesis, The Redemption of Ham seems to bet more on religion than science to corroborate its perspective. There is, in the work, a perspective of religious court rather than a "scientific" look. The work reflects the racist ideologies of the time by showing the laundering passed on by the family members as something to be praised by them. As Tatiana Lotierzo and Lilia Schwarcz point out in the article "Gender, Race and Whitening Project: The Redemption of Cam" the adult women in the painting are disposed as if there was voluntarism from them in the process of laundering which sought to extinguish their own ethnic group. The work became the mark of an era that, imbued with a racialist thought, left indelible marks in the Brazilian tradition. | [
"Bible",
"Canaan",
"Japheth",
"Genesis",
"Lilia Schwarcz",
"European culture",
"miscegenation",
"right",
"republican",
"racialist",
"Modesto Brocos",
"African culture",
"Child Jesus",
"racialism",
"realism",
"slavery",
"races",
"whitening",
"Ham",
"emancipation",
"Blessed Virgin Mary",
"Shem",
"Noah"
] |
|
14954_T | Ham's Redemption | Focus on Ham's Redemption and explain the Background: Whitening (Branqueamento) and eugenics in Brazil. | In the nineteenth century, the idea of society "whitening" (Portuguese: branqueamento) spread in Brazil, as an ideology which sought to erase black features from the Brazilian population. During the first decades of the twentieth century, industrialization, immigration and urbanization brought a more pessimistic and nationalistic view to the country. The two world wars brought the expansion of nationalism, combining the idea of race with the construction of nationalities.In Europe, the idea of eugenics was held and disseminated by various scholars, including Francis Galton in 1883. Galton, a cousin of Charles Darwin, claimed that natural selection was also valid for humans. His belief was that intellectual capacity was not individual, but hereditary. His project analyzed the family trees of approximately 9,000 families, and came to the conclusion that non-handicapped white people displayed the best intellectual and social "performances" compared to those of other races and ethnicities. This pattern was based on the racialist thesis that the Europeans were the possessor of the greatest beauty, civilizational competence and health when compared to the "other races", the black (African), "red" (Indigenous) and "yellow" (Asian).The earliest records of eugenics in Brazil appeared at the end of the first decade of the nineteenth century. In 1917, the physician and pharmacist Renato Kehl, was responsible for expanding and disseminating eugenics in Brazil. Kehl believed that the only way for the country to thrive was through a project that focused on the predominance of the white race and the whitening of the black population. In addition to segregation by skin color, his discourse also supported the exclusion of the disabled (either physical or mental) from society. He also defended the sterilization of criminals, the regulation of a prenuptial examination (to ensure that the bride was a virgin), examinations to ensure divorce if the woman had "illegitimate children" or had proven hereditary defects in her family, compulsory eugenic education in schools and test to measure mental capacity in children 8 to 14 years old. Kehl presented his thoughts in various congresses, and had an impact on groups of teachers, physicians and adherents of racial hygiene. Thus, in 1918, was founded the first eugenic society of Latin America, the Eugene Society of São Paulo (SESP). Some well-known names were part of the group: Arnaldo Vieira de Carvalho, Olavo Bilac, Alfredo Elli, Belisário Penna, Vital Brazil, Arthur Neiva, Luís Pereira Barreto, Antonio Austregésilo, Juliano Moreira, Afrânio Peixoto and Monteiro Lobato.
In subsequent years, eugenics aroused the interest of the Brazilian elite, who created the stigma of the "Brazilian man", excluding all those who did not fit in with what was idealized by them. There was a belief that the movement would promote a reform in the aesthetic, hygienic and moral values of Brazilian society. At the time, the ideal brought forth an even more patriarchal society. Here, women had the simple role of "procreating" and performing the domestic tasks assigned by her husband. The "national identity" crossed limits and brought to light the racism present in the upper strata of Brazilian society. | [
"patriarchal society",
"family trees",
"Afrânio Peixoto",
"Monteiro Lobato",
"racial hygiene",
"eugenics",
"racialist",
"Juliano Moreira",
"Branqueamento",
"Charles Darwin",
"Antonio Austregésilo",
"virgin",
"ideology",
"national identity",
"races",
"whitening",
"intellectual",
"non-handicapped",
"Francis Galton",
"white people",
"world wars",
"Vital Brazil",
"Portuguese",
"Olavo Bilac"
] |
|
14954_NT | Ham's Redemption | Focus on this artwork and explain the Background: Whitening (Branqueamento) and eugenics in Brazil. | In the nineteenth century, the idea of society "whitening" (Portuguese: branqueamento) spread in Brazil, as an ideology which sought to erase black features from the Brazilian population. During the first decades of the twentieth century, industrialization, immigration and urbanization brought a more pessimistic and nationalistic view to the country. The two world wars brought the expansion of nationalism, combining the idea of race with the construction of nationalities.In Europe, the idea of eugenics was held and disseminated by various scholars, including Francis Galton in 1883. Galton, a cousin of Charles Darwin, claimed that natural selection was also valid for humans. His belief was that intellectual capacity was not individual, but hereditary. His project analyzed the family trees of approximately 9,000 families, and came to the conclusion that non-handicapped white people displayed the best intellectual and social "performances" compared to those of other races and ethnicities. This pattern was based on the racialist thesis that the Europeans were the possessor of the greatest beauty, civilizational competence and health when compared to the "other races", the black (African), "red" (Indigenous) and "yellow" (Asian).The earliest records of eugenics in Brazil appeared at the end of the first decade of the nineteenth century. In 1917, the physician and pharmacist Renato Kehl, was responsible for expanding and disseminating eugenics in Brazil. Kehl believed that the only way for the country to thrive was through a project that focused on the predominance of the white race and the whitening of the black population. In addition to segregation by skin color, his discourse also supported the exclusion of the disabled (either physical or mental) from society. He also defended the sterilization of criminals, the regulation of a prenuptial examination (to ensure that the bride was a virgin), examinations to ensure divorce if the woman had "illegitimate children" or had proven hereditary defects in her family, compulsory eugenic education in schools and test to measure mental capacity in children 8 to 14 years old. Kehl presented his thoughts in various congresses, and had an impact on groups of teachers, physicians and adherents of racial hygiene. Thus, in 1918, was founded the first eugenic society of Latin America, the Eugene Society of São Paulo (SESP). Some well-known names were part of the group: Arnaldo Vieira de Carvalho, Olavo Bilac, Alfredo Elli, Belisário Penna, Vital Brazil, Arthur Neiva, Luís Pereira Barreto, Antonio Austregésilo, Juliano Moreira, Afrânio Peixoto and Monteiro Lobato.
In subsequent years, eugenics aroused the interest of the Brazilian elite, who created the stigma of the "Brazilian man", excluding all those who did not fit in with what was idealized by them. There was a belief that the movement would promote a reform in the aesthetic, hygienic and moral values of Brazilian society. At the time, the ideal brought forth an even more patriarchal society. Here, women had the simple role of "procreating" and performing the domestic tasks assigned by her husband. The "national identity" crossed limits and brought to light the racism present in the upper strata of Brazilian society. | [
"patriarchal society",
"family trees",
"Afrânio Peixoto",
"Monteiro Lobato",
"racial hygiene",
"eugenics",
"racialist",
"Juliano Moreira",
"Branqueamento",
"Charles Darwin",
"Antonio Austregésilo",
"virgin",
"ideology",
"national identity",
"races",
"whitening",
"intellectual",
"non-handicapped",
"Francis Galton",
"white people",
"world wars",
"Vital Brazil",
"Portuguese",
"Olavo Bilac"
] |
|
14955_T | Ham's Redemption | Explore the Brocos and his support for eugenics of this artwork, Ham's Redemption. | Modesto Brocos never denied his support for eugenics theories. In 1930, thirty-five years after painting, the artist released a work of science fiction, Viaje a Marte ("Trip to Mars"). In it, the painter himself appears as a character who recounts his visit on a planet where there is a policy of reproduction controlled by the state - the Agricultural Army and the Humanitarian Sisters - all white volunteers. Even though it is a book of fiction, Brocos makes explicit his eugenic and racist ideas when, in one of the excerpts of the work, he says that humanity was not satisfied, because there still had to be a "unification of races". He adds that in earlier times, with the "yellow" race, mestizaje had been easier, but that with the black race, although there was the same process, the color "presented difficulties to be mixed." | [
"mestizaje",
"eugenics",
"Modesto Brocos",
"races",
"Mars"
] |
|
14955_NT | Ham's Redemption | Explore the Brocos and his support for eugenics of this artwork. | Modesto Brocos never denied his support for eugenics theories. In 1930, thirty-five years after painting, the artist released a work of science fiction, Viaje a Marte ("Trip to Mars"). In it, the painter himself appears as a character who recounts his visit on a planet where there is a policy of reproduction controlled by the state - the Agricultural Army and the Humanitarian Sisters - all white volunteers. Even though it is a book of fiction, Brocos makes explicit his eugenic and racist ideas when, in one of the excerpts of the work, he says that humanity was not satisfied, because there still had to be a "unification of races". He adds that in earlier times, with the "yellow" race, mestizaje had been easier, but that with the black race, although there was the same process, the color "presented difficulties to be mixed." | [
"mestizaje",
"eugenics",
"Modesto Brocos",
"races",
"Mars"
] |
|
14956_T | Ham's Redemption | Focus on Ham's Redemption and discuss the Eugenics symbol. | The work is considered one of the most racist and reactionary paintings of the nineteenth century, bringing with it the symbolism of elitist thinking. The painting appears in a post-abolitionist process of the new republic, which sought progress using Europe as a model. In the eyes of the elite, the white, represented progress, while the black represented the past. In this context comes the eugenics and whitening as mentioned earlier, which proposed miscegenation as a solution, leaving the population with an increasingly European profile. The painting is simply a visual representation of the subject present in the discourse of the intellectuals of the time.In 1911, the then director of the National Museum of Rio de Janeiro, João Batista de Lacerda used the painting as an illustration of his article entitled Sur les métis au Brésil (Portuguese, "About the mixed-race in Brazil") at the First Universal Race Congress in Paris. The Congress brought together intellectuals from all over the world to discuss the relationship of races to the process of civilization. Lacerda's work, considered one of the main exponents of the "whitening thesis", came out in defense of the miscegenation, presenting the positivity of this process in Brazil and showing the supposed superiority of the white races in relation to the blacks and the indigenous. In presenting the painting of Brocos, he described it as follows: "The black going white in the third generation, by the effect of the crossing of races." In his speech, he affirmed that in a century the Brazilian population would be mostly white; that is, by 2011 or 2012, the black population would be extinct, and the mixed-race would represent a maximum of 3% of the population.Between the 1920s and 1930s, it was no longer possible to distinguish between Brazilians who identified themselves as exiled Europeans and the local population, since the mixture between indigenous peoples, blacks and whites constituted a miscegenation that went beyond the standards imposed by high, white society. Thus, the elite had almost a need to create a new Brazilian identity, with the desire to be different from any model, and the eugenics ideal lost much of its strength. | [
"indigenous",
"João Batista de Lacerda",
"mixed-race",
"miscegenation",
"eugenics",
"National Museum of Rio de Janeiro",
"abolitionist",
"Rio de Janeiro",
"races",
"whitening",
"intellectual",
"Paris",
"First Universal Race Congress",
"Eugenics",
"Portuguese"
] |
|
14956_NT | Ham's Redemption | Focus on this artwork and discuss the Eugenics symbol. | The work is considered one of the most racist and reactionary paintings of the nineteenth century, bringing with it the symbolism of elitist thinking. The painting appears in a post-abolitionist process of the new republic, which sought progress using Europe as a model. In the eyes of the elite, the white, represented progress, while the black represented the past. In this context comes the eugenics and whitening as mentioned earlier, which proposed miscegenation as a solution, leaving the population with an increasingly European profile. The painting is simply a visual representation of the subject present in the discourse of the intellectuals of the time.In 1911, the then director of the National Museum of Rio de Janeiro, João Batista de Lacerda used the painting as an illustration of his article entitled Sur les métis au Brésil (Portuguese, "About the mixed-race in Brazil") at the First Universal Race Congress in Paris. The Congress brought together intellectuals from all over the world to discuss the relationship of races to the process of civilization. Lacerda's work, considered one of the main exponents of the "whitening thesis", came out in defense of the miscegenation, presenting the positivity of this process in Brazil and showing the supposed superiority of the white races in relation to the blacks and the indigenous. In presenting the painting of Brocos, he described it as follows: "The black going white in the third generation, by the effect of the crossing of races." In his speech, he affirmed that in a century the Brazilian population would be mostly white; that is, by 2011 or 2012, the black population would be extinct, and the mixed-race would represent a maximum of 3% of the population.Between the 1920s and 1930s, it was no longer possible to distinguish between Brazilians who identified themselves as exiled Europeans and the local population, since the mixture between indigenous peoples, blacks and whites constituted a miscegenation that went beyond the standards imposed by high, white society. Thus, the elite had almost a need to create a new Brazilian identity, with the desire to be different from any model, and the eugenics ideal lost much of its strength. | [
"indigenous",
"João Batista de Lacerda",
"mixed-race",
"miscegenation",
"eugenics",
"National Museum of Rio de Janeiro",
"abolitionist",
"Rio de Janeiro",
"races",
"whitening",
"intellectual",
"Paris",
"First Universal Race Congress",
"Eugenics",
"Portuguese"
] |
|
14957_T | Kokawa-dera Engi Emaki | How does Kokawa-dera Engi Emaki elucidate its abstract? | The Kokawa-dera Engi Emaki (粉河寺縁起絵巻, "Illustrated handscroll of Legends of Kokawa-dera Temple"), is an emakimono or emaki (painted narrative handscroll) from the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript composed of a single scroll of paper, it illustrates the foundation of, and the miracles associated with, the Kokawa-dera Buddhist temple in the former Kii Province (currently in Wakayama Prefecture). The long paintings in the work were executed in a simple, uncluttered, Yamato-e style typical of Japanese paintings of the time. | [
"Buddhist",
"emakimono",
"Kamakura",
"Kamakura period",
"Wakayama Prefecture",
"illuminated manuscript",
"Japanese history",
"Yamato-e",
"handscroll",
"Heian",
"Kii Province",
"Kokawa-dera"
] |
|
14957_NT | Kokawa-dera Engi Emaki | How does this artwork elucidate its abstract? | The Kokawa-dera Engi Emaki (粉河寺縁起絵巻, "Illustrated handscroll of Legends of Kokawa-dera Temple"), is an emakimono or emaki (painted narrative handscroll) from the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript composed of a single scroll of paper, it illustrates the foundation of, and the miracles associated with, the Kokawa-dera Buddhist temple in the former Kii Province (currently in Wakayama Prefecture). The long paintings in the work were executed in a simple, uncluttered, Yamato-e style typical of Japanese paintings of the time. | [
"Buddhist",
"emakimono",
"Kamakura",
"Kamakura period",
"Wakayama Prefecture",
"illuminated manuscript",
"Japanese history",
"Yamato-e",
"handscroll",
"Heian",
"Kii Province",
"Kokawa-dera"
] |
|
14958_T | Kokawa-dera Engi Emaki | Focus on Kokawa-dera Engi Emaki and analyze the Background. | Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible.The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely determined by the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc. The narrative paintings, and especially the emakimono telling the story of the founding of temples or the lives of famous monks, were also fertile ground for Buddhist proselytism. | [
"Buddhist",
"emakimono",
"horizontal writing direction of Japanese script",
"left",
"Chinese Empire",
"Yamato-e",
"Heian",
"Heian period"
] |
|
14958_NT | Kokawa-dera Engi Emaki | Focus on this artwork and analyze the Background. | Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible.The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely determined by the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc. The narrative paintings, and especially the emakimono telling the story of the founding of temples or the lives of famous monks, were also fertile ground for Buddhist proselytism. | [
"Buddhist",
"emakimono",
"horizontal writing direction of Japanese script",
"left",
"Chinese Empire",
"Yamato-e",
"Heian",
"Heian period"
] |
|
14959_T | Kokawa-dera Engi Emaki | In Kokawa-dera Engi Emaki, how is the Description discussed? | The Kokawa-dera Engi Emaki recounts the miraculous origins of the Kokawa-dera temple, founded in 770 according to legend, and its main figure, a statue of Kannon with a thousand arms (Senju Kannon). The origins and foundation of Buddhist temples (engi in Japanese) was a classic subject of emakimono, often with a proselytising purpose of reaching as many people as possible. The work consists of a single scroll of paper, 30.8 cm (12.1 in) high by 1,984.2 cm (781.2 in) long, organised into four short calligraphic sections and five long painting areas, but the start of the scroll (precisely the first calligraphic section and a piece of the first painting) was burned in a fire, and the remaining parts are partially damaged at the edges.
The legend related by the work is based on the two parts of the text of Kokawa-dera engi (The Legends of Kokawa-dera). The first part of the text tells the tale of a hunter named Ōtomo no Kujiko from Kii Province in the 8th century. Several nights in a row, Kannon with a thousand arms revealed himself to this hunter by a strange light, so much so that Ōtomo no Kujiko decided to build him a temple there. A young ascetic promised him to carve a statue in seven days for this sanctuary; it is the statue of Kannon from Kokawa-dera temple. The second part of the text describes a miracle associated with this statue. In legend, a young monk one day healed the sick daughter of a wealthy man with prayers. Refusing the money offered as a thank you, he only accepted a knife and a red hakama as a reward, saying he was going back to his home in Kokawa, Kii Province. The wealthy man and his family made a pilgrimage there the following year. Going up the course of the Kokawa River, they discovered the shrine and the image of Kannon with a thousand arms, adorned with the dagger and the red hakama. They then concluded the miracle by understanding that the young monk was none other than the manifestation of Kannon, and decided to devote their lives to following the path of Buddhism. | [
"Buddhist",
"hakama",
"emakimono",
"Buddhism",
"Kii Province",
"Kokawa-dera",
"Kannon"
] |
|
14959_NT | Kokawa-dera Engi Emaki | In this artwork, how is the Description discussed? | The Kokawa-dera Engi Emaki recounts the miraculous origins of the Kokawa-dera temple, founded in 770 according to legend, and its main figure, a statue of Kannon with a thousand arms (Senju Kannon). The origins and foundation of Buddhist temples (engi in Japanese) was a classic subject of emakimono, often with a proselytising purpose of reaching as many people as possible. The work consists of a single scroll of paper, 30.8 cm (12.1 in) high by 1,984.2 cm (781.2 in) long, organised into four short calligraphic sections and five long painting areas, but the start of the scroll (precisely the first calligraphic section and a piece of the first painting) was burned in a fire, and the remaining parts are partially damaged at the edges.
The legend related by the work is based on the two parts of the text of Kokawa-dera engi (The Legends of Kokawa-dera). The first part of the text tells the tale of a hunter named Ōtomo no Kujiko from Kii Province in the 8th century. Several nights in a row, Kannon with a thousand arms revealed himself to this hunter by a strange light, so much so that Ōtomo no Kujiko decided to build him a temple there. A young ascetic promised him to carve a statue in seven days for this sanctuary; it is the statue of Kannon from Kokawa-dera temple. The second part of the text describes a miracle associated with this statue. In legend, a young monk one day healed the sick daughter of a wealthy man with prayers. Refusing the money offered as a thank you, he only accepted a knife and a red hakama as a reward, saying he was going back to his home in Kokawa, Kii Province. The wealthy man and his family made a pilgrimage there the following year. Going up the course of the Kokawa River, they discovered the shrine and the image of Kannon with a thousand arms, adorned with the dagger and the red hakama. They then concluded the miracle by understanding that the young monk was none other than the manifestation of Kannon, and decided to devote their lives to following the path of Buddhism. | [
"Buddhist",
"hakama",
"emakimono",
"Buddhism",
"Kii Province",
"Kokawa-dera",
"Kannon"
] |
|
14960_T | Kokawa-dera Engi Emaki | Focus on Kokawa-dera Engi Emaki and explore the Dating and author. | The creation date and author of the work are unknown, but it is commonly dated to the end of the 12th century (either late in the Heian period (794–1185) or at the beginning of the Kamakura period (1185–1333)). Specialists are divided on the possible existence of an older version or a study. | [
"Kamakura",
"Kamakura period",
"study",
"Heian",
"Heian period"
] |
|
14960_NT | Kokawa-dera Engi Emaki | Focus on this artwork and explore the Dating and author. | The creation date and author of the work are unknown, but it is commonly dated to the end of the 12th century (either late in the Heian period (794–1185) or at the beginning of the Kamakura period (1185–1333)). Specialists are divided on the possible existence of an older version or a study. | [
"Kamakura",
"Kamakura period",
"study",
"Heian",
"Heian period"
] |
|
14961_T | Kokawa-dera Engi Emaki | Focus on Kokawa-dera Engi Emaki and explain the Style and composition. | The paintings in the emakimono are in the Yamato-e style, ie in accordance with the Japanese approach to painting that developed during the Heian period by deviating from Chinese canons. The work also belongs to the otoko-e subgenre, which is characterized by dynamic paintings with light color and continuous narrative rhythm, as opposed to the paintings of the onna-e (Court-style) subgenre, which are more decorative and emotional. There are few other extant examples of otoko-e works dating from the 12th century, but they include the Shigisan Engi Emaki, the Ban Dainagon Ekotoba and the Kibi Daijin Nittō Emaki. It is highly probable that these works from the end of the 12th century are relatively contemporary in relation to each other; Glum puts forward the hypothesis, from an analysis of the styles of each scroll, that the Kokawa-dera Engi would be subsequent to the Kibi Daijin and prior to the Shigisan Engi and the Ban Dainagon.
The paintings also observe a regular composition in three planes: a natural foreground (rocks, trees) serving to create depth in the scene; the figures and landscape elements (buildings, roads, fields, etc.) of the story occupying the entire center; and finally a distant and stylized landscape at the top of scroll. This composition is inspired by the canons of Chinese art of the Tang dynasty with typically Japanese variations. The unrealistic perspective is classically based on parallel lines and the point of view is always the same, slightly elevated at the front. On the other hand, the lines and outlines in ink are finer and less free than in the other otoko-e works. Here, the lines are characterized by their simplicity; landscape elements are stylised and used mainly to mark transitions between scenes. The narration is based on the repetition of scenes, fundamentally almost unchanged like the representation of the temple or the hunter's hut, in order to illustrate a succession of consecutive events.The figures in the paintings present some peculiarities, as they are more realistic and neutral than the other emakimono of the time, such as the highly stylised Court paintings, or the Shigisan Engi Emaki and the Ban Dainagon Ekotoba, which are a little more expressive and caricatural. | [
"emakimono",
"ink",
"Shigisan Engi Emaki",
"Yamato-e",
"Kibi Daijin Nittō Emaki",
"Heian",
"Ban Dainagon Ekotoba",
"Kokawa-dera",
"Tang dynasty",
"Heian period"
] |
|
14961_NT | Kokawa-dera Engi Emaki | Focus on this artwork and explain the Style and composition. | The paintings in the emakimono are in the Yamato-e style, ie in accordance with the Japanese approach to painting that developed during the Heian period by deviating from Chinese canons. The work also belongs to the otoko-e subgenre, which is characterized by dynamic paintings with light color and continuous narrative rhythm, as opposed to the paintings of the onna-e (Court-style) subgenre, which are more decorative and emotional. There are few other extant examples of otoko-e works dating from the 12th century, but they include the Shigisan Engi Emaki, the Ban Dainagon Ekotoba and the Kibi Daijin Nittō Emaki. It is highly probable that these works from the end of the 12th century are relatively contemporary in relation to each other; Glum puts forward the hypothesis, from an analysis of the styles of each scroll, that the Kokawa-dera Engi would be subsequent to the Kibi Daijin and prior to the Shigisan Engi and the Ban Dainagon.
The paintings also observe a regular composition in three planes: a natural foreground (rocks, trees) serving to create depth in the scene; the figures and landscape elements (buildings, roads, fields, etc.) of the story occupying the entire center; and finally a distant and stylized landscape at the top of scroll. This composition is inspired by the canons of Chinese art of the Tang dynasty with typically Japanese variations. The unrealistic perspective is classically based on parallel lines and the point of view is always the same, slightly elevated at the front. On the other hand, the lines and outlines in ink are finer and less free than in the other otoko-e works. Here, the lines are characterized by their simplicity; landscape elements are stylised and used mainly to mark transitions between scenes. The narration is based on the repetition of scenes, fundamentally almost unchanged like the representation of the temple or the hunter's hut, in order to illustrate a succession of consecutive events.The figures in the paintings present some peculiarities, as they are more realistic and neutral than the other emakimono of the time, such as the highly stylised Court paintings, or the Shigisan Engi Emaki and the Ban Dainagon Ekotoba, which are a little more expressive and caricatural. | [
"emakimono",
"ink",
"Shigisan Engi Emaki",
"Yamato-e",
"Kibi Daijin Nittō Emaki",
"Heian",
"Ban Dainagon Ekotoba",
"Kokawa-dera",
"Tang dynasty",
"Heian period"
] |
|
14962_T | Kokawa-dera Engi Emaki | Explore the Historiographical value of this artwork, Kokawa-dera Engi Emaki. | A mirror of society, emakimono are an important source of information on the civilisation and medieval history of Japan. This particular emakimono accurately illustrates the daily life of the Japanese at the very beginning of the Kamakura period, especially in its portrayal of ordinary people and local warriors. Like the Shigisan Engi Emaki, the Kokawa-dera Engi Emaki does not show life at Court, but life outside the Palace, another characteristic feature of works of the otoko-e genre. A study by Kanagawa University presents in detail the elements of daily life illustrated by the five paintings of the scroll, including residences, clothing, activities and works, trips, food, amenities such as bridges, and also the temple. | [
"Kanagawa University",
"emakimono",
"Kamakura",
"Kamakura period",
"study",
"Shigisan Engi Emaki",
"Kokawa-dera"
] |
|
14962_NT | Kokawa-dera Engi Emaki | Explore the Historiographical value of this artwork. | A mirror of society, emakimono are an important source of information on the civilisation and medieval history of Japan. This particular emakimono accurately illustrates the daily life of the Japanese at the very beginning of the Kamakura period, especially in its portrayal of ordinary people and local warriors. Like the Shigisan Engi Emaki, the Kokawa-dera Engi Emaki does not show life at Court, but life outside the Palace, another characteristic feature of works of the otoko-e genre. A study by Kanagawa University presents in detail the elements of daily life illustrated by the five paintings of the scroll, including residences, clothing, activities and works, trips, food, amenities such as bridges, and also the temple. | [
"Kanagawa University",
"emakimono",
"Kamakura",
"Kamakura period",
"study",
"Shigisan Engi Emaki",
"Kokawa-dera"
] |
|
14963_T | Houses at l'Estaque | Focus on Houses at l'Estaque and discuss the abstract. | Houses at l'Estaque (French: Maisons à l'Estaque, or Maisons et arbre) is an oil-on-canvas painting by Georges Braque executed in 1908. It is considered either an important Proto-Cubist landscape or the first Cubist landscape. The painting prompted art critic Louis Vauxcelles to mock it as being composed of cubes which led to the name of the movement.It is a response to works by Paul Cézanne who also lived in L'Estaque at times. | [
"Proto-Cubist",
"Georges Braque",
"Louis Vauxcelles",
"L'Estaque",
"Paul Cézanne"
] |
|
14963_NT | Houses at l'Estaque | Focus on this artwork and discuss the abstract. | Houses at l'Estaque (French: Maisons à l'Estaque, or Maisons et arbre) is an oil-on-canvas painting by Georges Braque executed in 1908. It is considered either an important Proto-Cubist landscape or the first Cubist landscape. The painting prompted art critic Louis Vauxcelles to mock it as being composed of cubes which led to the name of the movement.It is a response to works by Paul Cézanne who also lived in L'Estaque at times. | [
"Proto-Cubist",
"Georges Braque",
"Louis Vauxcelles",
"L'Estaque",
"Paul Cézanne"
] |
|
14964_T | Houses at l'Estaque | How does Houses at l'Estaque elucidate its History? | This painting by Braque was refused at the Salon d'Automne in 1908. Louis Vauxcelles recounted how Henri Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the Salon d'Automne: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse.
Houses at l'Estaque is a Proto-Cubist painting consisting both of Cézannian trees and houses depicted in the absence of any unifying perspective. Houses in the background do, however, appear smaller than those of the foreground, consistent with classical perspective. Following the rejection of Braque's paintings, Daniel-Henry Kahnweiler offers the artist a one-person show at his gallery on a small street situated behind La Madeleine, Paris. Apollinaire writes of the paintings exhibited nothing about cubes, but mentions "the synthetic motifs he paints" and that he "no longer owes anything to his surroundings". It was Vauxcelles who called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". | [
"Cézannian",
"Proto-Cubist",
"Daniel-Henry Kahnweiler",
"Georges Braque",
"Louis Vauxcelles",
"La Madeleine, Paris",
"Salon d'Automne",
"Henri Matisse",
"one-person show",
"L'Estaque"
] |
|
14964_NT | Houses at l'Estaque | How does this artwork elucidate its History? | This painting by Braque was refused at the Salon d'Automne in 1908. Louis Vauxcelles recounted how Henri Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the Salon d'Automne: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse.
Houses at l'Estaque is a Proto-Cubist painting consisting both of Cézannian trees and houses depicted in the absence of any unifying perspective. Houses in the background do, however, appear smaller than those of the foreground, consistent with classical perspective. Following the rejection of Braque's paintings, Daniel-Henry Kahnweiler offers the artist a one-person show at his gallery on a small street situated behind La Madeleine, Paris. Apollinaire writes of the paintings exhibited nothing about cubes, but mentions "the synthetic motifs he paints" and that he "no longer owes anything to his surroundings". It was Vauxcelles who called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". | [
"Cézannian",
"Proto-Cubist",
"Daniel-Henry Kahnweiler",
"Georges Braque",
"Louis Vauxcelles",
"La Madeleine, Paris",
"Salon d'Automne",
"Henri Matisse",
"one-person show",
"L'Estaque"
] |
|
14965_T | Self-Portrait at the Age of 63 | Focus on Self-Portrait at the Age of 63 and analyze the abstract. | Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt. One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669. Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist. It was bought by the National Gallery, London in 1851.
The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in). Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped. A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides. X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick. His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.
The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick. It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s by the National Gallery. | [
"William van Huls",
"George Brodrick, 5th Viscount Midleton",
"lakes",
"lead white",
"pentimenti",
"Alan Brodrick, 2nd Viscount Midleton",
"Rembrandt",
"self-portrait",
"his series of around 80 self-portraits",
"Thomas Brodrick",
"National Gallery",
"London",
"maulstick",
"Peper Harow",
"ochres"
] |
|
14965_NT | Self-Portrait at the Age of 63 | Focus on this artwork and analyze the abstract. | Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt. One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669. Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist. It was bought by the National Gallery, London in 1851.
The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in). Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped. A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides. X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick. His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.
The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick. It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s by the National Gallery. | [
"William van Huls",
"George Brodrick, 5th Viscount Midleton",
"lakes",
"lead white",
"pentimenti",
"Alan Brodrick, 2nd Viscount Midleton",
"Rembrandt",
"self-portrait",
"his series of around 80 self-portraits",
"Thomas Brodrick",
"National Gallery",
"London",
"maulstick",
"Peper Harow",
"ochres"
] |
|
14966_T | Farmhouse in Provence | In Farmhouse in Provence, how is the Arles discussed? | At the time that Van Gogh painted Farmhouse in Provence, he was 35 years old. Living in Arles, in southern France, he was at the height of his career, producing some of his best work, such as fields, farmhouses and people of the Arles, Nîmes and Avignon area.The area was quite different from what he'd known in the Netherlands and Paris. The climate was hot and dry. People had dark hair and skin and spoke a different language than Parisian French. The colors were vivid. The terrain varied from plains to mountains. Here Van Gogh found a "brilliance and light that would wash out details and simplify forms, reducing the world around him to the sort of pattern he admired in Japanese woodblocks" and where the "effect of the sun would strengthen the outlines of composition and reduce nuances of color to a few vivid contrasts."A prolific time, in less than 444 days Vincent made about 100 drawings and produced more than 200 paintings Yet, he still wrote more than 200 letters. He described
a series of seven studies of wheat fields as, "landscapes, yellow—old gold—done
quickly, quickly, quickly, and in a hurry just like the harvester who is silent under the
blazing sun, intent only on the reaping."In a letter to his brother, Theo, he wrote, "Painting as it is now, promises to become more subtle—more like music and less like sculpture—and above all, it promises color." | [
"Theo",
"Arles",
"Paris",
"Netherlands",
"Japanese woodblocks",
"Provence"
] |
|
14966_NT | Farmhouse in Provence | In this artwork, how is the Arles discussed? | At the time that Van Gogh painted Farmhouse in Provence, he was 35 years old. Living in Arles, in southern France, he was at the height of his career, producing some of his best work, such as fields, farmhouses and people of the Arles, Nîmes and Avignon area.The area was quite different from what he'd known in the Netherlands and Paris. The climate was hot and dry. People had dark hair and skin and spoke a different language than Parisian French. The colors were vivid. The terrain varied from plains to mountains. Here Van Gogh found a "brilliance and light that would wash out details and simplify forms, reducing the world around him to the sort of pattern he admired in Japanese woodblocks" and where the "effect of the sun would strengthen the outlines of composition and reduce nuances of color to a few vivid contrasts."A prolific time, in less than 444 days Vincent made about 100 drawings and produced more than 200 paintings Yet, he still wrote more than 200 letters. He described
a series of seven studies of wheat fields as, "landscapes, yellow—old gold—done
quickly, quickly, quickly, and in a hurry just like the harvester who is silent under the
blazing sun, intent only on the reaping."In a letter to his brother, Theo, he wrote, "Painting as it is now, promises to become more subtle—more like music and less like sculpture—and above all, it promises color." | [
"Theo",
"Arles",
"Paris",
"Netherlands",
"Japanese woodblocks",
"Provence"
] |
|
14967_T | Farmhouse in Provence | Focus on Farmhouse in Provence and explore the Provenance. | The National Gallery of Art reports the correct sequence of ownership for the painting is:
Johanna van Gogh-Bonger (1862–1925), the artist's sister-in-law, of Amsterdam sold the painting in November 1890 through Julien Tanguy Gallery, Paris to the Danish art dealer, Willy Gretor. Five paintings that were sold by Johanna became part of the National Gallery of Art collection.
Willy Gretor gifted the painting to Maria Slavona, a German painter, of Paris and Berlin. It was one of many gifts of Van Gogh paintings by Willie to Maria, with whom he had a daughter, Lilly. Maria then married Otto Ackermann (1871–1963), an art dealer of Paris and Berlin.
From 1919 to at least 1933 Gaston Bernheim de Villers (1870–1953) of Paris owned the painting.
The painting was sold to Capt. Edward H. Molyneux (1891–1974) of Paris.
It was then sold August 15, 1955 to Ailsa Mellon Bruce (1901–1969) of New York.
In 1970 it was bequeathed to the National Gallery of Art, part of the Ailsa Mellon Bruce Collection.Another sequence of ownership was given by J.-B. de la Faille in The Works of Vincent van Gogh, His Paintings and Drawings—a portion of which was apparently in error (i.e., Bernheim-Jeune, Reid and Lefevre, Ackermann, Molyneux.) | [
"Amsterdam",
"Edward H. Molyneux",
"Maria Slavona",
"National Gallery of Art",
"Berlin",
"Willy Gretor",
"Bernheim-Jeune",
"Johanna van Gogh-Bonger",
"Paris",
"Vincent van Gogh",
"Ailsa Mellon Bruce"
] |
|
14967_NT | Farmhouse in Provence | Focus on this artwork and explore the Provenance. | The National Gallery of Art reports the correct sequence of ownership for the painting is:
Johanna van Gogh-Bonger (1862–1925), the artist's sister-in-law, of Amsterdam sold the painting in November 1890 through Julien Tanguy Gallery, Paris to the Danish art dealer, Willy Gretor. Five paintings that were sold by Johanna became part of the National Gallery of Art collection.
Willy Gretor gifted the painting to Maria Slavona, a German painter, of Paris and Berlin. It was one of many gifts of Van Gogh paintings by Willie to Maria, with whom he had a daughter, Lilly. Maria then married Otto Ackermann (1871–1963), an art dealer of Paris and Berlin.
From 1919 to at least 1933 Gaston Bernheim de Villers (1870–1953) of Paris owned the painting.
The painting was sold to Capt. Edward H. Molyneux (1891–1974) of Paris.
It was then sold August 15, 1955 to Ailsa Mellon Bruce (1901–1969) of New York.
In 1970 it was bequeathed to the National Gallery of Art, part of the Ailsa Mellon Bruce Collection.Another sequence of ownership was given by J.-B. de la Faille in The Works of Vincent van Gogh, His Paintings and Drawings—a portion of which was apparently in error (i.e., Bernheim-Jeune, Reid and Lefevre, Ackermann, Molyneux.) | [
"Amsterdam",
"Edward H. Molyneux",
"Maria Slavona",
"National Gallery of Art",
"Berlin",
"Willy Gretor",
"Bernheim-Jeune",
"Johanna van Gogh-Bonger",
"Paris",
"Vincent van Gogh",
"Ailsa Mellon Bruce"
] |
|
14968_T | Mountains at Collioure | Focus on Mountains at Collioure and explain the abstract. | Mountains at Collioure is a 1905 painting by French painter André Derain. It was made while he was working with Henri Matisse at the fishing port of Collioure, in France. It has been in the National Gallery of Art in Washington, D.C. since John Hay Whitney, the previous owner, died in 1982. The work features long strokes of colours such as bright green, blue, mauve and pink. The entire scene is under a jade and turquoise sky. | [
"French",
"National Gallery of Art",
"Washington, D.C.",
"John Hay Whitney",
"Collioure",
"André Derain",
"Henri Matisse"
] |
|
14968_NT | Mountains at Collioure | Focus on this artwork and explain the abstract. | Mountains at Collioure is a 1905 painting by French painter André Derain. It was made while he was working with Henri Matisse at the fishing port of Collioure, in France. It has been in the National Gallery of Art in Washington, D.C. since John Hay Whitney, the previous owner, died in 1982. The work features long strokes of colours such as bright green, blue, mauve and pink. The entire scene is under a jade and turquoise sky. | [
"French",
"National Gallery of Art",
"Washington, D.C.",
"John Hay Whitney",
"Collioure",
"André Derain",
"Henri Matisse"
] |
|
14969_T | Mountains at Collioure | Explore the Description of this artwork, Mountains at Collioure. | Mountains at Collioure was painted in mid-1905, while Derain was working with Henri Matisse, after being influenced by Vincent van Gogh. It is an example of Fauvist art. The trees and grass were painted with long strokes of colour. The colour which was used is known to have been less emotional than the colour which Van Gogh used. Mattise had joined Derain to paint landscapes at the fishing port of Collioure, at the bottom of the Pyrenees. The artists worked together producing artwork. The field in the foreground, the trees and the foothills are created in large strokes of bright green, blue, mauve and pink; which suggest a highly "charged" encounter with the natural world. The mountains are conceived as flat areas of colour. The whole scene is under a sky of jade and turquoise. In the painting the colour is less emotional than their past works and less imperative. According to Mattise, "Fauve art isn't everything, but it is the foundation of everything." Since 1982 it has been located in the National Gallery of Art after John Hay Whitney, a U.S. Ambassador to the United Kingdom, a publisher of the New York Herald Tribune and an art collector, died earlier that year. | [
"National Gallery of Art",
"Fauvist art",
"John Hay Whitney",
"Collioure",
"New York Herald Tribune",
"U.S. Ambassador to the United Kingdom",
"Henri Matisse",
"Vincent van Gogh"
] |
|
14969_NT | Mountains at Collioure | Explore the Description of this artwork. | Mountains at Collioure was painted in mid-1905, while Derain was working with Henri Matisse, after being influenced by Vincent van Gogh. It is an example of Fauvist art. The trees and grass were painted with long strokes of colour. The colour which was used is known to have been less emotional than the colour which Van Gogh used. Mattise had joined Derain to paint landscapes at the fishing port of Collioure, at the bottom of the Pyrenees. The artists worked together producing artwork. The field in the foreground, the trees and the foothills are created in large strokes of bright green, blue, mauve and pink; which suggest a highly "charged" encounter with the natural world. The mountains are conceived as flat areas of colour. The whole scene is under a sky of jade and turquoise. In the painting the colour is less emotional than their past works and less imperative. According to Mattise, "Fauve art isn't everything, but it is the foundation of everything." Since 1982 it has been located in the National Gallery of Art after John Hay Whitney, a U.S. Ambassador to the United Kingdom, a publisher of the New York Herald Tribune and an art collector, died earlier that year. | [
"National Gallery of Art",
"Fauvist art",
"John Hay Whitney",
"Collioure",
"New York Herald Tribune",
"U.S. Ambassador to the United Kingdom",
"Henri Matisse",
"Vincent van Gogh"
] |
|
14970_T | Times Square Mural | Focus on Times Square Mural and discuss the abstract. | Times Square Mural is a mural by Roy Lichtenstein, fabricated in 1994 and installed in 2002 in Manhattan, New York City, United States. Located in the Times Square–42nd Street station of the New York City Subway, it is made from porcelain enamel on steel and measures 6 feet (1.8 m) by 53 feet (16 m). The work was commissioned by the Metropolitan Transportation Authority's Arts for Transit program. | [
"Times Square–42nd Street station",
"Arts for Transit",
"Manhattan",
"Roy Lichtenstein",
"New York City",
"New York City Subway",
"Times Square",
"Metropolitan Transportation Authority"
] |
|
14970_NT | Times Square Mural | Focus on this artwork and discuss the abstract. | Times Square Mural is a mural by Roy Lichtenstein, fabricated in 1994 and installed in 2002 in Manhattan, New York City, United States. Located in the Times Square–42nd Street station of the New York City Subway, it is made from porcelain enamel on steel and measures 6 feet (1.8 m) by 53 feet (16 m). The work was commissioned by the Metropolitan Transportation Authority's Arts for Transit program. | [
"Times Square–42nd Street station",
"Arts for Transit",
"Manhattan",
"Roy Lichtenstein",
"New York City",
"New York City Subway",
"Times Square",
"Metropolitan Transportation Authority"
] |
|
14971_T | Antenna Man (Nordgulen) | How does Antenna Man (Nordgulen) elucidate its abstract? | Antenna Man, a public sculpture by Eric Nordgulen, is located on the west side of the Herron School of Art and Design, which is on the Indiana University-Purdue University Indianapolis campus in Indianapolis, Indiana. The sculpture consists of blend of figure form and vessel shape. Antenna Man, which was created in 1998, took six months of labor to create and is constructed from fabricated Aluminium. It is approximately 339.5 cm in height, including the metal base, and it is approximately 385 cm tall, including a cement base. The cement base is approximately 45.5 cm in height and is 240.5 cm X 240.5 cm. | [
"Indianapolis",
"Indianapolis, Indiana",
"Indiana",
"Aluminium",
"Herron School of Art and Design",
"Eric Nordgulen",
"Indiana University-Purdue University Indianapolis"
] |
|
14971_NT | Antenna Man (Nordgulen) | How does this artwork elucidate its abstract? | Antenna Man, a public sculpture by Eric Nordgulen, is located on the west side of the Herron School of Art and Design, which is on the Indiana University-Purdue University Indianapolis campus in Indianapolis, Indiana. The sculpture consists of blend of figure form and vessel shape. Antenna Man, which was created in 1998, took six months of labor to create and is constructed from fabricated Aluminium. It is approximately 339.5 cm in height, including the metal base, and it is approximately 385 cm tall, including a cement base. The cement base is approximately 45.5 cm in height and is 240.5 cm X 240.5 cm. | [
"Indianapolis",
"Indianapolis, Indiana",
"Indiana",
"Aluminium",
"Herron School of Art and Design",
"Eric Nordgulen",
"Indiana University-Purdue University Indianapolis"
] |
|
14972_T | Antenna Man (Nordgulen) | Focus on Antenna Man (Nordgulen) and analyze the Description. | The sculpture is the prototype for a larger version, which was installed at Navy Pier, Chicago, Illinois in 1999. Made from fabricated aluminum and interlocking wires, the sculpture abstractly represents a human form. Aluminum was chosen as a material for Antenna Man because it is lightweight, contemporary in material, and lends itself well to the concept of an antenna. | [
"Illinois",
"antenna",
"Chicago",
"Aluminum",
"Navy Pier"
] |
|
14972_NT | Antenna Man (Nordgulen) | Focus on this artwork and analyze the Description. | The sculpture is the prototype for a larger version, which was installed at Navy Pier, Chicago, Illinois in 1999. Made from fabricated aluminum and interlocking wires, the sculpture abstractly represents a human form. Aluminum was chosen as a material for Antenna Man because it is lightweight, contemporary in material, and lends itself well to the concept of an antenna. | [
"Illinois",
"antenna",
"Chicago",
"Aluminum",
"Navy Pier"
] |
|
14973_T | Antenna Man (Nordgulen) | In Antenna Man (Nordgulen), how is the Information discussed? | Antenna Man is part of a series consisting of around six other antenna forms. One of these is located on Massachusetts Avenue, Indianapolis; this work is entitled Viewfinders. Another sculpture, also titled Antenna Man and similar in theme, is located in Crown Hill Cemetery in Indianapolis. Originally Antenna Man was left partially constructed while work was being completed on the larger version of Antenna Man (21 ft. by 3 ft. by 3 ft). The larger version was on exhibit at Navy Pier from May until October 1999; it was later moved to the campus of Illinois Institute of Technology.
Antenna Man was located outside the library on IUPUI's campus in the early 2000s. Antenna Man was on view at the library for approximately four years. After being placed outside the library, Antenna Man moved to outside the west side of Herron School of Art and Design.
Nordgulen interprets the human body as a sender and receptor for signals. The sculptures on Massachusetts Avenue, Indianapolis have Fresnel lens located in them, which intensify light and capture images from the surroundings and invert them. This allows the sculpture to create its own content based on what surrounds it and to incorporate that into the itself. | [
"Crown Hill Cemetery",
"Indianapolis",
"Illinois",
"antenna",
"Indiana",
"Illinois Institute of Technology",
"Herron School of Art and Design",
"Navy Pier",
"Massachusetts Avenue, Indianapolis",
"Fresnel lens"
] |
|
14973_NT | Antenna Man (Nordgulen) | In this artwork, how is the Information discussed? | Antenna Man is part of a series consisting of around six other antenna forms. One of these is located on Massachusetts Avenue, Indianapolis; this work is entitled Viewfinders. Another sculpture, also titled Antenna Man and similar in theme, is located in Crown Hill Cemetery in Indianapolis. Originally Antenna Man was left partially constructed while work was being completed on the larger version of Antenna Man (21 ft. by 3 ft. by 3 ft). The larger version was on exhibit at Navy Pier from May until October 1999; it was later moved to the campus of Illinois Institute of Technology.
Antenna Man was located outside the library on IUPUI's campus in the early 2000s. Antenna Man was on view at the library for approximately four years. After being placed outside the library, Antenna Man moved to outside the west side of Herron School of Art and Design.
Nordgulen interprets the human body as a sender and receptor for signals. The sculptures on Massachusetts Avenue, Indianapolis have Fresnel lens located in them, which intensify light and capture images from the surroundings and invert them. This allows the sculpture to create its own content based on what surrounds it and to incorporate that into the itself. | [
"Crown Hill Cemetery",
"Indianapolis",
"Illinois",
"antenna",
"Indiana",
"Illinois Institute of Technology",
"Herron School of Art and Design",
"Navy Pier",
"Massachusetts Avenue, Indianapolis",
"Fresnel lens"
] |
|
14974_T | Antenna Man (Nordgulen) | Focus on Antenna Man (Nordgulen) and explore the Artist. | Eric Nordgulen was born in Oklahoma, OK. He studied ceramics and sculpture at East Carolina University, where he received his Bachelor of Fine Arts in 1982. He attended Indiana University (Bloomington) for graduate school, where he received a Master of Fine Arts in sculpture and ceramics in 1985.Nordgulen served as the Chair of the Fine Arts Department at Herron during the years 2004 through 2008. He is currently an Associate Professor of Sculpture at Herron.
He typically works in series or in transition from series to series. It is clear from his work that he enjoys exploring materials investigating the history of the materials.
Nordgulen is currently working with Dr. Andrew Hsu on a project involving sustainable energy and public art. Through their collaboration, Hsu and Nordgulen hope to create a functioning piece of artwork that will generate energy. | [
"Indiana University (Bloomington)",
"Indiana",
"East Carolina University",
"Eric Nordgulen"
] |
|
14974_NT | Antenna Man (Nordgulen) | Focus on this artwork and explore the Artist. | Eric Nordgulen was born in Oklahoma, OK. He studied ceramics and sculpture at East Carolina University, where he received his Bachelor of Fine Arts in 1982. He attended Indiana University (Bloomington) for graduate school, where he received a Master of Fine Arts in sculpture and ceramics in 1985.Nordgulen served as the Chair of the Fine Arts Department at Herron during the years 2004 through 2008. He is currently an Associate Professor of Sculpture at Herron.
He typically works in series or in transition from series to series. It is clear from his work that he enjoys exploring materials investigating the history of the materials.
Nordgulen is currently working with Dr. Andrew Hsu on a project involving sustainable energy and public art. Through their collaboration, Hsu and Nordgulen hope to create a functioning piece of artwork that will generate energy. | [
"Indiana University (Bloomington)",
"Indiana",
"East Carolina University",
"Eric Nordgulen"
] |
|
14975_T | Interlocking Forms | Focus on Interlocking Forms and explain the abstract. | Interlocking Forms is an outdoor 1977 Indiana Limestone sculpture by Donald Wilson, located in downtown Portland, Oregon. | [
"Indiana Limestone",
"Portland, Oregon",
"Donald Wilson",
"downtown"
] |
|
14975_NT | Interlocking Forms | Focus on this artwork and explain the abstract. | Interlocking Forms is an outdoor 1977 Indiana Limestone sculpture by Donald Wilson, located in downtown Portland, Oregon. | [
"Indiana Limestone",
"Portland, Oregon",
"Donald Wilson",
"downtown"
] |
|
14976_T | Goethe–Schiller Monument (Syracuse) | Explore the abstract of this artwork, Goethe–Schiller Monument (Syracuse). | The Goethe–Schiller Monument in Syracuse, New York incorporates a copper double-statue of the German poets Johann Wolfgang von Goethe (1749–1832) and Friedrich Schiller (1759–1805). It was erected by the German-American organizations of Syracuse and Onondaga County, and was unveiled on October 15, 1911. Schiller, who is on the reader's right in the photograph, was called the "poet of freedom" in the US, and he had an enormous 19th Century following. The Syracuse monument was the last of 13 monuments to Schiller that were erected in US cities. Goethe was the "supreme genius of modern German literature"; he and Schiller are paired in the statue because they had a friendship "like no other known to literature or art." As Paul Zanker writes, in the statue a "fatherly Goethe gently lays his hand on the shoulder of the restless Schiller, as if to quiet the overzealous passion for freedom of the younger generation." Goethe is holding a laurel wreath in his right hand, and Schiller's right hand is reaching towards it.
The Goethe–Schiller Monument in Syracuse was modeled on the 1857 monument in Weimar, Germany. Ernst Rietschel had been commissioned to create a cast bronze double-statue for Weimar, which was exactly copied for the Syracuse and for three earlier US monuments. The Syracuse monument is in Schiller Park, which had been renamed in 1905, the centennial of Schiller's death. The statue tops a large black marble pedestal; it is at the top of a steep slope, and is approached by a formal stairway (see postcard and photo).
The US monuments were costly and took years of fundraising and effort to erect. Their dedications drew large crowds. The 1907 dedication of the Goethe–Schiller monument in Cleveland, Ohio drew 65,000 attendees. For the dedication in Syracuse, The Syracuse Herald reported that:
Impressive ceremonies marked the unveiling of the Schiller–Goethe monument in Schiller park yesterday afternoon. Thousands of German citizens of Syracuse and thousands of others who appreciate the gift German residents have made to the city were present when Miss Lulu E. Dopffel pulled the cord that released the flags and exposed the beautiful memorial to view.It was a scene long to be remembered. The plateau of Schiller park, rising high above its surroundings and topped with the bronze figures of the German poets, was thronged with men and women and children. Hundreds were there who had never visited Schiller park. Scores of banners of the marching societies, American flags and brilliant uniforms added to the beauty of the scene. | [
"right ",
"Schiller Park",
"bronze",
"Johann Wolfgang von Goethe",
"Cleveland",
"Friedrich Schiller",
"Goethe–Schiller Monument",
"Ernst Rietschel",
"Weimar",
"Onondaga County",
"Syracuse, New York"
] |
|
14976_NT | Goethe–Schiller Monument (Syracuse) | Explore the abstract of this artwork. | The Goethe–Schiller Monument in Syracuse, New York incorporates a copper double-statue of the German poets Johann Wolfgang von Goethe (1749–1832) and Friedrich Schiller (1759–1805). It was erected by the German-American organizations of Syracuse and Onondaga County, and was unveiled on October 15, 1911. Schiller, who is on the reader's right in the photograph, was called the "poet of freedom" in the US, and he had an enormous 19th Century following. The Syracuse monument was the last of 13 monuments to Schiller that were erected in US cities. Goethe was the "supreme genius of modern German literature"; he and Schiller are paired in the statue because they had a friendship "like no other known to literature or art." As Paul Zanker writes, in the statue a "fatherly Goethe gently lays his hand on the shoulder of the restless Schiller, as if to quiet the overzealous passion for freedom of the younger generation." Goethe is holding a laurel wreath in his right hand, and Schiller's right hand is reaching towards it.
The Goethe–Schiller Monument in Syracuse was modeled on the 1857 monument in Weimar, Germany. Ernst Rietschel had been commissioned to create a cast bronze double-statue for Weimar, which was exactly copied for the Syracuse and for three earlier US monuments. The Syracuse monument is in Schiller Park, which had been renamed in 1905, the centennial of Schiller's death. The statue tops a large black marble pedestal; it is at the top of a steep slope, and is approached by a formal stairway (see postcard and photo).
The US monuments were costly and took years of fundraising and effort to erect. Their dedications drew large crowds. The 1907 dedication of the Goethe–Schiller monument in Cleveland, Ohio drew 65,000 attendees. For the dedication in Syracuse, The Syracuse Herald reported that:
Impressive ceremonies marked the unveiling of the Schiller–Goethe monument in Schiller park yesterday afternoon. Thousands of German citizens of Syracuse and thousands of others who appreciate the gift German residents have made to the city were present when Miss Lulu E. Dopffel pulled the cord that released the flags and exposed the beautiful memorial to view.It was a scene long to be remembered. The plateau of Schiller park, rising high above its surroundings and topped with the bronze figures of the German poets, was thronged with men and women and children. Hundreds were there who had never visited Schiller park. Scores of banners of the marching societies, American flags and brilliant uniforms added to the beauty of the scene. | [
"right ",
"Schiller Park",
"bronze",
"Johann Wolfgang von Goethe",
"Cleveland",
"Friedrich Schiller",
"Goethe–Schiller Monument",
"Ernst Rietschel",
"Weimar",
"Onondaga County",
"Syracuse, New York"
] |
|
14977_T | Goethe–Schiller Monument (Syracuse) | Focus on Goethe–Schiller Monument (Syracuse) and discuss the 19th century context. | As Paul Zanker describes it, the original Weimar monument helped launch a "veritable cult" of zeal for the poets and of monument building. The monument was very unusual for its time. It was rare until the 1850s to erect costly monuments to poets and intellectuals. Double monuments were also unusual, as was the choice to depict the poets in contemporary dress. The resulting monument was considered highly successful, and set a style for the numerous monuments to the poets that followed. By 1859, the centenary of Schiller's birth and the occasion for 440 celebrations in German lands, Schiller in particular had emerged as the "poet of freedom and unity" for German citizens. Rüdiger Görner has illustrated the origins of Schiller's reputation with a speech from the "famous" tenth scene of the third act of Schiller's 1787 play, Don Carlos: "Look all around at nature's mastery, / Founded on freedom. And how rich it grows, / Feeding on freedom." Ute Frevert has written of the celebrations, "It did not matter who spoke, a Hamburg plumber, a political emigrant in Paris, an aristocratic civil servant in Münster, a writer in Wollenbüttel, they unanimously invoked Schiller as a singer of freedom and the prophet of German unity."
About four dozen monuments to Schiller or Goethe were erected in German-speaking Europe between 1850 and the outbreak of World War I in 1914. In the same era, four million German-speakers emigrated to the United States. Schiller continued to have great significance to these immigrants; his work "was the best expression of that side of German character which most qualified the German despite his distinctiveness to become a true American citizen". By the late 1800s, the German-Americans had also become prodigious monument builders, and they erected at least fifteen additional monuments to the poets prior to World War I.In 1900, the total population of Syracuse and Onondaga County was 168,000. Nearly 10,000 had been born in German-speaking countries of Europe; with their children, it was estimated at the time that there were more than 25,000 German-speakers. There were extensive observances in May, 1905 of the centennial of Schiller's death. Round Top Park was renamed Schiller Park on July 3, 1905, and planning commenced for the Goethe–Schiller Monument.The monument they erected was costly. In Syracuse, the 1908 Deutscher Tag (German Day) celebration was raising funds for the monument, as did the subsequent 1909 and 1910 German Days. The 1908 Goethe–Schiller Monument in Milwaukee cost $15,000 to erect, and presumably the cost for the Syracuse monument three years later was about the same. For comparison, the cost of building the sizable 1901 Deutsche Evangelische Friedenskirche (German Evangelist Peace Church) in Syracuse was also about $15,000.Ultimately, about 60 monuments to Schiller and to Goethe were built in German-speaking Europe and the United States. The 1911 Syracuse monument was one of the last in the style that had been largely established by the Weimar original 54 years earlier. Christiane Hertel has suggested that the lavishness of the late monuments and their celebrations in the US were "a German-American farewell to the Schiller cult, at least in this form and with this popular, inclusive scope." While the Weimar monument is still "one of the most famous and most beloved monuments in all of Germany", the original significance of the US monuments is now largely forgotten. | [
"World War I",
"Schiller Park",
"Goethe–Schiller Monument",
"Goethe–Schiller Monument in Milwaukee",
"Weimar",
"Ute Frevert",
"Don Carlos",
"Milwaukee",
"Onondaga County"
] |
|
14977_NT | Goethe–Schiller Monument (Syracuse) | Focus on this artwork and discuss the 19th century context. | As Paul Zanker describes it, the original Weimar monument helped launch a "veritable cult" of zeal for the poets and of monument building. The monument was very unusual for its time. It was rare until the 1850s to erect costly monuments to poets and intellectuals. Double monuments were also unusual, as was the choice to depict the poets in contemporary dress. The resulting monument was considered highly successful, and set a style for the numerous monuments to the poets that followed. By 1859, the centenary of Schiller's birth and the occasion for 440 celebrations in German lands, Schiller in particular had emerged as the "poet of freedom and unity" for German citizens. Rüdiger Görner has illustrated the origins of Schiller's reputation with a speech from the "famous" tenth scene of the third act of Schiller's 1787 play, Don Carlos: "Look all around at nature's mastery, / Founded on freedom. And how rich it grows, / Feeding on freedom." Ute Frevert has written of the celebrations, "It did not matter who spoke, a Hamburg plumber, a political emigrant in Paris, an aristocratic civil servant in Münster, a writer in Wollenbüttel, they unanimously invoked Schiller as a singer of freedom and the prophet of German unity."
About four dozen monuments to Schiller or Goethe were erected in German-speaking Europe between 1850 and the outbreak of World War I in 1914. In the same era, four million German-speakers emigrated to the United States. Schiller continued to have great significance to these immigrants; his work "was the best expression of that side of German character which most qualified the German despite his distinctiveness to become a true American citizen". By the late 1800s, the German-Americans had also become prodigious monument builders, and they erected at least fifteen additional monuments to the poets prior to World War I.In 1900, the total population of Syracuse and Onondaga County was 168,000. Nearly 10,000 had been born in German-speaking countries of Europe; with their children, it was estimated at the time that there were more than 25,000 German-speakers. There were extensive observances in May, 1905 of the centennial of Schiller's death. Round Top Park was renamed Schiller Park on July 3, 1905, and planning commenced for the Goethe–Schiller Monument.The monument they erected was costly. In Syracuse, the 1908 Deutscher Tag (German Day) celebration was raising funds for the monument, as did the subsequent 1909 and 1910 German Days. The 1908 Goethe–Schiller Monument in Milwaukee cost $15,000 to erect, and presumably the cost for the Syracuse monument three years later was about the same. For comparison, the cost of building the sizable 1901 Deutsche Evangelische Friedenskirche (German Evangelist Peace Church) in Syracuse was also about $15,000.Ultimately, about 60 monuments to Schiller and to Goethe were built in German-speaking Europe and the United States. The 1911 Syracuse monument was one of the last in the style that had been largely established by the Weimar original 54 years earlier. Christiane Hertel has suggested that the lavishness of the late monuments and their celebrations in the US were "a German-American farewell to the Schiller cult, at least in this form and with this popular, inclusive scope." While the Weimar monument is still "one of the most famous and most beloved monuments in all of Germany", the original significance of the US monuments is now largely forgotten. | [
"World War I",
"Schiller Park",
"Goethe–Schiller Monument",
"Goethe–Schiller Monument in Milwaukee",
"Weimar",
"Ute Frevert",
"Don Carlos",
"Milwaukee",
"Onondaga County"
] |
|
14978_T | Goethe–Schiller Monument (Syracuse) | How does Goethe–Schiller Monument (Syracuse) elucidate its Fabrication and restoration of the monument? | The first three Goethe–Schiller monuments in the US were in San Francisco (1901), Cleveland (1907), and Milwaukee (1908). They all incorporated bronze sculptures cast at the foundry in Lauchhammer, Germany; the original sculpture in Weimar is also a bronze casting. The statue in Syracuse is not a casting; it consists of thin copper pieces that are joined together. The statue has a small plaque attached to its base that reads "Galvanoplastik-Geislingen St.", which indicates that it was made by the Abteilung für Galvanoplastik (Galvanoplastic Division) of the WMF Company in Geislingen an der Steige, Germany. Galvanoplastik is a German word encompassing both electrotyping and electroforming. The pieces were fabricated using the electrotyping process, which involves the depositing of copper metal from a solution of chemicals onto the inside of a mold. The process is activated by electrical currents flowing between wires immersed in the solution and a coating on the mold; the coating and the solution both conduct electricity. As in the Syracuse statue, large electrotyped sculptures typically consist of electrotyped copper pieces that are joined together, most likely by soldering. The individual pieces in electrotyped sculptures are a fraction of an inch thick, and one surface conforms very exactly to the details of the mold. The Syracuse sculpture is apparently the only copy of Rietschel's statue that was produced using copper electrotyping, and may be the only public artwork in the United States that was produced by WMF.As can be seen by comparing the 1913 postcard and the contemporary photograph, at some point the decorative electrical lighting fixtures on the staircase leading to the monument were removed. By 2001 the condition of the monument had become very poor due both to weathering and to vandalism. The German-American Society of Central New York undertook a project to restore the monument, in cooperation with the city government of Syracuse. In 2003, the statue was restored by Sharon BuMann, who described the construction of the statue in an interview the same year. At the same time the masonry pedestal for the statue was cleaned, the stairway leading to the statue was repaired, and decorative iron fencing was installed around the statue and pedestal. | [
"bronze",
"Lauchhammer",
"WMF",
"Cleveland",
"Weimar",
"electrotyping",
"Milwaukee",
"Geislingen an der Steige"
] |
|
14978_NT | Goethe–Schiller Monument (Syracuse) | How does this artwork elucidate its Fabrication and restoration of the monument? | The first three Goethe–Schiller monuments in the US were in San Francisco (1901), Cleveland (1907), and Milwaukee (1908). They all incorporated bronze sculptures cast at the foundry in Lauchhammer, Germany; the original sculpture in Weimar is also a bronze casting. The statue in Syracuse is not a casting; it consists of thin copper pieces that are joined together. The statue has a small plaque attached to its base that reads "Galvanoplastik-Geislingen St.", which indicates that it was made by the Abteilung für Galvanoplastik (Galvanoplastic Division) of the WMF Company in Geislingen an der Steige, Germany. Galvanoplastik is a German word encompassing both electrotyping and electroforming. The pieces were fabricated using the electrotyping process, which involves the depositing of copper metal from a solution of chemicals onto the inside of a mold. The process is activated by electrical currents flowing between wires immersed in the solution and a coating on the mold; the coating and the solution both conduct electricity. As in the Syracuse statue, large electrotyped sculptures typically consist of electrotyped copper pieces that are joined together, most likely by soldering. The individual pieces in electrotyped sculptures are a fraction of an inch thick, and one surface conforms very exactly to the details of the mold. The Syracuse sculpture is apparently the only copy of Rietschel's statue that was produced using copper electrotyping, and may be the only public artwork in the United States that was produced by WMF.As can be seen by comparing the 1913 postcard and the contemporary photograph, at some point the decorative electrical lighting fixtures on the staircase leading to the monument were removed. By 2001 the condition of the monument had become very poor due both to weathering and to vandalism. The German-American Society of Central New York undertook a project to restore the monument, in cooperation with the city government of Syracuse. In 2003, the statue was restored by Sharon BuMann, who described the construction of the statue in an interview the same year. At the same time the masonry pedestal for the statue was cleaned, the stairway leading to the statue was repaired, and decorative iron fencing was installed around the statue and pedestal. | [
"bronze",
"Lauchhammer",
"WMF",
"Cleveland",
"Weimar",
"electrotyping",
"Milwaukee",
"Geislingen an der Steige"
] |
|
14979_T | Christ Crowned with Thorns (Bosch, El Escorial) | Focus on Christ Crowned with Thorns (Bosch, El Escorial) and analyze the abstract. | Christ Crowned with Thorns is an oil on panel painting made in the 1530s by a follower of Hieronymus Bosch. It is now in the Monasterio de San Lorenzo at El Escorial, near Madrid, in Spain.The work is painted on a rectangular oak panel and measures 157 cm × 194 cm (62 in × 76 in). The main scene is set in a circular tondo with a gold background, surrounded by a grisaille painting of a battle between angels and demons.
It is an elaborated version of another Bosch's composition of the same subject, Christ Crowned with Thorns, held by the National Gallery, London, combining two events from Biblical account of the Passion of Jesus: the Mocking of Jesus and the Crowning with Thorns. As with the London version, this composition is centred on a half-length Jesus with a calm expression, accompanied by several other men, in this case, five others. The man to the far left, with a sceptre depicting Moses, is often identified as the High Priest Caiaphas, with the four others around Jesus interpreted as men obeying his orders. The calm expression of Jesus contrasts with the caricatured faces of the other men.
The painting was in the collection of Philip II of Spain by 1593. It may have been owned by Fernando de Toledo, former Viceroy of Catalonia, who fought in the Spanish Netherlands under his father Fernando Álvarez de Toledo, 3rd Duke of Alba.
It was formerly attributed to Bosch, but dendrochronological analysis of the panel in 2001 gave a date of the 1530s (or later), several years after Bosch's death in 1516, and it has been reattributed to a follower of Bosch, possibly Marinus van Reymerswaele. The version in London is securely attributed to Bosch.
The Prado holds a painting of the head of the man with a crossbow bolt through his hat.
The scene is similar to the central panel of the Passion Triptych in the Museu de Belles Arts de Valencia, circa 1530-1540, another painting by a follower of Bosch. The Christ Crowned with Thorns with Donor in the Royal Museum of Fine Arts Antwerp is also similar in composition but different in style. There are other examples by followers of Bosch in the Philadelphia Museum of Art, and the Kunstmuseum Bern, which are probably based on a second painting of the subject by Bosch which is now lost. | [
"Mocking of Jesus",
"Prado",
"Museu de Belles Arts de Valencia",
"Spanish Netherlands",
"Caiaphas",
"Passion Triptych",
"Escorial",
"Fernando de Toledo",
"National Gallery, London",
"Kunstmuseum Bern",
"Marinus van Reymerswaele",
"Crowning with Thorns",
"Christ Crowned with Thorns with Donor",
"El Escorial",
"Bosch",
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Christ Crowned with Thorns",
"Moses",
"panel painting",
"Hieronymus Bosch",
"dendrochronological analysis",
"tondo",
"Philip II of Spain",
"gold background",
"version in London",
"oil on panel",
"National Gallery",
"grisaille",
"Viceroy of Catalonia",
"Fernando Álvarez de Toledo, 3rd Duke of Alba",
"Passion of Jesus",
"Philadelphia Museum of Art"
] |
|
14979_NT | Christ Crowned with Thorns (Bosch, El Escorial) | Focus on this artwork and analyze the abstract. | Christ Crowned with Thorns is an oil on panel painting made in the 1530s by a follower of Hieronymus Bosch. It is now in the Monasterio de San Lorenzo at El Escorial, near Madrid, in Spain.The work is painted on a rectangular oak panel and measures 157 cm × 194 cm (62 in × 76 in). The main scene is set in a circular tondo with a gold background, surrounded by a grisaille painting of a battle between angels and demons.
It is an elaborated version of another Bosch's composition of the same subject, Christ Crowned with Thorns, held by the National Gallery, London, combining two events from Biblical account of the Passion of Jesus: the Mocking of Jesus and the Crowning with Thorns. As with the London version, this composition is centred on a half-length Jesus with a calm expression, accompanied by several other men, in this case, five others. The man to the far left, with a sceptre depicting Moses, is often identified as the High Priest Caiaphas, with the four others around Jesus interpreted as men obeying his orders. The calm expression of Jesus contrasts with the caricatured faces of the other men.
The painting was in the collection of Philip II of Spain by 1593. It may have been owned by Fernando de Toledo, former Viceroy of Catalonia, who fought in the Spanish Netherlands under his father Fernando Álvarez de Toledo, 3rd Duke of Alba.
It was formerly attributed to Bosch, but dendrochronological analysis of the panel in 2001 gave a date of the 1530s (or later), several years after Bosch's death in 1516, and it has been reattributed to a follower of Bosch, possibly Marinus van Reymerswaele. The version in London is securely attributed to Bosch.
The Prado holds a painting of the head of the man with a crossbow bolt through his hat.
The scene is similar to the central panel of the Passion Triptych in the Museu de Belles Arts de Valencia, circa 1530-1540, another painting by a follower of Bosch. The Christ Crowned with Thorns with Donor in the Royal Museum of Fine Arts Antwerp is also similar in composition but different in style. There are other examples by followers of Bosch in the Philadelphia Museum of Art, and the Kunstmuseum Bern, which are probably based on a second painting of the subject by Bosch which is now lost. | [
"Mocking of Jesus",
"Prado",
"Museu de Belles Arts de Valencia",
"Spanish Netherlands",
"Caiaphas",
"Passion Triptych",
"Escorial",
"Fernando de Toledo",
"National Gallery, London",
"Kunstmuseum Bern",
"Marinus van Reymerswaele",
"Crowning with Thorns",
"Christ Crowned with Thorns with Donor",
"El Escorial",
"Bosch",
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Christ Crowned with Thorns",
"Moses",
"panel painting",
"Hieronymus Bosch",
"dendrochronological analysis",
"tondo",
"Philip II of Spain",
"gold background",
"version in London",
"oil on panel",
"National Gallery",
"grisaille",
"Viceroy of Catalonia",
"Fernando Álvarez de Toledo, 3rd Duke of Alba",
"Passion of Jesus",
"Philadelphia Museum of Art"
] |
|
14980_T | El Hombre Redimido | In El Hombre Redimido, how is the Background discussed? | Slaves were brought to Puerto Rico from Africa starting in 1513 and through the 18th century to replace the local native "Indian" slaves who had been decimated. The new slaves worked the coffee, sugar cane, and gold mining industries in Puerto Rico. During the 18th century, as gold mining ceased to be one of the major industries in Puerto Rico, slaves worked mostly in coffee plantations and sugar cane fields. By Royal proclamation slavery was abolished on 22 March 1873.
In 1874, a group of citizens built a small park in Ponce in memory of the historic event. In 1880 Olimpio Otero, Juan Mayoral Barnés, and Román Baldorioty de Castro were instrumental in creating the concept for a park dedicated to the commemorating the abolition of slavery, the only such memorial in the Caribbean. Juan Mayoral Barnés brought the idea for the creation of the park to the Ponce Municipal Assembly on 14 March 1880. It was unanimously approved by the Assembly, ratified by the Central Government, and confirmed by Royal Decree on 1 March 1881.
In 1956, under the administration of Ponce mayor Andrés Grillasca Salas, the park was renovated and enlarged to include an obelisk and the statue. | [
"Román Baldorioty de Castro",
"sugar cane",
"coffee",
"Ponce",
"Puerto Rico",
"Olimpio Otero",
"Caribbean",
"gold mining",
"Andrés Grillasca Salas"
] |
|
14980_NT | El Hombre Redimido | In this artwork, how is the Background discussed? | Slaves were brought to Puerto Rico from Africa starting in 1513 and through the 18th century to replace the local native "Indian" slaves who had been decimated. The new slaves worked the coffee, sugar cane, and gold mining industries in Puerto Rico. During the 18th century, as gold mining ceased to be one of the major industries in Puerto Rico, slaves worked mostly in coffee plantations and sugar cane fields. By Royal proclamation slavery was abolished on 22 March 1873.
In 1874, a group of citizens built a small park in Ponce in memory of the historic event. In 1880 Olimpio Otero, Juan Mayoral Barnés, and Román Baldorioty de Castro were instrumental in creating the concept for a park dedicated to the commemorating the abolition of slavery, the only such memorial in the Caribbean. Juan Mayoral Barnés brought the idea for the creation of the park to the Ponce Municipal Assembly on 14 March 1880. It was unanimously approved by the Assembly, ratified by the Central Government, and confirmed by Royal Decree on 1 March 1881.
In 1956, under the administration of Ponce mayor Andrés Grillasca Salas, the park was renovated and enlarged to include an obelisk and the statue. | [
"Román Baldorioty de Castro",
"sugar cane",
"coffee",
"Ponce",
"Puerto Rico",
"Olimpio Otero",
"Caribbean",
"gold mining",
"Andrés Grillasca Salas"
] |
|
14981_T | El Hombre Redimido | Focus on El Hombre Redimido and explore the Description. | Built in 1956 to be part of the renovation and enlargement of the park that had stood there since the 1890s, El Hombre Redimido was designed by Victor M. Cott (b. 1898, Collores, Juana Díaz, Puerto Rico) and is forged in bronze. Victor Cott himself modeled for the statue on its knees and the bronze statue was subsequently forged in the United States. It is approximately four feet high. It was restored in 2006. | [
"bronze",
"Collores, Juana Díaz, Puerto Rico",
"Victor Cott",
"Puerto Rico"
] |
|
14981_NT | El Hombre Redimido | Focus on this artwork and explore the Description. | Built in 1956 to be part of the renovation and enlargement of the park that had stood there since the 1890s, El Hombre Redimido was designed by Victor M. Cott (b. 1898, Collores, Juana Díaz, Puerto Rico) and is forged in bronze. Victor Cott himself modeled for the statue on its knees and the bronze statue was subsequently forged in the United States. It is approximately four feet high. It was restored in 2006. | [
"bronze",
"Collores, Juana Díaz, Puerto Rico",
"Victor Cott",
"Puerto Rico"
] |
|
14982_T | Pastoral Concert | Focus on Pastoral Concert and explain the abstract. | The Pastoral Concert or Le Concert Champêtre is an oil painting of c. 1509 attributed to the Italian Renaissance master Titian. It was previously attributed to his fellow Venetian and contemporary Giorgione. It is located in the Musée du Louvre in Paris.This painting was created between approximately 1509 and 1510; the exact date of its creation is unknown. This period also represents a turbulent period of history in Venice, specifically the League of Cambrai's War in 1509. Art historian Jonathan Unglaub suggests that this painting was painted in response to the war, providing an "idyllic refuge from the ravages of history."The term "Concert Champêtre" was first used in 1754 by Nicolas Bernard Lépicié, to describe this painting. But when it entered the Louvre in 1792 it was given the title of a Fête champêtre, a genre arguably based on this painting. It is believed to display the Renaissance admiration of classical poetry, an essential value of humanism. This painting is also considered the origin of a genre of Pastoral paintings, because of its connection to pastoral poetry, as seen by the young men gathering in the Italian countryside's lush, picturesque greenery. The pastoral concert or Fête Champêtre genre is described as a gathering in a picturesque landscape. Usually, young men are gathered together in a creative pursuit, seated on the landscape's grass. The paintings themselves are almost always allegories or depictions of mythological characters. This is the 16th-century genre; in the French-led 18th-century type, women are very prominent.
This painting is an example of the Venetian school of Italian Renaissance art. Paintings from Venice are characterized as having rich color schemes that create a "warm glow" and emphasize naturalism above all else. Venetian paintings also have a specialty in mythological and allegorical themes. The unique use of color is known as colorito, and it was most often found in Venetian painting.The patronage of this painting remains unknown. Isabella d'Este is a possible candidate for patron due to a so-called bagno scene she commissioned for her brother Alfonso I d'Este, Duke of Ferrara. Still, the word bagno is considered to describe a painting by Palma Vecchio, another Venetian painter active during the same period. | [
"Fête champêtre",
"Renaissance",
"Titian",
"Isabella d'Este",
"Fête Champêtre",
"Pastoral",
"Venice",
"colorito",
"Venetian school",
"Musée du Louvre",
"Louvre",
"Palma Vecchio",
"naturalism",
"Alfonso I d'Este",
"League of Cambrai's War",
"Nicolas Bernard Lépicié",
"Venetian painting",
"Paris",
"Alfonso I d'Este, Duke of Ferrara",
"oil painting",
"Giorgione"
] |
|
14982_NT | Pastoral Concert | Focus on this artwork and explain the abstract. | The Pastoral Concert or Le Concert Champêtre is an oil painting of c. 1509 attributed to the Italian Renaissance master Titian. It was previously attributed to his fellow Venetian and contemporary Giorgione. It is located in the Musée du Louvre in Paris.This painting was created between approximately 1509 and 1510; the exact date of its creation is unknown. This period also represents a turbulent period of history in Venice, specifically the League of Cambrai's War in 1509. Art historian Jonathan Unglaub suggests that this painting was painted in response to the war, providing an "idyllic refuge from the ravages of history."The term "Concert Champêtre" was first used in 1754 by Nicolas Bernard Lépicié, to describe this painting. But when it entered the Louvre in 1792 it was given the title of a Fête champêtre, a genre arguably based on this painting. It is believed to display the Renaissance admiration of classical poetry, an essential value of humanism. This painting is also considered the origin of a genre of Pastoral paintings, because of its connection to pastoral poetry, as seen by the young men gathering in the Italian countryside's lush, picturesque greenery. The pastoral concert or Fête Champêtre genre is described as a gathering in a picturesque landscape. Usually, young men are gathered together in a creative pursuit, seated on the landscape's grass. The paintings themselves are almost always allegories or depictions of mythological characters. This is the 16th-century genre; in the French-led 18th-century type, women are very prominent.
This painting is an example of the Venetian school of Italian Renaissance art. Paintings from Venice are characterized as having rich color schemes that create a "warm glow" and emphasize naturalism above all else. Venetian paintings also have a specialty in mythological and allegorical themes. The unique use of color is known as colorito, and it was most often found in Venetian painting.The patronage of this painting remains unknown. Isabella d'Este is a possible candidate for patron due to a so-called bagno scene she commissioned for her brother Alfonso I d'Este, Duke of Ferrara. Still, the word bagno is considered to describe a painting by Palma Vecchio, another Venetian painter active during the same period. | [
"Fête champêtre",
"Renaissance",
"Titian",
"Isabella d'Este",
"Fête Champêtre",
"Pastoral",
"Venice",
"colorito",
"Venetian school",
"Musée du Louvre",
"Louvre",
"Palma Vecchio",
"naturalism",
"Alfonso I d'Este",
"League of Cambrai's War",
"Nicolas Bernard Lépicié",
"Venetian painting",
"Paris",
"Alfonso I d'Este, Duke of Ferrara",
"oil painting",
"Giorgione"
] |
|
14983_T | Pastoral Concert | Explore the Description of this artwork, Pastoral Concert. | The painting portrays three young people on a lawn, playing music together. Next to them, a standing woman is pouring water from a marble basin. The women are naked apart from their drapery, fallen to their legs; the two men are dressed in contemporary 16th century Venetian costume. In a vast, pastoral background, there is a shepherd and a landscape.
As is usual with early Venetian paintings, there are no drawings that are clearly associated with this painting, but some figure drawings may have been used as sources for individual figures. These probably come from the circle of Giorgione, as does the painter. | [
"Venetian painting",
"three",
"Giorgione"
] |
|
14983_NT | Pastoral Concert | Explore the Description of this artwork. | The painting portrays three young people on a lawn, playing music together. Next to them, a standing woman is pouring water from a marble basin. The women are naked apart from their drapery, fallen to their legs; the two men are dressed in contemporary 16th century Venetian costume. In a vast, pastoral background, there is a shepherd and a landscape.
As is usual with early Venetian paintings, there are no drawings that are clearly associated with this painting, but some figure drawings may have been used as sources for individual figures. These probably come from the circle of Giorgione, as does the painter. | [
"Venetian painting",
"three",
"Giorgione"
] |
|
14984_T | Pastoral Concert | In the context of Pastoral Concert, discuss the Interpretation of the Description. | It has been suggested that the painting may be a commentary on the paragone, the scholarly debate during the Renaissance that tried to determine either painting or sculpture as the superior art form. Venice was one of the artistic epicenters of the paragone between the concepts disegno and colorito, with the latter being a hallmark of Venetian Art. It is proposed that this painting could be an artistic argument, showing how painting and the techniques of colorito are superior to disegno, which was common to Florentine art. Some of the most well known colorito artists from the Venetian Renaissance include Giorgione, Titian, Giovanni Bellini, and Jacopo Bellini. | [
"Renaissance",
"Titian",
"disegno",
"Venice",
"colorito",
"paragone",
"Florentine",
"Venetian Renaissance",
"Giovanni Bellini",
"Jacopo Bellini",
"Giorgione"
] |
|
14984_NT | Pastoral Concert | In the context of this artwork, discuss the Interpretation of the Description. | It has been suggested that the painting may be a commentary on the paragone, the scholarly debate during the Renaissance that tried to determine either painting or sculpture as the superior art form. Venice was one of the artistic epicenters of the paragone between the concepts disegno and colorito, with the latter being a hallmark of Venetian Art. It is proposed that this painting could be an artistic argument, showing how painting and the techniques of colorito are superior to disegno, which was common to Florentine art. Some of the most well known colorito artists from the Venetian Renaissance include Giorgione, Titian, Giovanni Bellini, and Jacopo Bellini. | [
"Renaissance",
"Titian",
"disegno",
"Venice",
"colorito",
"paragone",
"Florentine",
"Venetian Renaissance",
"Giovanni Bellini",
"Jacopo Bellini",
"Giorgione"
] |
|
14985_T | Pastoral Concert | In Pastoral Concert, how is the Location of the Description elucidated? | The painting is understood to be a pastoral landscape in the Italian countryside. It is not explicitly stated or described by historical documents exactly where this painting is set. Still, as it comes from Venice, there is a high possibility in the Venetian countryside. Venetian painting's major specialty is landscape paintings, specifically idyllic landscapes such as Locus amoenus that posit subjects into the Venetian Countryside. This painting shows a meadow with a landscape that has broad slopes down to a water source. Intermixed with this idyllic landscape with buildings that match the typical town/villa style of the 16th century Venice city-state.Christiane Joost-Gaugier suggests that the painting's landscape was a fictional setting inspired by Virgil's Eclogues, specifically numbers three and eight. The painting's landscape details suggest this particular epilogue because the Shepard's appearance with bagpipes alludes to a possible scene depicting a singing contest of Theocritus from one of Horace's Odes or Virgil's Eclogues (3,7). | [
"Venice",
"Horace",
"Virgil",
"Eclogues",
"Venetian painting",
"Locus amoenus",
"Theocritus",
"three",
"eight",
"Christiane Joost-Gaugier"
] |
|
14985_NT | Pastoral Concert | In this artwork, how is the Location of the Description elucidated? | The painting is understood to be a pastoral landscape in the Italian countryside. It is not explicitly stated or described by historical documents exactly where this painting is set. Still, as it comes from Venice, there is a high possibility in the Venetian countryside. Venetian painting's major specialty is landscape paintings, specifically idyllic landscapes such as Locus amoenus that posit subjects into the Venetian Countryside. This painting shows a meadow with a landscape that has broad slopes down to a water source. Intermixed with this idyllic landscape with buildings that match the typical town/villa style of the 16th century Venice city-state.Christiane Joost-Gaugier suggests that the painting's landscape was a fictional setting inspired by Virgil's Eclogues, specifically numbers three and eight. The painting's landscape details suggest this particular epilogue because the Shepard's appearance with bagpipes alludes to a possible scene depicting a singing contest of Theocritus from one of Horace's Odes or Virgil's Eclogues (3,7). | [
"Venice",
"Horace",
"Virgil",
"Eclogues",
"Venetian painting",
"Locus amoenus",
"Theocritus",
"three",
"eight",
"Christiane Joost-Gaugier"
] |
|
14986_T | Pastoral Concert | In the context of Pastoral Concert, analyze the Classical references of the Description. | The subject was perhaps an allegory of poetry and music; the two women could be an imaginary apparition representing ideal beauty, stemming from the two men's fantasy and inspiration. The woman with the glass vase would be the muse of tragic poetry, while the other would be pastoral poetry. Of the two playing men, the one with the lute would represent the exalted lyric poetry, the other being an ordinary lyricist, according to Aristotle's distinction in his Poetics. Another interpretation suggests that the painting evokes the natural world's four elements (water, fire, earth, and air) and their harmonic relationship.
Another theory is that this painting's subject is an allegorical interpretation of Theocritus's poem about Daphnis, a shepherd thought to be the pastoral poetry founder. Philipp Fehl references this poem in his theory on the identity of the women in the paintings. Theocritus describes Arcadia as the land that the Greek god Pan originates. Arcadia was imagined as a "paradise" by Jacopo Sannazaro in his 15th-century pastoral poem Arcadia, popular around Venice and the surrounding city-states. It is suggested that the nymphs create Arcadia around them, making Arcadia a spiritual state of existence that one establishes. Philipp Fehl also proposes that this painting symbolizes Ludovico Ariosto's Orlando Furioso, an extremely popular epic poem in the early 16th century. One of Ariosto's most famous patrons was Ippolito d'Este and his older sister, Isabella d'Este, the possible patron of this painting.Julia Marianne Koos's theory suggests that the painting is an allegory for the discourse of love. In the Italian Renaissance, it was believed that nature was a "mirror of the lover's soul and an idyllic place of refuge". This specific painting's allegory on love's discourse was believed to be originating from Pietro Bembo's poetic musing on desire, such as his poem The Asolani. The concept of "desire" depicted in art was a heated debate in the 16th century, as seen in writings such as Leonardo da Vinci's Trattato della pittura.Art Historian Ross Kilpatrick suggests that two ancient literature texts, Horace's Epistles and Propertius's Elegy, were the significant pieces of inspiration behind this painting. | [
"Renaissance",
"Isabella d'Este",
"Arcadia",
"Venice",
"Leonardo da Vinci",
"Ippolito d'Este",
"Horace",
"Orlando Furioso",
"Pan",
"Jacopo Sannazaro",
"Pietro Bembo",
"Trattato della pittura",
"Propertius",
"Daphnis",
"Ludovico Ariosto",
"Epistles",
"Theocritus"
] |
|
14986_NT | Pastoral Concert | In the context of this artwork, analyze the Classical references of the Description. | The subject was perhaps an allegory of poetry and music; the two women could be an imaginary apparition representing ideal beauty, stemming from the two men's fantasy and inspiration. The woman with the glass vase would be the muse of tragic poetry, while the other would be pastoral poetry. Of the two playing men, the one with the lute would represent the exalted lyric poetry, the other being an ordinary lyricist, according to Aristotle's distinction in his Poetics. Another interpretation suggests that the painting evokes the natural world's four elements (water, fire, earth, and air) and their harmonic relationship.
Another theory is that this painting's subject is an allegorical interpretation of Theocritus's poem about Daphnis, a shepherd thought to be the pastoral poetry founder. Philipp Fehl references this poem in his theory on the identity of the women in the paintings. Theocritus describes Arcadia as the land that the Greek god Pan originates. Arcadia was imagined as a "paradise" by Jacopo Sannazaro in his 15th-century pastoral poem Arcadia, popular around Venice and the surrounding city-states. It is suggested that the nymphs create Arcadia around them, making Arcadia a spiritual state of existence that one establishes. Philipp Fehl also proposes that this painting symbolizes Ludovico Ariosto's Orlando Furioso, an extremely popular epic poem in the early 16th century. One of Ariosto's most famous patrons was Ippolito d'Este and his older sister, Isabella d'Este, the possible patron of this painting.Julia Marianne Koos's theory suggests that the painting is an allegory for the discourse of love. In the Italian Renaissance, it was believed that nature was a "mirror of the lover's soul and an idyllic place of refuge". This specific painting's allegory on love's discourse was believed to be originating from Pietro Bembo's poetic musing on desire, such as his poem The Asolani. The concept of "desire" depicted in art was a heated debate in the 16th century, as seen in writings such as Leonardo da Vinci's Trattato della pittura.Art Historian Ross Kilpatrick suggests that two ancient literature texts, Horace's Epistles and Propertius's Elegy, were the significant pieces of inspiration behind this painting. | [
"Renaissance",
"Isabella d'Este",
"Arcadia",
"Venice",
"Leonardo da Vinci",
"Ippolito d'Este",
"Horace",
"Orlando Furioso",
"Pan",
"Jacopo Sannazaro",
"Pietro Bembo",
"Trattato della pittura",
"Propertius",
"Daphnis",
"Ludovico Ariosto",
"Epistles",
"Theocritus"
] |
|
14987_T | Pastoral Concert | In Pastoral Concert, how is the Identity of figures discussed? | A leading theory on the women's identities in the painting was put forth by Phillipp Fehl in 1957, postulating that the women are Nymphs, minor ancient Greek goddesses, and not human. He stipulates that the nymphs have been lured out of the woods toward the music being created by the men in the pastoral. Fehl also maintains that these nymph women are invisible to the men in the painting but are visible to us, the viewer. Also according to Fehl, the closest poetic work that matches this painting is William Shakespeare's A Midsummer Night's Dream (obviously, entirely unknown to Titian, as it was written much later) . He uses this passage from A Midsummer Night's Dream to support his theory of the nymphs being invisible to human eyes:"But who comes here? I am invisible,
And I will overhear their conference."The use of nymphs from Ancient Greek mythology is common for Italian Renaissance paintings due to the deep appreciation for the antiquity of Greek and Rome, a common aspect of Renaissance Humanism.Holberton agrees they are nymphs from the woods enticed by the beauty of the music, but thinks they are visible to the men.Elhanian Motzkin identifies the nude female figure on the left as Inspiration and the right to be Euterpe, the Greek muse of music. In addition to identifying the female figures, Motzkin also put forth the identity of the men. Building off of the original theories of Phillipp Fehl, Motzkin identifies the men as Apollo and Paris, with Apollo teaching Paris how to play the lute. He also posits that the formerly unidentified herdsman in the far right background is Paris' adoptive father. The latter raised him after being abandoned by his parents Priam and Hecuba.There are multiple uncertain issues in this painting, the most prominent being the female figure's inclusion on the left pouring water out of a clear jug into a well. Ross Kilpatrick theorized that while the identity of the woman on the left is unknown, the artist's inspiration may derive from Horace's Epistles, which places Horace in the Bandusian Spring's basin, a mystical body of water that also shows up in Propertius's work. The concept of a "mystical spring" presents itself in Epistles, referencing the Greek Muse Calliope. The town of the Sabine Villa included in Horace's Epistles 2.2 has a freshwater spring from which Calliope gathers water. In Horace's poem, the town itself has a fountain with the inscription: "Bandusian Spring, more gleaming than glass." Kirkpatrick suggests that this could be the inspiration for the inclusion of the figure pouring water. | [
"Hecuba",
"A Midsummer Night's Dream",
"Renaissance",
"Titian",
"Horace",
"Priam",
"Renaissance Humanism",
"work",
"Propertius",
"Calliope",
"Paris",
"Apollo",
"Epistles",
"William Shakespeare",
"Nymph",
"Euterpe"
] |
|
14987_NT | Pastoral Concert | In this artwork, how is the Identity of figures discussed? | A leading theory on the women's identities in the painting was put forth by Phillipp Fehl in 1957, postulating that the women are Nymphs, minor ancient Greek goddesses, and not human. He stipulates that the nymphs have been lured out of the woods toward the music being created by the men in the pastoral. Fehl also maintains that these nymph women are invisible to the men in the painting but are visible to us, the viewer. Also according to Fehl, the closest poetic work that matches this painting is William Shakespeare's A Midsummer Night's Dream (obviously, entirely unknown to Titian, as it was written much later) . He uses this passage from A Midsummer Night's Dream to support his theory of the nymphs being invisible to human eyes:"But who comes here? I am invisible,
And I will overhear their conference."The use of nymphs from Ancient Greek mythology is common for Italian Renaissance paintings due to the deep appreciation for the antiquity of Greek and Rome, a common aspect of Renaissance Humanism.Holberton agrees they are nymphs from the woods enticed by the beauty of the music, but thinks they are visible to the men.Elhanian Motzkin identifies the nude female figure on the left as Inspiration and the right to be Euterpe, the Greek muse of music. In addition to identifying the female figures, Motzkin also put forth the identity of the men. Building off of the original theories of Phillipp Fehl, Motzkin identifies the men as Apollo and Paris, with Apollo teaching Paris how to play the lute. He also posits that the formerly unidentified herdsman in the far right background is Paris' adoptive father. The latter raised him after being abandoned by his parents Priam and Hecuba.There are multiple uncertain issues in this painting, the most prominent being the female figure's inclusion on the left pouring water out of a clear jug into a well. Ross Kilpatrick theorized that while the identity of the woman on the left is unknown, the artist's inspiration may derive from Horace's Epistles, which places Horace in the Bandusian Spring's basin, a mystical body of water that also shows up in Propertius's work. The concept of a "mystical spring" presents itself in Epistles, referencing the Greek Muse Calliope. The town of the Sabine Villa included in Horace's Epistles 2.2 has a freshwater spring from which Calliope gathers water. In Horace's poem, the town itself has a fountain with the inscription: "Bandusian Spring, more gleaming than glass." Kirkpatrick suggests that this could be the inspiration for the inclusion of the figure pouring water. | [
"Hecuba",
"A Midsummer Night's Dream",
"Renaissance",
"Titian",
"Horace",
"Priam",
"Renaissance Humanism",
"work",
"Propertius",
"Calliope",
"Paris",
"Apollo",
"Epistles",
"William Shakespeare",
"Nymph",
"Euterpe"
] |
|
14988_T | Pastoral Concert | Focus on Pastoral Concert and explore the Attribution. | The attribution of this painting has long been the subject of debate. The artist was formerly believed to have been Giorgione. Later painting analysis suggested Titian, initially a follower of Giorgione, was its creator. There is no documentation demonstrating attribution. Christiane Joost Gaugier suggested Giorgione began the painting, but he died in 1511 before finishing the painting. He believes that Titian, Giorgione's protégé, completed the painting in honor of his departed mentor. Gaugier states that the lutenist in red on the left symbolizes a youthful Giorgione who is in the midst of teaching the rustic man the lute, a man understood to be a young Titian. Gaugier understands this painting as an allegory for the mentor – protégé relationship the two artists shared.The painting has also been attributed to Palma the Elder, Sebastiano del Piombo, Domenico Mancini, and Giovanni Bellini. These theories, however, are not as common as the attribution to Titian or Giorgione due to a lack of historical evidence and restoration efforts. The theory of attribution to Domenico Mancini has gained ground as contextual evidence and historical documents have been analyzed. | [
"Titian",
"Sebastiano del Piombo",
"protégé",
"Domenico Mancini",
"Palma the Elder",
"Giovanni Bellini",
"Giorgione"
] |
|
14988_NT | Pastoral Concert | Focus on this artwork and explore the Attribution. | The attribution of this painting has long been the subject of debate. The artist was formerly believed to have been Giorgione. Later painting analysis suggested Titian, initially a follower of Giorgione, was its creator. There is no documentation demonstrating attribution. Christiane Joost Gaugier suggested Giorgione began the painting, but he died in 1511 before finishing the painting. He believes that Titian, Giorgione's protégé, completed the painting in honor of his departed mentor. Gaugier states that the lutenist in red on the left symbolizes a youthful Giorgione who is in the midst of teaching the rustic man the lute, a man understood to be a young Titian. Gaugier understands this painting as an allegory for the mentor – protégé relationship the two artists shared.The painting has also been attributed to Palma the Elder, Sebastiano del Piombo, Domenico Mancini, and Giovanni Bellini. These theories, however, are not as common as the attribution to Titian or Giorgione due to a lack of historical evidence and restoration efforts. The theory of attribution to Domenico Mancini has gained ground as contextual evidence and historical documents have been analyzed. | [
"Titian",
"Sebastiano del Piombo",
"protégé",
"Domenico Mancini",
"Palma the Elder",
"Giovanni Bellini",
"Giorgione"
] |
|
14989_T | Pastoral Concert | In the context of Pastoral Concert, explain the Giorgione of the Attribution. | Pastoral Concert was attributed to Giorgione until the 20th century, mostly because Giorgione himself was included in Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects. While not explicitly named in the book, this passage is inferred: "a musician who played the lute for musicians and continually enjoyed the pleasures of love." This passage refers to the artist because the description matched so closely to the subject of this painting. A work known to have been painted by Giorgione, The Tempest, is referenced in Pastoral Concert through the use of colored hosiery worn by the male subjects, a symbol of Compagnie della Calza, an elite patrician order of young men. | [
"Pastoral",
"Lives of the Most Excellent Painters, Sculptors, and Architects",
"Compagnie della Calza",
"Giorgio Vasari",
"work",
"The Tempest",
"Giorgione"
] |
|
14989_NT | Pastoral Concert | In the context of this artwork, explain the Giorgione of the Attribution. | Pastoral Concert was attributed to Giorgione until the 20th century, mostly because Giorgione himself was included in Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects. While not explicitly named in the book, this passage is inferred: "a musician who played the lute for musicians and continually enjoyed the pleasures of love." This passage refers to the artist because the description matched so closely to the subject of this painting. A work known to have been painted by Giorgione, The Tempest, is referenced in Pastoral Concert through the use of colored hosiery worn by the male subjects, a symbol of Compagnie della Calza, an elite patrician order of young men. | [
"Pastoral",
"Lives of the Most Excellent Painters, Sculptors, and Architects",
"Compagnie della Calza",
"Giorgio Vasari",
"work",
"The Tempest",
"Giorgione"
] |
|
14990_T | Pastoral Concert | Explore the Titian about the Attribution of this artwork, Pastoral Concert. | The painting was initially attributed to Giorgione, but modern critics assign as more likely a work of the younger Titian. The figures' robustness is considered more typical of his style. Titian's painting The Adrians is used by Phillip Fehl to show the use of symbolic detail by Titian to credit this painting to Titian. Alfonso, I d'Este, Duke of Ferrara, commissioned The Andrians, Isabella d'Este brother. Titian's connection to the House of Este family's patronage is seen as evidence of Titian being the creator of this painting.The painting itself fits closer to Titian's artistic style because of the artist's use of symbolic minute detail and Rubenesque bodies in the genre of Venetian painting. | [
"Rubenesque",
"Titian",
"Isabella d'Este",
"work",
"House of Este",
"Venetian painting",
"Giorgione"
] |
|
14990_NT | Pastoral Concert | Explore the Titian about the Attribution of this artwork. | The painting was initially attributed to Giorgione, but modern critics assign as more likely a work of the younger Titian. The figures' robustness is considered more typical of his style. Titian's painting The Adrians is used by Phillip Fehl to show the use of symbolic detail by Titian to credit this painting to Titian. Alfonso, I d'Este, Duke of Ferrara, commissioned The Andrians, Isabella d'Este brother. Titian's connection to the House of Este family's patronage is seen as evidence of Titian being the creator of this painting.The painting itself fits closer to Titian's artistic style because of the artist's use of symbolic minute detail and Rubenesque bodies in the genre of Venetian painting. | [
"Rubenesque",
"Titian",
"Isabella d'Este",
"work",
"House of Este",
"Venetian painting",
"Giorgione"
] |
|
14991_T | Pastoral Concert | In the context of Pastoral Concert, discuss the Domenico Mancini of the Attribution. | A theory postulated by Charles Hope, and endorsed by Holberton, suggests that the author of the painting is Domenico Mancini, a contemporary painter and follower of Giorgione and Titian. Mancini's Lendinara Cathedral altarpiece is stylistically similar to Pastoral Concert, as well as his Madonna with Saints Francis and Roch. The latter painting is dated 1511, very close to the timeline of completion for this painting. As Hope observed, Pastoral Concert itself has not been cleaned. It is impossible to tell if the painting could be Mancini's without proper restoration. As an artist, Mancini was known to borrow elements and mimic the style of certain Italian Masters. His painting Madonna with Saints Francis and Roch takes significant cues from Giovanni Bellini's San Zaccaria Altarpiece. | [
"Titian",
"Pastoral",
"San Zaccaria Altarpiece",
"Domenico Mancini",
"Giovanni Bellini",
"Lendinara Cathedral",
"Charles Hope",
"Giorgione"
] |
|
14991_NT | Pastoral Concert | In the context of this artwork, discuss the Domenico Mancini of the Attribution. | A theory postulated by Charles Hope, and endorsed by Holberton, suggests that the author of the painting is Domenico Mancini, a contemporary painter and follower of Giorgione and Titian. Mancini's Lendinara Cathedral altarpiece is stylistically similar to Pastoral Concert, as well as his Madonna with Saints Francis and Roch. The latter painting is dated 1511, very close to the timeline of completion for this painting. As Hope observed, Pastoral Concert itself has not been cleaned. It is impossible to tell if the painting could be Mancini's without proper restoration. As an artist, Mancini was known to borrow elements and mimic the style of certain Italian Masters. His painting Madonna with Saints Francis and Roch takes significant cues from Giovanni Bellini's San Zaccaria Altarpiece. | [
"Titian",
"Pastoral",
"San Zaccaria Altarpiece",
"Domenico Mancini",
"Giovanni Bellini",
"Lendinara Cathedral",
"Charles Hope",
"Giorgione"
] |
|
14992_T | Pastoral Concert | How does Pastoral Concert elucidate its Provenance? | The painting does not seem to have been well-known until the 18th century. The Gonzaga family, the lords of Mantua, an Italian city-state, owned the work. The painting was later sold to Charles I of England in about 1627, possibly acquired through Henry Fitzalan, 12th Earl of Arundel, a close friend and courtier in Charles I's court. When the English royal collections were dispersed following the revolution of 1649, the painting was sold at auction by the Commonwealth of England to the German banker and art collector, Eberhard Jabach. He, in turn, sold it to Jean-Baptiste Colbert on behalf of Louis XIV in 1671. The painting was later owned in 1736 to Françoise-Athénaïs de Rochechouart, Marquise de Montespan's son, Duc d' Antin and his collection at the Palace of Versailles. After 1792, the painting was transferred from the French royal art collection to the Louvre Museum during the French Revolution. It remains in their collection to this day.Copies of this painting were widely available, mostly in Holland, and reproductions frequently were found in the Dutch Art Market in Amsterdam. | [
"Louis XIV",
"Jean-Baptiste Colbert",
"Amsterdam",
"Palace of Versailles",
"Françoise-Athénaïs de Rochechouart, Marquise de Montespan",
"Louvre",
"work",
"Mantua",
"Charles I of England",
"Henry Fitzalan, 12th Earl of Arundel",
"Commonwealth of England",
"French Revolution",
"Eberhard Jabach"
] |
|
14992_NT | Pastoral Concert | How does this artwork elucidate its Provenance? | The painting does not seem to have been well-known until the 18th century. The Gonzaga family, the lords of Mantua, an Italian city-state, owned the work. The painting was later sold to Charles I of England in about 1627, possibly acquired through Henry Fitzalan, 12th Earl of Arundel, a close friend and courtier in Charles I's court. When the English royal collections were dispersed following the revolution of 1649, the painting was sold at auction by the Commonwealth of England to the German banker and art collector, Eberhard Jabach. He, in turn, sold it to Jean-Baptiste Colbert on behalf of Louis XIV in 1671. The painting was later owned in 1736 to Françoise-Athénaïs de Rochechouart, Marquise de Montespan's son, Duc d' Antin and his collection at the Palace of Versailles. After 1792, the painting was transferred from the French royal art collection to the Louvre Museum during the French Revolution. It remains in their collection to this day.Copies of this painting were widely available, mostly in Holland, and reproductions frequently were found in the Dutch Art Market in Amsterdam. | [
"Louis XIV",
"Jean-Baptiste Colbert",
"Amsterdam",
"Palace of Versailles",
"Françoise-Athénaïs de Rochechouart, Marquise de Montespan",
"Louvre",
"work",
"Mantua",
"Charles I of England",
"Henry Fitzalan, 12th Earl of Arundel",
"Commonwealth of England",
"French Revolution",
"Eberhard Jabach"
] |
|
14993_T | Pastoral Concert | Focus on Pastoral Concert and analyze the Cultural influence. | The Dutch artist Jan de Bisschop copied Pastoral Concert for an engraving as part of his traditional practice copying the Italian Renaissance masters' art. Eugène Delacroix was also said to have made a copy of this painting after witnessing it in the Louvre in 1824. The copy has been lost, but the Venetian work is rumored to have been one of the inspirations for his painting, Women of Algiers. Some other artists' rumored to have copied Pastoral Concert include Edgar Degas and Henri Fantin-Latour. Édouard Manet conceived his Le déjeuner sur l'herbe after viewing the earlier work in the Louvre.Dante Gabriel Rossetti wrote a poem titled A Venetian Pastoral, by Giorgione, in the Louvre, which was explicitly written about this painting. His poetry was created to move the reader triangularly through the canvas, hopping from subject to subject. This specific sonnet was included in his Poems in 1870.The three seated figures in the painting were cut and pasted into the sleeve of the 1983 Electric Light Orchestra album Secret Messages. | [
"Dante Gabriel Rossetti",
"Henri Fantin-Latour",
"Renaissance",
"Pastoral",
"Louvre",
"work",
"Edgar Degas",
"Le déjeuner sur l'herbe",
"Secret Messages",
"Édouard Manet",
"Electric Light Orchestra",
"three",
"Jan de Bisschop",
"Women of Algiers",
"Eugène Delacroix",
"Giorgione"
] |
|
14993_NT | Pastoral Concert | Focus on this artwork and analyze the Cultural influence. | The Dutch artist Jan de Bisschop copied Pastoral Concert for an engraving as part of his traditional practice copying the Italian Renaissance masters' art. Eugène Delacroix was also said to have made a copy of this painting after witnessing it in the Louvre in 1824. The copy has been lost, but the Venetian work is rumored to have been one of the inspirations for his painting, Women of Algiers. Some other artists' rumored to have copied Pastoral Concert include Edgar Degas and Henri Fantin-Latour. Édouard Manet conceived his Le déjeuner sur l'herbe after viewing the earlier work in the Louvre.Dante Gabriel Rossetti wrote a poem titled A Venetian Pastoral, by Giorgione, in the Louvre, which was explicitly written about this painting. His poetry was created to move the reader triangularly through the canvas, hopping from subject to subject. This specific sonnet was included in his Poems in 1870.The three seated figures in the painting were cut and pasted into the sleeve of the 1983 Electric Light Orchestra album Secret Messages. | [
"Dante Gabriel Rossetti",
"Henri Fantin-Latour",
"Renaissance",
"Pastoral",
"Louvre",
"work",
"Edgar Degas",
"Le déjeuner sur l'herbe",
"Secret Messages",
"Édouard Manet",
"Electric Light Orchestra",
"three",
"Jan de Bisschop",
"Women of Algiers",
"Eugène Delacroix",
"Giorgione"
] |
|
14994_T | Homage to King | In Homage to King, how is the abstract discussed? | Homage to King is a 1996 sculpture by Barcelona artist Xavier Medina Campeny, commissioned as a gift from the Spanish host city of the 1992 Summer Olympics to the host of the 1996 Summer Olympics. It is located at the southwest corner of Freedom Parkway and Boulevard in Atlanta, Georgia, in the Old Fourth Ward neighborhood. The work portrays Martin Luther King Jr. with outstretched arm, representing a welcome to those visiting the Martin Luther King Jr. National Historical Park. The location is also one of an oft-used view of the Downtown Atlanta skyline. | [
"Martin Luther King Jr. National Historical Park",
"Xavier Medina Campeny",
"Atlanta, Georgia",
"Barcelona",
"Atlanta",
"Downtown Atlanta",
"Freedom Parkway",
"Old Fourth Ward",
"Martin Luther King Jr.",
"1992 Summer Olympics",
"1996 Summer Olympics",
"Boulevard"
] |
|
14994_NT | Homage to King | In this artwork, how is the abstract discussed? | Homage to King is a 1996 sculpture by Barcelona artist Xavier Medina Campeny, commissioned as a gift from the Spanish host city of the 1992 Summer Olympics to the host of the 1996 Summer Olympics. It is located at the southwest corner of Freedom Parkway and Boulevard in Atlanta, Georgia, in the Old Fourth Ward neighborhood. The work portrays Martin Luther King Jr. with outstretched arm, representing a welcome to those visiting the Martin Luther King Jr. National Historical Park. The location is also one of an oft-used view of the Downtown Atlanta skyline. | [
"Martin Luther King Jr. National Historical Park",
"Xavier Medina Campeny",
"Atlanta, Georgia",
"Barcelona",
"Atlanta",
"Downtown Atlanta",
"Freedom Parkway",
"Old Fourth Ward",
"Martin Luther King Jr.",
"1992 Summer Olympics",
"1996 Summer Olympics",
"Boulevard"
] |
|
14995_T | Adoration of the Shepherds (Lorenzo di Credi) | Focus on Adoration of the Shepherds (Lorenzo di Credi) and explore the abstract. | The Adoration of the Shepherds is a painting by the Italian Renaissance painter Lorenzo di Credi, dating to about 1510. It is displayed in the Uffizi Gallery of Florence. | [
"Florence",
"Uffizi",
"Italian",
"Lorenzo di Credi",
"Uffizi Gallery"
] |
|
14995_NT | Adoration of the Shepherds (Lorenzo di Credi) | Focus on this artwork and explore the abstract. | The Adoration of the Shepherds is a painting by the Italian Renaissance painter Lorenzo di Credi, dating to about 1510. It is displayed in the Uffizi Gallery of Florence. | [
"Florence",
"Uffizi",
"Italian",
"Lorenzo di Credi",
"Uffizi Gallery"
] |
|
14996_T | Adoration of the Shepherds (Lorenzo di Credi) | Focus on Adoration of the Shepherds (Lorenzo di Credi) and explain the History. | The painting, commissioned by the nuns of Santa Chiara in Florence, is mentioned by the contemporary painter Mariotto Albertinelli and by the art biographer Giorgio Vasari, as well as in Florence's art guides from the late 17th century.
There are several preparatory studies, now at the Albertina of Vienna, the Cabinet des Dessins of Paris (the figure of St. Joseph) and the Gabinetto dei disegni e delle stampe at the Uffizi (for the lamb held by a shepherd). | [
"Giorgio Vasari",
"Florence",
"Albertina",
"Uffizi",
"Vienna",
"Cabinet des Dessins",
"Mariotto Albertinelli"
] |
|
14996_NT | Adoration of the Shepherds (Lorenzo di Credi) | Focus on this artwork and explain the History. | The painting, commissioned by the nuns of Santa Chiara in Florence, is mentioned by the contemporary painter Mariotto Albertinelli and by the art biographer Giorgio Vasari, as well as in Florence's art guides from the late 17th century.
There are several preparatory studies, now at the Albertina of Vienna, the Cabinet des Dessins of Paris (the figure of St. Joseph) and the Gabinetto dei disegni e delle stampe at the Uffizi (for the lamb held by a shepherd). | [
"Giorgio Vasari",
"Florence",
"Albertina",
"Uffizi",
"Vienna",
"Cabinet des Dessins",
"Mariotto Albertinelli"
] |
|
14997_T | The Beheading of Saint John the Baptist (Giovanni di Paolo) | Explore the abstract of this artwork, The Beheading of Saint John the Baptist (Giovanni di Paolo). | The Beheading of Saint John the Baptist is a 15th-century tempera painting by Giovanni di Paolo. It depicts the beheading of John the Baptist. | [
"tempera",
"Giovanni di Paolo",
"beheading of John the Baptist"
] |
|
14997_NT | The Beheading of Saint John the Baptist (Giovanni di Paolo) | Explore the abstract of this artwork. | The Beheading of Saint John the Baptist is a 15th-century tempera painting by Giovanni di Paolo. It depicts the beheading of John the Baptist. | [
"tempera",
"Giovanni di Paolo",
"beheading of John the Baptist"
] |
|
14998_T | The Sower (Millet) | Focus on The Sower (Millet) and discuss the abstract. | The Sower is an oil painting by the French artist Jean-François Millet from 1850. It is one of several versions of the theme painted by Millet. The work has been part of collection of the Museum of Fine Arts in Boston since 1917. | [
"Jean-François Millet",
"Boston",
"Museum of Fine Arts"
] |
|
14998_NT | The Sower (Millet) | Focus on this artwork and discuss the abstract. | The Sower is an oil painting by the French artist Jean-François Millet from 1850. It is one of several versions of the theme painted by Millet. The work has been part of collection of the Museum of Fine Arts in Boston since 1917. | [
"Jean-François Millet",
"Boston",
"Museum of Fine Arts"
] |
|
14999_T | The Sower (Millet) | How does The Sower (Millet) elucidate its History? | Millet moved to Barbizon in 1849, a village in the Fontainebleau forest, outside Paris. There he was part of the artist group of the School of Barbizon, which painted subdued realistic landscapes and motifs in contrast to the traditional romantic dramatic landscape and painting. Millet was himself a farmer's son and described with dignity and seriousness the hard-working life of the rural population. His paintings have sometimes been perceived as sentimental. At the time, however, they were considered radical because of their social realism. Large-scale depiction of simple agricultural workers was new and controversial in the Paris' art establishment. Millet was often questioned for his "ugly" motifs. | [
"Barbizon",
"romantic",
"Fontainebleau",
"Paris"
] |
|
14999_NT | The Sower (Millet) | How does this artwork elucidate its History? | Millet moved to Barbizon in 1849, a village in the Fontainebleau forest, outside Paris. There he was part of the artist group of the School of Barbizon, which painted subdued realistic landscapes and motifs in contrast to the traditional romantic dramatic landscape and painting. Millet was himself a farmer's son and described with dignity and seriousness the hard-working life of the rural population. His paintings have sometimes been perceived as sentimental. At the time, however, they were considered radical because of their social realism. Large-scale depiction of simple agricultural workers was new and controversial in the Paris' art establishment. Millet was often questioned for his "ugly" motifs. | [
"Barbizon",
"romantic",
"Fontainebleau",
"Paris"
] |
|
15000_T | The Sower (Millet) | Focus on The Sower (Millet) and analyze the Description. | The painting depicts a peasant in the act of sowing land, apparently in winter. The Sun shines at the top of the painting, which indicates that it is dawn. The sower is dressed in a typical peasant's attire, with his legs draped in straw to provide more warmth, walking in long strides, and carrying a bag of seeds over his shoulder, while he is in the act of sowing his crops with the right hand. At the left of the painting several crows appear scavenging the crops. At the right side, in the distance a man is seen plowing the ground with his oxen for the sowers work. The painting is an unidealized depiction of the peasant's strength and hardworking lifestyle.
The Sower was the first major painting that Millet made in Barbizon. In the same year he painted a nearly identical second version (Yamanashi Prefectural Art Museum, Kofu), which he exhibited at the Paris Salon in 1850 where it received much attention and criticism. Critic Clément de Ris praised it as "an energetic study full of movement", while Théophile Gautier derided it as "trowel scrapings".
Art historian Anthea Callen stated that "Millet intentionally transformed his human laborer into a sinewy giant of a man by elongating his proportions ... Reinforced by the sower's dominance of the pictorial space and our low viewpoint, his menacing appearance to the Parisian bourgeoisie in 1850 is thus readily explicable."Millet first painted the motif of the sower in 1847–48, in a version now in the National Museum of Wales. In the Wales version the horizon is higher, the sower is less monumental, and more space is given to the landscape than in later versions. After painting the Boston and Kofu versions, he returned to the same motif at least three times. An oil version painted after 1850 is held of the Carnegie Museum of Art in Pittsburgh. Two pastel versions are held at the Clark Art Institute in Williamstown, from around 1850, and at the Walters Art Museum in Baltimore, from around 1865.
Dutch painter Vincent van Gogh found inspiration in Millet's paintings of agricultural landscapes and farm workers. He copied The Sower in several of his own paintings, but transformed the image by using brighter colors. | [
"Walters Art Museum",
"Barbizon",
"Clark Art Institute",
"Pittsburgh",
"Théophile Gautier",
"Baltimore",
"Boston",
"Yamanashi Prefectural Art Museum",
"Williamstown",
"Kofu",
"Paris",
"Vincent van Gogh",
"Carnegie Museum of Art",
"National Museum of Wales"
] |
|
15000_NT | The Sower (Millet) | Focus on this artwork and analyze the Description. | The painting depicts a peasant in the act of sowing land, apparently in winter. The Sun shines at the top of the painting, which indicates that it is dawn. The sower is dressed in a typical peasant's attire, with his legs draped in straw to provide more warmth, walking in long strides, and carrying a bag of seeds over his shoulder, while he is in the act of sowing his crops with the right hand. At the left of the painting several crows appear scavenging the crops. At the right side, in the distance a man is seen plowing the ground with his oxen for the sowers work. The painting is an unidealized depiction of the peasant's strength and hardworking lifestyle.
The Sower was the first major painting that Millet made in Barbizon. In the same year he painted a nearly identical second version (Yamanashi Prefectural Art Museum, Kofu), which he exhibited at the Paris Salon in 1850 where it received much attention and criticism. Critic Clément de Ris praised it as "an energetic study full of movement", while Théophile Gautier derided it as "trowel scrapings".
Art historian Anthea Callen stated that "Millet intentionally transformed his human laborer into a sinewy giant of a man by elongating his proportions ... Reinforced by the sower's dominance of the pictorial space and our low viewpoint, his menacing appearance to the Parisian bourgeoisie in 1850 is thus readily explicable."Millet first painted the motif of the sower in 1847–48, in a version now in the National Museum of Wales. In the Wales version the horizon is higher, the sower is less monumental, and more space is given to the landscape than in later versions. After painting the Boston and Kofu versions, he returned to the same motif at least three times. An oil version painted after 1850 is held of the Carnegie Museum of Art in Pittsburgh. Two pastel versions are held at the Clark Art Institute in Williamstown, from around 1850, and at the Walters Art Museum in Baltimore, from around 1865.
Dutch painter Vincent van Gogh found inspiration in Millet's paintings of agricultural landscapes and farm workers. He copied The Sower in several of his own paintings, but transformed the image by using brighter colors. | [
"Walters Art Museum",
"Barbizon",
"Clark Art Institute",
"Pittsburgh",
"Théophile Gautier",
"Baltimore",
"Boston",
"Yamanashi Prefectural Art Museum",
"Williamstown",
"Kofu",
"Paris",
"Vincent van Gogh",
"Carnegie Museum of Art",
"National Museum of Wales"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.