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|---|---|---|---|---|---|
15001_T
|
Khalili Imperial Garniture
|
In Khalili Imperial Garniture, how is the abstract discussed?
|
The Khalili Imperial Garniture is a trio of cloisonné vases created for a Japanese Imperial commission during the Meiji era. The items were exhibited at the World's Columbian Exposition in Chicago, United States, in 1893, where they were described as "the largest examples of cloisonné enamel ever made". The decoration of the vases represents virtues and the seasons, and also has an allegorical meaning about Japan's role in a changing world and its alliance with the United States. After being exhibited, the vases were separated from each other for more than 120 years, eventually reunited in 2019 in the Khalili Collection of Japanese Art, a private collection assembled by the British-Iranian collector and scholar Nasser D. Khalili.
|
[
"Chicago",
"Khalili Collection of Japanese Art",
"United States",
"virtues",
"Japanese",
"allegorical",
"cloisonné",
"Meiji era",
"enamel",
"World's Columbian Exposition",
"Nasser D. Khalili",
"Japan",
"Garniture"
] |
|
15001_NT
|
Khalili Imperial Garniture
|
In this artwork, how is the abstract discussed?
|
The Khalili Imperial Garniture is a trio of cloisonné vases created for a Japanese Imperial commission during the Meiji era. The items were exhibited at the World's Columbian Exposition in Chicago, United States, in 1893, where they were described as "the largest examples of cloisonné enamel ever made". The decoration of the vases represents virtues and the seasons, and also has an allegorical meaning about Japan's role in a changing world and its alliance with the United States. After being exhibited, the vases were separated from each other for more than 120 years, eventually reunited in 2019 in the Khalili Collection of Japanese Art, a private collection assembled by the British-Iranian collector and scholar Nasser D. Khalili.
|
[
"Chicago",
"Khalili Collection of Japanese Art",
"United States",
"virtues",
"Japanese",
"allegorical",
"cloisonné",
"Meiji era",
"enamel",
"World's Columbian Exposition",
"Nasser D. Khalili",
"Japan",
"Garniture"
] |
|
15002_T
|
Khalili Imperial Garniture
|
Focus on Khalili Imperial Garniture and explore the Creation and exhibition.
|
During Japan's Meiji era (1868 to 1912), the government actively promoted Japanese arts and crafts abroad by exhibiting the best examples in the world's fairs that were held in America and Europe. The first world's fair to exhibit Japanese art works in its Fine Arts section was the World's Columbian Exposition and among them was this garniture with a central incense burner. It had been inspected by the emperor who approved it for the exhibition. The three vases are decorated with enamel and silver wire on a copper surface. At the exposition they were described as "the largest examples of cloisonné enamel ever made". The eight feet, eight inches (264 cm) height quoted in the 1893 catalogue includes their pedestals made of keyaki wood. The height of the tall vases is 172 cm (five feet, eight inches). The incense burner is topped by an eagle in bronze.A team of craftsmen, led by Shirozayemon Suzuki of Yokohama and Seizayemon Tsunekawa of Nagoya, took more than four years to construct the three items. The painting was done by nihonga artist Araki Kanpo (1831–1915) who was a member of the Japanese Imperial Household's art committee and of the Royal Society of Arts, London. Kanpo was later recognised in 1900 as an Imperial Household Artist. Viewing the garniture in Tokyo before its shipping to Chicago, the Anglo-Irish scholar Francis Brinkley predicted that the exposition would not display it in the Palace of Fine Arts because of its political symbolism. Despite this prediction, it was displayed prominently in the East Court of the Palace as the ethnologist Hubert Howe Bancroft describes in his Book of the Fair.
|
[
"Yokohama",
"Imperial Household Artist",
"Chicago",
"Araki Kanpo",
"Palace of Fine Arts",
"Japanese Imperial Household",
"Nagoya",
"Japanese",
"cloisonné",
"world's fairs",
"Meiji era",
"incense burner",
"Francis Brinkley",
"nihonga",
"the emperor",
"Royal Society of Arts",
"Hubert Howe Bancroft",
"enamel",
"cm",
"World's Columbian Exposition",
"Japan",
"inches",
"garniture",
"keyaki"
] |
|
15002_NT
|
Khalili Imperial Garniture
|
Focus on this artwork and explore the Creation and exhibition.
|
During Japan's Meiji era (1868 to 1912), the government actively promoted Japanese arts and crafts abroad by exhibiting the best examples in the world's fairs that were held in America and Europe. The first world's fair to exhibit Japanese art works in its Fine Arts section was the World's Columbian Exposition and among them was this garniture with a central incense burner. It had been inspected by the emperor who approved it for the exhibition. The three vases are decorated with enamel and silver wire on a copper surface. At the exposition they were described as "the largest examples of cloisonné enamel ever made". The eight feet, eight inches (264 cm) height quoted in the 1893 catalogue includes their pedestals made of keyaki wood. The height of the tall vases is 172 cm (five feet, eight inches). The incense burner is topped by an eagle in bronze.A team of craftsmen, led by Shirozayemon Suzuki of Yokohama and Seizayemon Tsunekawa of Nagoya, took more than four years to construct the three items. The painting was done by nihonga artist Araki Kanpo (1831–1915) who was a member of the Japanese Imperial Household's art committee and of the Royal Society of Arts, London. Kanpo was later recognised in 1900 as an Imperial Household Artist. Viewing the garniture in Tokyo before its shipping to Chicago, the Anglo-Irish scholar Francis Brinkley predicted that the exposition would not display it in the Palace of Fine Arts because of its political symbolism. Despite this prediction, it was displayed prominently in the East Court of the Palace as the ethnologist Hubert Howe Bancroft describes in his Book of the Fair.
|
[
"Yokohama",
"Imperial Household Artist",
"Chicago",
"Araki Kanpo",
"Palace of Fine Arts",
"Japanese Imperial Household",
"Nagoya",
"Japanese",
"cloisonné",
"world's fairs",
"Meiji era",
"incense burner",
"Francis Brinkley",
"nihonga",
"the emperor",
"Royal Society of Arts",
"Hubert Howe Bancroft",
"enamel",
"cm",
"World's Columbian Exposition",
"Japan",
"inches",
"garniture",
"keyaki"
] |
|
15003_T
|
Khalili Imperial Garniture
|
Focus on Khalili Imperial Garniture and explain the Decoration and symbolism.
|
The idea for the design is credited to "Mr. Shin Shiwoda, Special Counsellor for the Arts of the Japanese Commission for the World's Columbian Exposition".
The three vases depict a dragon, chickens, and eagles, respectively representing the virtues of wisdom, honesty and strength. The imagery also has a geographical meaning, with the dragon representing China, the eagles Russia, a rising sun for Japan, chickens for the Korean Islands and the bronze eagle on the central censer representing the United States. The handles of the censer are shaped like chrysanthemums, the symbol of the Japanese Imperial family. The general design also includes the four seasons of the year, with opposite sides of one vase showing autumn and winter scenes. The eagle's appearance on a winter background, driving other birds before it, represents Russia's advance into East Asia. The dragon representing China is depicted among summer clouds, heading towards autumn. The reverse of this vase depicts plover over waves. Japan's rising sun appears in a spring scene, suggesting "gladness and general revival".
The neck of each vase features a striped red and white pattern with inlaid silver stars. The stars and stripes decorated with chrysanthemums and vines symbolise partnership between Japan and the United States.The Japan Weekly Mail of 15 April 1893 gave this interpretation of the design:"Russia swooping down upon Korea finds her aggressive designs thwarted by China and Japan, while the Stars and Stripes wave their protecting folds over all; the American eagle spreads its wings above a scene where Korea, rescued and reviving on the threshold of spring, passes into the sunshine and bloom of Japan's early summer; the national flags of the United States and her Oriental friend intertwine everywhere overhead."
The garniture was thus a political statement about how Japan saw its new status in the world, as a land of new beginnings that was emerging as the major regional power, allied with the United States against an encroaching Russia. Events in the two decades after the World's Columbian Exposition unfolded similarly to what was depicted allegorically by the garniture. The First Sino-Japanese war ended with Japan defeating China and gaining control of the Korean peninsula, preventing Russia's advance into that territory. Japan's victory in the Russo-Japanese war made it the first Asian nation to defeat a Western power.
|
[
"Korea",
"United States",
"plover",
"Korean Islands",
"virtues",
"Russo-Japanese war",
"First Sino-Japanese war",
"dragon",
"Japanese",
"allegorical",
"censer",
"China",
"Korean peninsula",
"World's Columbian Exposition",
"Japan",
"garniture",
"chrysanthemum",
"Russia"
] |
|
15003_NT
|
Khalili Imperial Garniture
|
Focus on this artwork and explain the Decoration and symbolism.
|
The idea for the design is credited to "Mr. Shin Shiwoda, Special Counsellor for the Arts of the Japanese Commission for the World's Columbian Exposition".
The three vases depict a dragon, chickens, and eagles, respectively representing the virtues of wisdom, honesty and strength. The imagery also has a geographical meaning, with the dragon representing China, the eagles Russia, a rising sun for Japan, chickens for the Korean Islands and the bronze eagle on the central censer representing the United States. The handles of the censer are shaped like chrysanthemums, the symbol of the Japanese Imperial family. The general design also includes the four seasons of the year, with opposite sides of one vase showing autumn and winter scenes. The eagle's appearance on a winter background, driving other birds before it, represents Russia's advance into East Asia. The dragon representing China is depicted among summer clouds, heading towards autumn. The reverse of this vase depicts plover over waves. Japan's rising sun appears in a spring scene, suggesting "gladness and general revival".
The neck of each vase features a striped red and white pattern with inlaid silver stars. The stars and stripes decorated with chrysanthemums and vines symbolise partnership between Japan and the United States.The Japan Weekly Mail of 15 April 1893 gave this interpretation of the design:"Russia swooping down upon Korea finds her aggressive designs thwarted by China and Japan, while the Stars and Stripes wave their protecting folds over all; the American eagle spreads its wings above a scene where Korea, rescued and reviving on the threshold of spring, passes into the sunshine and bloom of Japan's early summer; the national flags of the United States and her Oriental friend intertwine everywhere overhead."
The garniture was thus a political statement about how Japan saw its new status in the world, as a land of new beginnings that was emerging as the major regional power, allied with the United States against an encroaching Russia. Events in the two decades after the World's Columbian Exposition unfolded similarly to what was depicted allegorically by the garniture. The First Sino-Japanese war ended with Japan defeating China and gaining control of the Korean peninsula, preventing Russia's advance into that territory. Japan's victory in the Russo-Japanese war made it the first Asian nation to defeat a Western power.
|
[
"Korea",
"United States",
"plover",
"Korean Islands",
"virtues",
"Russo-Japanese war",
"First Sino-Japanese war",
"dragon",
"Japanese",
"allegorical",
"censer",
"China",
"Korean peninsula",
"World's Columbian Exposition",
"Japan",
"garniture",
"chrysanthemum",
"Russia"
] |
|
15004_T
|
Khalili Imperial Garniture
|
Explore the Collection of this artwork, Khalili Imperial Garniture.
|
Among the eight collections assembled, published, and exhibited by London-based collector, scholar and philanthropist Nasser Khalili is a collection of Japanese decorative art of the Meiji era, considered to be only equalled by the collection of the Japanese imperial family. The complete garniture is now part of that collection. Khalili acquired the first vase, depicting eagles, in Los Angeles in the early 1990s. He displayed it at a 1999 exhibition of Meiji art in Wilmington, Delaware in 1999. The incense burner depicting chickens was owned by Hirose Atsushi and displayed at the Tokyo National Museum before being bought by Khalili in 2000. The other vase, depicting a dragon, was considered "lost". In January 2019 it was found to have been the centerpiece of the main dining room of Spenger's Fresh Fish Grotto in Berkeley, California, one of the oldest restaurants in the San Francisco Bay area. Frank Spenger, son of the restaurant's founder, had acquired the vase at the 1894 California Midwinter Fair. On 17 February 2019, Khalili bought it for $110,000 at an auction of Spenger family items, thus reuniting the garniture after more than 120 years.
|
[
"1894 California Midwinter Fair",
"Los Angeles",
"San Francisco Bay area",
"Wilmington, Delaware",
"the eight collections",
"collection of Japanese decorative art of the Meiji era",
"Nasser Khalili",
"dragon",
"Japanese",
"Japanese imperial family",
"Meiji era",
"incense burner",
"Tokyo National Museum",
"Spenger's Fresh Fish Grotto",
"Japan",
"Berkeley, California",
"garniture"
] |
|
15004_NT
|
Khalili Imperial Garniture
|
Explore the Collection of this artwork.
|
Among the eight collections assembled, published, and exhibited by London-based collector, scholar and philanthropist Nasser Khalili is a collection of Japanese decorative art of the Meiji era, considered to be only equalled by the collection of the Japanese imperial family. The complete garniture is now part of that collection. Khalili acquired the first vase, depicting eagles, in Los Angeles in the early 1990s. He displayed it at a 1999 exhibition of Meiji art in Wilmington, Delaware in 1999. The incense burner depicting chickens was owned by Hirose Atsushi and displayed at the Tokyo National Museum before being bought by Khalili in 2000. The other vase, depicting a dragon, was considered "lost". In January 2019 it was found to have been the centerpiece of the main dining room of Spenger's Fresh Fish Grotto in Berkeley, California, one of the oldest restaurants in the San Francisco Bay area. Frank Spenger, son of the restaurant's founder, had acquired the vase at the 1894 California Midwinter Fair. On 17 February 2019, Khalili bought it for $110,000 at an auction of Spenger family items, thus reuniting the garniture after more than 120 years.
|
[
"1894 California Midwinter Fair",
"Los Angeles",
"San Francisco Bay area",
"Wilmington, Delaware",
"the eight collections",
"collection of Japanese decorative art of the Meiji era",
"Nasser Khalili",
"dragon",
"Japanese",
"Japanese imperial family",
"Meiji era",
"incense burner",
"Tokyo National Museum",
"Spenger's Fresh Fish Grotto",
"Japan",
"Berkeley, California",
"garniture"
] |
|
15005_T
|
Ship of Fools (painting)
|
Focus on Ship of Fools (painting) and discuss the Dating/provenance.
|
Dendrochronological study has dated the wood to 1491, and it is tempting to see the painting as a response to Sebastian Brant's Das Narrenschiff or even the illustrations of the first edition of 1493. Another possible source for the ship allegory is the 14th-century Le Pèlerinage de l'Âme by Guillaume de Deguileville, which was printed in Dutch in 1486 (shortly after William Caxton printed it as The Pylgremage of the Sowle in 1483).A Drawing of the Ship of Fools, also in the Louvre, appears to be a later copy.
Dendrochronological studies by Peter Klein have radically altered the provenance of some paintings, for instance the Escorial Crowning with Thorns panel can only have been painted after 1525 and so is not a Bosch original. The same goes for the Rotterdam Marriage feast at Cana panel which can only have been painted after 1553. It has also become clear that the Rotterdam Pedlar tondo, the Paris Ship of Fools panel and the Washington Death of a Miser panel have been painted on wood from the same tree.
The two to eight years between the felling of the tree and its use as a painting substrate allows The Ship of Fools to be a direct satire of a frontispiece of Sebastian Brant's book.
|
[
"Le Pèlerinage de l'Âme",
"Drawing of the Ship of Fools",
"Guillaume de Deguileville",
"William Caxton",
"ship allegory",
"Dendrochronological",
"book",
"Louvre",
"Paris"
] |
|
15005_NT
|
Ship of Fools (painting)
|
Focus on this artwork and discuss the Dating/provenance.
|
Dendrochronological study has dated the wood to 1491, and it is tempting to see the painting as a response to Sebastian Brant's Das Narrenschiff or even the illustrations of the first edition of 1493. Another possible source for the ship allegory is the 14th-century Le Pèlerinage de l'Âme by Guillaume de Deguileville, which was printed in Dutch in 1486 (shortly after William Caxton printed it as The Pylgremage of the Sowle in 1483).A Drawing of the Ship of Fools, also in the Louvre, appears to be a later copy.
Dendrochronological studies by Peter Klein have radically altered the provenance of some paintings, for instance the Escorial Crowning with Thorns panel can only have been painted after 1525 and so is not a Bosch original. The same goes for the Rotterdam Marriage feast at Cana panel which can only have been painted after 1553. It has also become clear that the Rotterdam Pedlar tondo, the Paris Ship of Fools panel and the Washington Death of a Miser panel have been painted on wood from the same tree.
The two to eight years between the felling of the tree and its use as a painting substrate allows The Ship of Fools to be a direct satire of a frontispiece of Sebastian Brant's book.
|
[
"Le Pèlerinage de l'Âme",
"Drawing of the Ship of Fools",
"Guillaume de Deguileville",
"William Caxton",
"ship allegory",
"Dendrochronological",
"book",
"Louvre",
"Paris"
] |
|
15006_T
|
The Maiden Kissed by the Ghost
|
How does The Maiden Kissed by the Ghost elucidate its abstract?
|
The Maiden Kissed by the Ghost (known by the artist as Le baiser du fantôme et la demoiselle or Le Rêve ) is an 1880 sculpture by the French artist Auguste Rodin. It was first exhibited at his fourteenth exhibition, hosted by the National Society Salon. One of the marble versions of the work is now in the Museo Soumaya in Mexico City.It shows a winged man above a young woman, who tries not to return his kiss. The work shows Rodin's admiration for Michelangelo's treatment of the human form and draws on The Divine Comedy as well as the story of Orpheus and descriptions of the underworld by Hesiod. He also particularly drew on lines 25-30 and 39-40 in The Horseman, poem 23 in the 1861 edition of Charles Baudelaire's Les Fleurs du Mal:
Je plongerai ma tête amoureuse d'ivresseDans ce noir océan où l'autre est enfermé;
Et mon esprit subtil que le roulis caresseSaura vous retrouver, ô féconde paresse,Infinis bercements du loisir embaumé!(...)N'es-tu pas l'oasis où je rêve, et la gourdeOù je hume à longs traits le vin du souvenir?
Rodin reused the figure of the woman in several other variants such as the Torso of Adele, Eternal Springtime, Paolo and Francesca and The Kiss.
|
[
"Les Fleurs du Mal",
"Michelangelo",
"Orpheus",
"Divine Comedy",
"Torso of Adele",
"Paolo and Francesca",
"National Society Salon",
"Auguste Rodin",
"Eternal Springtime",
"Charles Baudelaire",
"The Kiss",
"The Divine Comedy",
"Hesiod",
"Museo Soumaya",
"Mexico City"
] |
|
15006_NT
|
The Maiden Kissed by the Ghost
|
How does this artwork elucidate its abstract?
|
The Maiden Kissed by the Ghost (known by the artist as Le baiser du fantôme et la demoiselle or Le Rêve ) is an 1880 sculpture by the French artist Auguste Rodin. It was first exhibited at his fourteenth exhibition, hosted by the National Society Salon. One of the marble versions of the work is now in the Museo Soumaya in Mexico City.It shows a winged man above a young woman, who tries not to return his kiss. The work shows Rodin's admiration for Michelangelo's treatment of the human form and draws on The Divine Comedy as well as the story of Orpheus and descriptions of the underworld by Hesiod. He also particularly drew on lines 25-30 and 39-40 in The Horseman, poem 23 in the 1861 edition of Charles Baudelaire's Les Fleurs du Mal:
Je plongerai ma tête amoureuse d'ivresseDans ce noir océan où l'autre est enfermé;
Et mon esprit subtil que le roulis caresseSaura vous retrouver, ô féconde paresse,Infinis bercements du loisir embaumé!(...)N'es-tu pas l'oasis où je rêve, et la gourdeOù je hume à longs traits le vin du souvenir?
Rodin reused the figure of the woman in several other variants such as the Torso of Adele, Eternal Springtime, Paolo and Francesca and The Kiss.
|
[
"Les Fleurs du Mal",
"Michelangelo",
"Orpheus",
"Divine Comedy",
"Torso of Adele",
"Paolo and Francesca",
"National Society Salon",
"Auguste Rodin",
"Eternal Springtime",
"Charles Baudelaire",
"The Kiss",
"The Divine Comedy",
"Hesiod",
"Museo Soumaya",
"Mexico City"
] |
|
15007_T
|
Standing Twelve Heavenly Generals (Tokyo National Museum)
|
Focus on Standing Twelve Heavenly Generals (Tokyo National Museum) and analyze the abstract.
|
Standing Twelve Heavenly Generals (十二神将立像) is a set of five anonymous wooden sculptures from the 13th century depicting the Twelve Heavenly Generals, now part of the collection of the Tokyo National Museum. Together with the other seven figures of the set (owned by the Seikadō Bunko Art Museum), they are designated Important Cultural Properties.
The Twelve Heavenly Generals, also known as Twelve Divine Generals or Juni Shinsho, are the protective deities, or yaksha, of Bhaisajyaguru (Tathagata), the buddha of healing and medicine in Mahāyāna Buddhism. They are also considered to protect its believers. Each sculpture has his own symbol, following the Chinese zodiac signs. The ones at the Tokyo National Museum are the Dragon, Sheep, Snake, Dog and Monkey Generals.The Heavenly Generals, always shown with a fierce look, wearing armor and carrying weapons, were often the subject of sculptures during the Heian and Kamakura periods. In fact, five different sets of Heavenly Generals have been designated as National Treasures. In the group of figures at the Seikadō Bunko and Tokyo National Museums, the uniqueness of each one of the figures has been praised, with "varied postures, hairstyles, hand-held symbols and armor shapes". According to the National Institutes for Cultural Heritage, "While their dynamic motion is fully captured without exaggeration, their armor and clothes are represented by delicate coloring. The brilliant coloring and use of kirikane (a technique to cut gold leaf into small pieces and paste it on a surface) patterns suggest that the person (or persons) making the votive offering for the creation of these deities had ample means."
Dated from the Kamakura period (1185-1333), it is believed that these sculptures were enshrined in the Jōruri-ji temple of the school of Pure Land Buddhism in Kizugawa, Kyoto Prefecture. It is also suspected that the sculptures were a votive offering made by a nobleman, and that the sculptors might belong to the famous Kei school of Buddhist sculpture that emerged in the early Kamakura period, and produced renowned artists such as Unkei, Kōkei, and Kaikei.They are now part of the collection of the Tokyo National Museum in Tokyo, where they are kept and exhibited occasionally. The last time they were on display was from January 2 to April 17, 2016, in Room 11 of the Honkan (Japanese Gallery) (only three of the figures, the Snake, Dog and Monkey Generals).The remaining seven sculptures from the set of twelve are owned by the Seikadō Bunko Art Museum in Setagaya, Tokyo. They are also designated Important Cultural Properties.
|
[
"buddha",
"Buddhist",
"Kamakura period",
"Kei school",
"Chinese zodiac",
"Jōruri-ji",
"Unkei",
"Important Cultural Properties",
"Twelve Heavenly Generals",
"yaksha",
"Buddhism",
"sculpture",
"Kizugawa",
"Japan",
"Kaikei",
"Honkan (Japanese Gallery)",
"Kōkei",
"anonymous",
"wooden sculptures",
"Heian",
"13th century",
"National Treasures",
"Kizugawa, Kyoto",
"Pure Land Buddhism",
"Mahāyāna Buddhism",
"Kyoto Prefecture",
"temple",
"Setagaya",
"Seikadō Bunko Art Museum",
"Bhaisajyaguru",
"Chinese zodiac signs",
"kirikane",
"Tokyo",
"National Institutes for Cultural Heritage",
"Tokyo National Museum"
] |
|
15007_NT
|
Standing Twelve Heavenly Generals (Tokyo National Museum)
|
Focus on this artwork and analyze the abstract.
|
Standing Twelve Heavenly Generals (十二神将立像) is a set of five anonymous wooden sculptures from the 13th century depicting the Twelve Heavenly Generals, now part of the collection of the Tokyo National Museum. Together with the other seven figures of the set (owned by the Seikadō Bunko Art Museum), they are designated Important Cultural Properties.
The Twelve Heavenly Generals, also known as Twelve Divine Generals or Juni Shinsho, are the protective deities, or yaksha, of Bhaisajyaguru (Tathagata), the buddha of healing and medicine in Mahāyāna Buddhism. They are also considered to protect its believers. Each sculpture has his own symbol, following the Chinese zodiac signs. The ones at the Tokyo National Museum are the Dragon, Sheep, Snake, Dog and Monkey Generals.The Heavenly Generals, always shown with a fierce look, wearing armor and carrying weapons, were often the subject of sculptures during the Heian and Kamakura periods. In fact, five different sets of Heavenly Generals have been designated as National Treasures. In the group of figures at the Seikadō Bunko and Tokyo National Museums, the uniqueness of each one of the figures has been praised, with "varied postures, hairstyles, hand-held symbols and armor shapes". According to the National Institutes for Cultural Heritage, "While their dynamic motion is fully captured without exaggeration, their armor and clothes are represented by delicate coloring. The brilliant coloring and use of kirikane (a technique to cut gold leaf into small pieces and paste it on a surface) patterns suggest that the person (or persons) making the votive offering for the creation of these deities had ample means."
Dated from the Kamakura period (1185-1333), it is believed that these sculptures were enshrined in the Jōruri-ji temple of the school of Pure Land Buddhism in Kizugawa, Kyoto Prefecture. It is also suspected that the sculptures were a votive offering made by a nobleman, and that the sculptors might belong to the famous Kei school of Buddhist sculpture that emerged in the early Kamakura period, and produced renowned artists such as Unkei, Kōkei, and Kaikei.They are now part of the collection of the Tokyo National Museum in Tokyo, where they are kept and exhibited occasionally. The last time they were on display was from January 2 to April 17, 2016, in Room 11 of the Honkan (Japanese Gallery) (only three of the figures, the Snake, Dog and Monkey Generals).The remaining seven sculptures from the set of twelve are owned by the Seikadō Bunko Art Museum in Setagaya, Tokyo. They are also designated Important Cultural Properties.
|
[
"buddha",
"Buddhist",
"Kamakura period",
"Kei school",
"Chinese zodiac",
"Jōruri-ji",
"Unkei",
"Important Cultural Properties",
"Twelve Heavenly Generals",
"yaksha",
"Buddhism",
"sculpture",
"Kizugawa",
"Japan",
"Kaikei",
"Honkan (Japanese Gallery)",
"Kōkei",
"anonymous",
"wooden sculptures",
"Heian",
"13th century",
"National Treasures",
"Kizugawa, Kyoto",
"Pure Land Buddhism",
"Mahāyāna Buddhism",
"Kyoto Prefecture",
"temple",
"Setagaya",
"Seikadō Bunko Art Museum",
"Bhaisajyaguru",
"Chinese zodiac signs",
"kirikane",
"Tokyo",
"National Institutes for Cultural Heritage",
"Tokyo National Museum"
] |
|
15008_T
|
An Amateur Concert
|
In An Amateur Concert, how is the abstract discussed?
|
An Amateur Concert is an oil painting on canvas by the Portuguese painter Columbano Bordalo Pinheiro of 1882.
|
[
"Portuguese",
"Columbano Bordalo Pinheiro"
] |
|
15008_NT
|
An Amateur Concert
|
In this artwork, how is the abstract discussed?
|
An Amateur Concert is an oil painting on canvas by the Portuguese painter Columbano Bordalo Pinheiro of 1882.
|
[
"Portuguese",
"Columbano Bordalo Pinheiro"
] |
|
15009_T
|
An Amateur Concert
|
Focus on An Amateur Concert and explore the Description.
|
The painting measures 220 cm and 300 cm wide. It is in the collection of the Chiado Museum in Lisbon. Five people are singing and playing in the dark: Maria Augusta Bordalo Pinheiro, the artist's sister, in a white satin dress; next to her, the painter Adolfo Greno in right profile; then an Italian singer in a dark suit; in the background Josefa Greno, in a three-quarters view, looking down; and on the far right another painter, Artur Loureiro, at the piano.
|
[
"Chiado Museum",
"Lisbon",
"Adolfo Greno",
"Artur Loureiro"
] |
|
15009_NT
|
An Amateur Concert
|
Focus on this artwork and explore the Description.
|
The painting measures 220 cm and 300 cm wide. It is in the collection of the Chiado Museum in Lisbon. Five people are singing and playing in the dark: Maria Augusta Bordalo Pinheiro, the artist's sister, in a white satin dress; next to her, the painter Adolfo Greno in right profile; then an Italian singer in a dark suit; in the background Josefa Greno, in a three-quarters view, looking down; and on the far right another painter, Artur Loureiro, at the piano.
|
[
"Chiado Museum",
"Lisbon",
"Adolfo Greno",
"Artur Loureiro"
] |
|
15010_T
|
An Amateur Concert
|
Focus on An Amateur Concert and explain the Analysis.
|
The large painting was presented at the 1882 Paris Salon under the title Soirée chez lui. The oval composition shows the social circle. It is friendship that unites them both in painting and music, though a shadowy unknown figure next to the piano is watching. In France it was not received well, and in Portugal there was controversy about the abstract and vague figures.
|
[
"Paris Salon"
] |
|
15010_NT
|
An Amateur Concert
|
Focus on this artwork and explain the Analysis.
|
The large painting was presented at the 1882 Paris Salon under the title Soirée chez lui. The oval composition shows the social circle. It is friendship that unites them both in painting and music, though a shadowy unknown figure next to the piano is watching. In France it was not received well, and in Portugal there was controversy about the abstract and vague figures.
|
[
"Paris Salon"
] |
|
15011_T
|
Bear Fountain in Wrocław
|
Explore the abstract of this artwork, Bear Fountain in Wrocław.
|
The Bear Fountain (Polish: Fontanna Niedźwiadek, German: Bärenbrunnen) is a reconstruction of a pre-war fountain, located by the southern wall of the Old Town Hall in Wrocław, Poland.The original bronze fountain was made by Ernst Moritz Geyger in 1902. On August 17, 1904, it was placed by the City Hall in a small stone pool, into which water from the bear's mouth was flowing. During the World War II the statue was lost. The reconstruction of the statue was initiated by Maciej Łagiewski and the Wrocław Shooting Fraternity. The sculpture, which weights 270 kg and is 1.5 m high, was reconstructed by Ryszard Zamorski to resemble the original, and the fountain by the Town Hall was unveiled on 18 June 1998. The bronze cast was made by the Gliwice Plant of Technical Devices with funds from Wrocław Centrozlot and Wrocław Piast Brewery.
|
[
"Ernst Moritz Geyger",
"During the World War II",
"Gliwice",
"Old Town Hall",
"Wrocław Piast Brewery",
"Piast Brewery",
"Wrocław"
] |
|
15011_NT
|
Bear Fountain in Wrocław
|
Explore the abstract of this artwork.
|
The Bear Fountain (Polish: Fontanna Niedźwiadek, German: Bärenbrunnen) is a reconstruction of a pre-war fountain, located by the southern wall of the Old Town Hall in Wrocław, Poland.The original bronze fountain was made by Ernst Moritz Geyger in 1902. On August 17, 1904, it was placed by the City Hall in a small stone pool, into which water from the bear's mouth was flowing. During the World War II the statue was lost. The reconstruction of the statue was initiated by Maciej Łagiewski and the Wrocław Shooting Fraternity. The sculpture, which weights 270 kg and is 1.5 m high, was reconstructed by Ryszard Zamorski to resemble the original, and the fountain by the Town Hall was unveiled on 18 June 1998. The bronze cast was made by the Gliwice Plant of Technical Devices with funds from Wrocław Centrozlot and Wrocław Piast Brewery.
|
[
"Ernst Moritz Geyger",
"During the World War II",
"Gliwice",
"Old Town Hall",
"Wrocław Piast Brewery",
"Piast Brewery",
"Wrocław"
] |
|
15012_T
|
The Cornell Farm
|
Focus on The Cornell Farm and discuss the abstract.
|
The Cornell Farm (1848) is an oil on canvas landscape by Edward Hicks. It was acquired by the National Gallery of Art in 1964. The picture depicts the farmland and cattle of Pennsylvanian James Cornell. Hicks's inscription along the bottom of the picture reads: "An Indian summer view of the Farm & Stock OF JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12, 1848 Painted by E. Hicks in the 69th year of his age." The work has been exhibited frequently, with its first display at the Bucks County Bi-Centennial Celebration, Doylestown, Pennsylvania, in 1882.
The NGA writes, "Having no background in academic art, Hicks employed the direct approach of a primitive or folk painter. The horizontal band of livestock across the foreground, although childlike in its simplicity, clearly presents each prize-winning animal as an individual portrait. Hicks' delight in creating ornamental pattern is evident in the arrangement of fences, while the rich red and bright white of the house and barn symmetrically flank this central landscape. Although the stark silhouettes of figures and buildings seem naive, Hicks softly blended his paints over the orchard to give the impression of space existing well beyond what the eye can see."
|
[
"oil on canvas",
"landscape",
"National Gallery of Art",
"Bucks County",
"Doylestown, Pennsylvania",
"Edward Hicks",
"Pennsylvania"
] |
|
15012_NT
|
The Cornell Farm
|
Focus on this artwork and discuss the abstract.
|
The Cornell Farm (1848) is an oil on canvas landscape by Edward Hicks. It was acquired by the National Gallery of Art in 1964. The picture depicts the farmland and cattle of Pennsylvanian James Cornell. Hicks's inscription along the bottom of the picture reads: "An Indian summer view of the Farm & Stock OF JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12, 1848 Painted by E. Hicks in the 69th year of his age." The work has been exhibited frequently, with its first display at the Bucks County Bi-Centennial Celebration, Doylestown, Pennsylvania, in 1882.
The NGA writes, "Having no background in academic art, Hicks employed the direct approach of a primitive or folk painter. The horizontal band of livestock across the foreground, although childlike in its simplicity, clearly presents each prize-winning animal as an individual portrait. Hicks' delight in creating ornamental pattern is evident in the arrangement of fences, while the rich red and bright white of the house and barn symmetrically flank this central landscape. Although the stark silhouettes of figures and buildings seem naive, Hicks softly blended his paints over the orchard to give the impression of space existing well beyond what the eye can see."
|
[
"oil on canvas",
"landscape",
"National Gallery of Art",
"Bucks County",
"Doylestown, Pennsylvania",
"Edward Hicks",
"Pennsylvania"
] |
|
15013_T
|
Girl in a Chemise
|
How does Girl in a Chemise elucidate its abstract?
|
Girl in a Chemise (French: Jeune femme en chemise) is an oil-on-canvas painting created c. 1905 by Pablo Picasso. It is a portrait of a girl, whom experts believe to be Madeleine, Picasso's girlfriend during this period. Stylistically, the painting belongs to Picasso's Rose Period, although it is predominantly blue in tone. The painting is particularly remarkable for the presence of an earlier portrait of a young boy hidden beneath the surface, which Picasso transformed into the girl by making some subtle changes. The portrait has been housed in the collection of the Tate since 1933.
|
[
"Rose Period",
"Chemise",
"Tate",
"Pablo Picasso",
"chemise",
"oil-on-canvas",
"Picasso's Rose Period"
] |
|
15013_NT
|
Girl in a Chemise
|
How does this artwork elucidate its abstract?
|
Girl in a Chemise (French: Jeune femme en chemise) is an oil-on-canvas painting created c. 1905 by Pablo Picasso. It is a portrait of a girl, whom experts believe to be Madeleine, Picasso's girlfriend during this period. Stylistically, the painting belongs to Picasso's Rose Period, although it is predominantly blue in tone. The painting is particularly remarkable for the presence of an earlier portrait of a young boy hidden beneath the surface, which Picasso transformed into the girl by making some subtle changes. The portrait has been housed in the collection of the Tate since 1933.
|
[
"Rose Period",
"Chemise",
"Tate",
"Pablo Picasso",
"chemise",
"oil-on-canvas",
"Picasso's Rose Period"
] |
|
15014_T
|
Girl in a Chemise
|
Focus on Girl in a Chemise and analyze the Description.
|
Girl in a Chemise is the portrait of a girl wearing a white chemise. It is an oil painting on canvas measuring 72.7 cm x 60 cm and is signed and dated Picasso '05' on the lower left corner. The date of the painting remains unclear as Picasso's art dealer Daniel-Henry Kahnweiler disputed the date in a letter to the Tate Gallery in 1953. Art historians generally believe that it was begun in 1904 and was signed by Picasso earlier than when it was dated in 1905.The portrait is one of Picasso's earliest paintings upon settling in Paris in 1904. Although the painting is predominantly blue in tone, it belongs in style to his Rose Period. The transition between the two phases is evident in the warm tones of pink and brown that can be seen in the background.The identity of the subject has been a source of discussion. It has been suggested that the girl is a hybrid of several of Picasso's models. Kahnweiler dismissed speculation that the girl was Fernande Olivier, Picasso's partner who was living with him during this period. He said, "Picasso did not know Fernande Olivier when he painted this picture. The model was the woman with whom he was living then, before Fernande Olivier. I do not remember her name and I think it would be of no use mentioning it; Picasso, I am sure, would not like it".John Richardson, Picasso's biographer opined that the woman depicted in the painting was Madeleine, Picasso's former girlfriend. Art historians know little about her, except that she became pregnant and had an abortion. Richardson remarked, "A new face in his work reveals that Picasso had found a new mistress. Madeleine she was called; all we know is that she was a model... she was pretty in a delicate, bird-like way (her nose and forehead formed a straight line). Madeleine's thick hair, loosely drawn back into a chignon, and her boyishly lean body recurs in a number of works done over the next six to nine months – works that mirror the blurring of the Blue into the Rose period". Picasso's relationship with Madeleine overlapped with a new romantic interest in the form of Fernande Olivier, whom he met in August 1904. However, Richardson opined that, "it is Madeleine's skinny beauty that continues to haunt the work – at least until Spring 1905".
|
[
"Daniel-Henry Kahnweiler",
"Rose Period",
"Chemise",
"Tate",
"John Richardson",
"chemise",
"Fernande Olivier"
] |
|
15014_NT
|
Girl in a Chemise
|
Focus on this artwork and analyze the Description.
|
Girl in a Chemise is the portrait of a girl wearing a white chemise. It is an oil painting on canvas measuring 72.7 cm x 60 cm and is signed and dated Picasso '05' on the lower left corner. The date of the painting remains unclear as Picasso's art dealer Daniel-Henry Kahnweiler disputed the date in a letter to the Tate Gallery in 1953. Art historians generally believe that it was begun in 1904 and was signed by Picasso earlier than when it was dated in 1905.The portrait is one of Picasso's earliest paintings upon settling in Paris in 1904. Although the painting is predominantly blue in tone, it belongs in style to his Rose Period. The transition between the two phases is evident in the warm tones of pink and brown that can be seen in the background.The identity of the subject has been a source of discussion. It has been suggested that the girl is a hybrid of several of Picasso's models. Kahnweiler dismissed speculation that the girl was Fernande Olivier, Picasso's partner who was living with him during this period. He said, "Picasso did not know Fernande Olivier when he painted this picture. The model was the woman with whom he was living then, before Fernande Olivier. I do not remember her name and I think it would be of no use mentioning it; Picasso, I am sure, would not like it".John Richardson, Picasso's biographer opined that the woman depicted in the painting was Madeleine, Picasso's former girlfriend. Art historians know little about her, except that she became pregnant and had an abortion. Richardson remarked, "A new face in his work reveals that Picasso had found a new mistress. Madeleine she was called; all we know is that she was a model... she was pretty in a delicate, bird-like way (her nose and forehead formed a straight line). Madeleine's thick hair, loosely drawn back into a chignon, and her boyishly lean body recurs in a number of works done over the next six to nine months – works that mirror the blurring of the Blue into the Rose period". Picasso's relationship with Madeleine overlapped with a new romantic interest in the form of Fernande Olivier, whom he met in August 1904. However, Richardson opined that, "it is Madeleine's skinny beauty that continues to haunt the work – at least until Spring 1905".
|
[
"Daniel-Henry Kahnweiler",
"Rose Period",
"Chemise",
"Tate",
"John Richardson",
"chemise",
"Fernande Olivier"
] |
|
15015_T
|
Girl in a Chemise
|
In Girl in a Chemise, how is the Hidden painting discussed?
|
X-radiography has revealed an earlier painting of a young boy beneath the surface of the existing painting. The hidden painting depicts a young boy with a pleated white collar, short cropped hair, who may be wearing a skull cap. Researchers have considered the earlier painting to be an image of a saltimbanque, or travelling circus performer, dressed in a costume that is similar to a Pierrot. Experts believe that Picasso was portraying an urchin, rather than a fictional character, due to his appearance. Travelling circus groups were a popular form of entertainment during this period and a subject matter with which Picasso was familiar. The finished painting of the girl wearing a chemise is so thinly painted on top of the original image of the young boy, that it gives an androgynous aspect to the portrait. The date when Picasso changed the subject of the painting from a boy to a girl remains unknown. The Tate has particularly remarked on the "masterful way in which Picasso has transformed the male subject into a female portrait with a minimum of paint". The x-radiograph also revealed other hidden lines and shapes beneath the surface of the existing painting, which suggest that Picasso had reused the canvas after removing a previous work prior to painting the boy.
|
[
"Tate",
"Pierrot",
"chemise"
] |
|
15015_NT
|
Girl in a Chemise
|
In this artwork, how is the Hidden painting discussed?
|
X-radiography has revealed an earlier painting of a young boy beneath the surface of the existing painting. The hidden painting depicts a young boy with a pleated white collar, short cropped hair, who may be wearing a skull cap. Researchers have considered the earlier painting to be an image of a saltimbanque, or travelling circus performer, dressed in a costume that is similar to a Pierrot. Experts believe that Picasso was portraying an urchin, rather than a fictional character, due to his appearance. Travelling circus groups were a popular form of entertainment during this period and a subject matter with which Picasso was familiar. The finished painting of the girl wearing a chemise is so thinly painted on top of the original image of the young boy, that it gives an androgynous aspect to the portrait. The date when Picasso changed the subject of the painting from a boy to a girl remains unknown. The Tate has particularly remarked on the "masterful way in which Picasso has transformed the male subject into a female portrait with a minimum of paint". The x-radiograph also revealed other hidden lines and shapes beneath the surface of the existing painting, which suggest that Picasso had reused the canvas after removing a previous work prior to painting the boy.
|
[
"Tate",
"Pierrot",
"chemise"
] |
|
15016_T
|
Girl in a Chemise
|
Focus on Girl in a Chemise and explore the Painting techniques.
|
Further analysis of the painting has revealed Picasso's experimental painting techniques within the composition. He used oil paint to imitate the matte finish of gouache by working at the canvas to reveal varying tones in the painting. These variations of pigments are visible in the crevices of the painting on a microscopic scale. Varying tones can be detected beneath the black surface, including hints of blue, pink and brown. After creating the thin layer for the background, Picasso applied additional layers of thicker paint to the subject's face and figure. This was then scored with vertical lines to create a rough texture.
|
[] |
|
15016_NT
|
Girl in a Chemise
|
Focus on this artwork and explore the Painting techniques.
|
Further analysis of the painting has revealed Picasso's experimental painting techniques within the composition. He used oil paint to imitate the matte finish of gouache by working at the canvas to reveal varying tones in the painting. These variations of pigments are visible in the crevices of the painting on a microscopic scale. Varying tones can be detected beneath the black surface, including hints of blue, pink and brown. After creating the thin layer for the background, Picasso applied additional layers of thicker paint to the subject's face and figure. This was then scored with vertical lines to create a rough texture.
|
[] |
|
15017_T
|
Girl in a Chemise
|
Focus on Girl in a Chemise and explain the Transformation of the subject.
|
The painting of the saltimbanque boy was transformed into the girl with some subtle changes, such as the elongation of the head and the addition of a chignon. The outline of the head and face was redefined by a line of ultramarine blue. Picasso made the neck longer and created a more feminine chin by rounding the shape and adding a deeper indentation below the mouth. The lips were also altered and coloured vermillion red. The feminine nature of the subject was enhanced by placing the blue background against complementary shades of brown. The nose of the girl was made sharper and more prominent and the ear was more defined. The eye was also shaped to appear more feminine. Picasso scraped areas of the paint near the nose and in the eyelid to reveal a blue layer, thus creating a more haunting atmosphere. The torso was created using a layer of dark underpaint, covered with thin layers of skin colour and pale blue, which was then overpainted with thick lines of white for the chemise. The washy blue background was created using Prussian blue and diluted black paint, which was then brushed over the scraped surface and then dripped with solvent or diluted paint to expose other colours beneath the surface.
|
[
"chemise"
] |
|
15017_NT
|
Girl in a Chemise
|
Focus on this artwork and explain the Transformation of the subject.
|
The painting of the saltimbanque boy was transformed into the girl with some subtle changes, such as the elongation of the head and the addition of a chignon. The outline of the head and face was redefined by a line of ultramarine blue. Picasso made the neck longer and created a more feminine chin by rounding the shape and adding a deeper indentation below the mouth. The lips were also altered and coloured vermillion red. The feminine nature of the subject was enhanced by placing the blue background against complementary shades of brown. The nose of the girl was made sharper and more prominent and the ear was more defined. The eye was also shaped to appear more feminine. Picasso scraped areas of the paint near the nose and in the eyelid to reveal a blue layer, thus creating a more haunting atmosphere. The torso was created using a layer of dark underpaint, covered with thin layers of skin colour and pale blue, which was then overpainted with thick lines of white for the chemise. The washy blue background was created using Prussian blue and diluted black paint, which was then brushed over the scraped surface and then dripped with solvent or diluted paint to expose other colours beneath the surface.
|
[
"chemise"
] |
|
15018_T
|
Girl in a Chemise
|
Explore the Provenance of this artwork, Girl in a Chemise.
|
The painting was bequeathed to the Tate by C. Frank Stoop in 1933.
|
[
"Tate"
] |
|
15018_NT
|
Girl in a Chemise
|
Explore the Provenance of this artwork.
|
The painting was bequeathed to the Tate by C. Frank Stoop in 1933.
|
[
"Tate"
] |
|
15019_T
|
Girl in a Chemise
|
Focus on Girl in a Chemise and discuss the Significance and legacy.
|
The Tate paper notes that Girl in a Chemise is a precursor to the great saltimbanque paintings that he created during his Rose Period. The paper also summarises the significance of the painting in Picasso's early life and career.Seen in the context of Picasso's career this painting is considered one of his early works, but the technical accomplishment and the creativity of the artist are fully evident by this period. His limited palette was masterfully deployed, his very physical engagement with the painting process evident in the scraping and scoring of the paint, the juxtaposition of opaque matte colours and washes of transparent colour combining to produce this small but significant painting at a key transitional moment in his career.
|
[
"Rose Period",
"Chemise",
"Tate"
] |
|
15019_NT
|
Girl in a Chemise
|
Focus on this artwork and discuss the Significance and legacy.
|
The Tate paper notes that Girl in a Chemise is a precursor to the great saltimbanque paintings that he created during his Rose Period. The paper also summarises the significance of the painting in Picasso's early life and career.Seen in the context of Picasso's career this painting is considered one of his early works, but the technical accomplishment and the creativity of the artist are fully evident by this period. His limited palette was masterfully deployed, his very physical engagement with the painting process evident in the scraping and scoring of the paint, the juxtaposition of opaque matte colours and washes of transparent colour combining to produce this small but significant painting at a key transitional moment in his career.
|
[
"Rose Period",
"Chemise",
"Tate"
] |
|
15020_T
|
Revolutionary War Door
|
How does Revolutionary War Door elucidate its abstract?
|
The Revolutionary War Door is an artwork by American sculptor Thomas Crawford, located on the United States Capitol House of Representatives wing east front in Washington, D.C., United States. This sculptured door was surveyed in 1993 as part of the Smithsonian's Save Outdoor Sculpture! program.
|
[
"Washington, D.C.",
"Smithsonian's",
"United States",
"Thomas Crawford",
"Save Outdoor Sculpture!",
"United States Capitol"
] |
|
15020_NT
|
Revolutionary War Door
|
How does this artwork elucidate its abstract?
|
The Revolutionary War Door is an artwork by American sculptor Thomas Crawford, located on the United States Capitol House of Representatives wing east front in Washington, D.C., United States. This sculptured door was surveyed in 1993 as part of the Smithsonian's Save Outdoor Sculpture! program.
|
[
"Washington, D.C.",
"Smithsonian's",
"United States",
"Thomas Crawford",
"Save Outdoor Sculpture!",
"United States Capitol"
] |
|
15021_T
|
Revolutionary War Door
|
Focus on Revolutionary War Door and analyze the Description.
|
These two elaborate doors consist of six panel medallions that depict activities and events during the American Revolution.The left panel, top to bottom, depicts:The Battle of Wyoming
The Battle of Lexington
The presentation of the flag and medal to Major General Nathanael Greene
The death of Major General Richard MontgomeryThe right panel, top to bottom, depicts:The public reading of the United States Declaration of Independence in Philadelphia
The Peace of Paris
George Washington's farewell to his officers in New York at Fraunces Tavern
Benjamin Franklin working in his studio
|
[
"George Washington's",
"Fraunces Tavern",
"Benjamin Franklin",
"United States Declaration of Independence",
"United States",
"Battle of Wyoming",
"American Revolution",
"George Washington",
"Battle of Lexington",
"Peace of Paris",
"Richard Montgomery",
"Nathanael Greene"
] |
|
15021_NT
|
Revolutionary War Door
|
Focus on this artwork and analyze the Description.
|
These two elaborate doors consist of six panel medallions that depict activities and events during the American Revolution.The left panel, top to bottom, depicts:The Battle of Wyoming
The Battle of Lexington
The presentation of the flag and medal to Major General Nathanael Greene
The death of Major General Richard MontgomeryThe right panel, top to bottom, depicts:The public reading of the United States Declaration of Independence in Philadelphia
The Peace of Paris
George Washington's farewell to his officers in New York at Fraunces Tavern
Benjamin Franklin working in his studio
|
[
"George Washington's",
"Fraunces Tavern",
"Benjamin Franklin",
"United States Declaration of Independence",
"United States",
"Battle of Wyoming",
"American Revolution",
"George Washington",
"Battle of Lexington",
"Peace of Paris",
"Richard Montgomery",
"Nathanael Greene"
] |
|
15022_T
|
Revolutionary War Door
|
In Revolutionary War Door, how is the History discussed?
|
Crawford designed the doors in Rome between 1855 and 1857. Crawford died in 1857, leaving William H. Rinehart to create the models from Crawford's original sketches during the years of 1863–1867. The models were stored in the crypt of the Capitol until they were cast in 1904 and installed in 1905.Crawford created a companion set of bronze doors for the House wing of the Capitol, the George Washington and the Revolutionary War Door.
In 1993 the door was analyzed by art conservators from the Save Outdoor Sculpture! survey program and was described as well-maintained.
|
[
"George Washington and the Revolutionary War Door",
"Rome",
"William H. Rinehart",
"Save Outdoor Sculpture!",
"George Washington"
] |
|
15022_NT
|
Revolutionary War Door
|
In this artwork, how is the History discussed?
|
Crawford designed the doors in Rome between 1855 and 1857. Crawford died in 1857, leaving William H. Rinehart to create the models from Crawford's original sketches during the years of 1863–1867. The models were stored in the crypt of the Capitol until they were cast in 1904 and installed in 1905.Crawford created a companion set of bronze doors for the House wing of the Capitol, the George Washington and the Revolutionary War Door.
In 1993 the door was analyzed by art conservators from the Save Outdoor Sculpture! survey program and was described as well-maintained.
|
[
"George Washington and the Revolutionary War Door",
"Rome",
"William H. Rinehart",
"Save Outdoor Sculpture!",
"George Washington"
] |
|
15023_T
|
Bust of Charles Roscoe Savage
|
Focus on Bust of Charles Roscoe Savage and explore the abstract.
|
A 1928 bust of Charles Roscoe Savage by Gilbert Riswold is installed in Salt Lake City, Utah, United States.
|
[
"Gilbert Riswold",
"Charles Roscoe Savage",
"Salt Lake City",
"Utah"
] |
|
15023_NT
|
Bust of Charles Roscoe Savage
|
Focus on this artwork and explore the abstract.
|
A 1928 bust of Charles Roscoe Savage by Gilbert Riswold is installed in Salt Lake City, Utah, United States.
|
[
"Gilbert Riswold",
"Charles Roscoe Savage",
"Salt Lake City",
"Utah"
] |
|
15024_T
|
Bust of Charles Roscoe Savage
|
Focus on Bust of Charles Roscoe Savage and explain the Description and history.
|
Located at the intersection of Main Street and South Temple, the bronze sculpture measures approximately 7 x 1 x 1 feet and rests on a stone base which measures approximately 6 x 5 x 3 feet. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.
|
[
"Smithsonian Institution",
"bronze sculpture",
"Save Outdoor Sculpture!"
] |
|
15024_NT
|
Bust of Charles Roscoe Savage
|
Focus on this artwork and explain the Description and history.
|
Located at the intersection of Main Street and South Temple, the bronze sculpture measures approximately 7 x 1 x 1 feet and rests on a stone base which measures approximately 6 x 5 x 3 feet. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.
|
[
"Smithsonian Institution",
"bronze sculpture",
"Save Outdoor Sculpture!"
] |
|
15025_T
|
St Augustine (Pinturicchio)
|
Explore the abstract of this artwork, St Augustine (Pinturicchio).
|
St Augustine is a 1510 oil on silk painting of Augustine of Hippo by Pinturicchio, painted as a gonfalon or processional banner for the Sant'Agostino company of flagellants in Perugia. When that order was suppressed, the work was moved to the Galleria Nazionale dell'Umbria, its present owner.The work is typical of the artist's style after his stay at the court of Pope Alexander VI in Rome, where he got a taste for Hispano-Moorish style and symbols, as seen on the furnishings imported by this Spanish pope. The motifs on the gold ground are typical of textile art and turn it into a trompe-l'œil wall hanging, whilst the saint is shown dressed in rich episcopal vestments with jewelled edges, mitre and rings. He holds a bishop's crook and an open book bearing an Italian translation of a quotation from his writings - "Figlioli siate intente amare iddio che avete inante lo exemplio mio" (Little children, be intent on loving God as you have seen in my example). He is flanked by two members of the company with emblems of the company.
|
[
"gonfalon",
"trompe-l'œil",
"Pope Alexander VI",
"Pinturicchio",
"Galleria Nazionale dell'Umbria",
"Augustine of Hippo",
"flagellant",
"gold ground",
"Perugia"
] |
|
15025_NT
|
St Augustine (Pinturicchio)
|
Explore the abstract of this artwork.
|
St Augustine is a 1510 oil on silk painting of Augustine of Hippo by Pinturicchio, painted as a gonfalon or processional banner for the Sant'Agostino company of flagellants in Perugia. When that order was suppressed, the work was moved to the Galleria Nazionale dell'Umbria, its present owner.The work is typical of the artist's style after his stay at the court of Pope Alexander VI in Rome, where he got a taste for Hispano-Moorish style and symbols, as seen on the furnishings imported by this Spanish pope. The motifs on the gold ground are typical of textile art and turn it into a trompe-l'œil wall hanging, whilst the saint is shown dressed in rich episcopal vestments with jewelled edges, mitre and rings. He holds a bishop's crook and an open book bearing an Italian translation of a quotation from his writings - "Figlioli siate intente amare iddio che avete inante lo exemplio mio" (Little children, be intent on loving God as you have seen in my example). He is flanked by two members of the company with emblems of the company.
|
[
"gonfalon",
"trompe-l'œil",
"Pope Alexander VI",
"Pinturicchio",
"Galleria Nazionale dell'Umbria",
"Augustine of Hippo",
"flagellant",
"gold ground",
"Perugia"
] |
|
15026_T
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Flowering Orchards
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Focus on Flowering Orchards and discuss the abstract.
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Flowering Orchards is a series of paintings which Dutch artist Vincent van Gogh executed in Arles, in southern France in the spring of 1888. Van Gogh arrived in Arles in February 1888 in a snowstorm; within two weeks the weather changed and the fruit trees were in blossom. Appreciating the symbolism of rebirth, Van Gogh worked with optimism and zeal on about fourteen paintings of flowering trees in the early spring. He also made paintings of flowering trees in Saint-Rémy the following year, in 1889.
Flowering trees were special to Van Gogh; they represented awakening and hope. He enjoyed them aesthetically and found joy in painting flowering trees. The 'trees and orchards in bloom' paintings that he made reflect Impressionist, Divisionist and Japanese woodcut influences.
|
[
"southern France",
"Saint-Rémy",
"Divisionist",
"Japanese",
"Arles",
"woodcut",
"Impressionist",
"Vincent van Gogh",
"fruit tree"
] |
|
15026_NT
|
Flowering Orchards
|
Focus on this artwork and discuss the abstract.
|
Flowering Orchards is a series of paintings which Dutch artist Vincent van Gogh executed in Arles, in southern France in the spring of 1888. Van Gogh arrived in Arles in February 1888 in a snowstorm; within two weeks the weather changed and the fruit trees were in blossom. Appreciating the symbolism of rebirth, Van Gogh worked with optimism and zeal on about fourteen paintings of flowering trees in the early spring. He also made paintings of flowering trees in Saint-Rémy the following year, in 1889.
Flowering trees were special to Van Gogh; they represented awakening and hope. He enjoyed them aesthetically and found joy in painting flowering trees. The 'trees and orchards in bloom' paintings that he made reflect Impressionist, Divisionist and Japanese woodcut influences.
|
[
"southern France",
"Saint-Rémy",
"Divisionist",
"Japanese",
"Arles",
"woodcut",
"Impressionist",
"Vincent van Gogh",
"fruit tree"
] |
|
15027_T
|
Flowering Orchards
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How does Flowering Orchards elucidate its Flowering trees and orchards?
|
When Van Gogh arrived in Arles in February 1888, the area's fruit trees in the orchards were about to bloom. The blossoms of the apricot, peach and plum trees motivated him, and within a month he had created fourteen paintings of blossoming fruit trees. Excited by the subject matter, he completed nearly one painting a day. Around April 21 Van Gogh wrote to his brother Theo, that he "will have to seek something new, now the orchards have almost finished blossoming."Flowering trees represented a source of spiritual renewal for Van Gogh; in 1883 he had written of the symbolism of the flowering tree, seeing the evidence of rebirth like the "man who finally produces something poignant as the blossom of a hard, difficult life, is a wonder, like the black hawthorn, or better still the gnarled old apple tree which at certain moments bears blossoms which are among the most delicate and virginal things under the sun."In 1888 Van Gogh became inspired in southern France and began the most productive period of his painting career. He sought the brilliance and light of the sun which would obscure the detail, simplifying the subjects. It also would make the lines of composition clearer; which would suit his ambition to create the simple patterns that he appreciated in Japanese woodblocks. Arles, he said, was "the Japan of the South." Van Gogh found in the south that colors were more vivid. Pairs of complementary colors, such as "the red and green of the plants, the woven highlights of oranges and blue in the fence, even the pink clouds that enliven the turquoise sky" — create an intensity through their pairing.Mancoff says of flowering trees and this work,
"In his flowering trees, Vincent attained a sense of spontaneity, freeing himself from the strict self-analytical approach he took in Paris. In Almond Tree in Blossom, Vincent used the light, broken strokes of impressionism and the dabs of colour of divisionism for a sparkling surface effect. The distinctive contours of the tree and its position in the foreground recall the formal qualities of Japanese prints."
The southern region and the flowering trees seems to have awakened Van Gogh from his doldrums into a state of clear direction, hyper-activity and good cheer. He wrote, "I am up to my ears in work for the trees are in blossom and I want to paint a Provençal orchard of astonishing gaiety." While in the past a very active period would have drained him, this time he was invigorated.To paint the flowering orchards, Van Gogh contended with the winds which were so strong that he drove pegs into the ground to which he fastened his easel. Even so, he found painting the orchards "too lovely" to miss.
|
[
"winds",
"southern France",
"hawthorn",
"Theo",
"Japanese",
"divisionism",
"Arles",
"apple tree",
"impressionism",
"woodblocks",
"fruit tree"
] |
|
15027_NT
|
Flowering Orchards
|
How does this artwork elucidate its Flowering trees and orchards?
|
When Van Gogh arrived in Arles in February 1888, the area's fruit trees in the orchards were about to bloom. The blossoms of the apricot, peach and plum trees motivated him, and within a month he had created fourteen paintings of blossoming fruit trees. Excited by the subject matter, he completed nearly one painting a day. Around April 21 Van Gogh wrote to his brother Theo, that he "will have to seek something new, now the orchards have almost finished blossoming."Flowering trees represented a source of spiritual renewal for Van Gogh; in 1883 he had written of the symbolism of the flowering tree, seeing the evidence of rebirth like the "man who finally produces something poignant as the blossom of a hard, difficult life, is a wonder, like the black hawthorn, or better still the gnarled old apple tree which at certain moments bears blossoms which are among the most delicate and virginal things under the sun."In 1888 Van Gogh became inspired in southern France and began the most productive period of his painting career. He sought the brilliance and light of the sun which would obscure the detail, simplifying the subjects. It also would make the lines of composition clearer; which would suit his ambition to create the simple patterns that he appreciated in Japanese woodblocks. Arles, he said, was "the Japan of the South." Van Gogh found in the south that colors were more vivid. Pairs of complementary colors, such as "the red and green of the plants, the woven highlights of oranges and blue in the fence, even the pink clouds that enliven the turquoise sky" — create an intensity through their pairing.Mancoff says of flowering trees and this work,
"In his flowering trees, Vincent attained a sense of spontaneity, freeing himself from the strict self-analytical approach he took in Paris. In Almond Tree in Blossom, Vincent used the light, broken strokes of impressionism and the dabs of colour of divisionism for a sparkling surface effect. The distinctive contours of the tree and its position in the foreground recall the formal qualities of Japanese prints."
The southern region and the flowering trees seems to have awakened Van Gogh from his doldrums into a state of clear direction, hyper-activity and good cheer. He wrote, "I am up to my ears in work for the trees are in blossom and I want to paint a Provençal orchard of astonishing gaiety." While in the past a very active period would have drained him, this time he was invigorated.To paint the flowering orchards, Van Gogh contended with the winds which were so strong that he drove pegs into the ground to which he fastened his easel. Even so, he found painting the orchards "too lovely" to miss.
|
[
"winds",
"southern France",
"hawthorn",
"Theo",
"Japanese",
"divisionism",
"Arles",
"apple tree",
"impressionism",
"woodblocks",
"fruit tree"
] |
|
15028_T
|
Flowering Orchards
|
Focus on Flowering Orchards and analyze the Flowering orchard triptych.
|
Van Gogh may have envisioned several triptychs of his paintings of orchards and flowering trees. However, only one triptych grouping has been documented, one which Vincent envisioned and sketched for Theo's apartment. Johanna van Gogh-Bonger displayed them in the apartment according to Van Gogh's sketch, the vertical Pink Peach Tree between the Pink Orchard and the White Orchard.
|
[
"Theo",
"Johanna van Gogh-Bonger",
"Pink Peach Tree",
"triptych"
] |
|
15028_NT
|
Flowering Orchards
|
Focus on this artwork and analyze the Flowering orchard triptych.
|
Van Gogh may have envisioned several triptychs of his paintings of orchards and flowering trees. However, only one triptych grouping has been documented, one which Vincent envisioned and sketched for Theo's apartment. Johanna van Gogh-Bonger displayed them in the apartment according to Van Gogh's sketch, the vertical Pink Peach Tree between the Pink Orchard and the White Orchard.
|
[
"Theo",
"Johanna van Gogh-Bonger",
"Pink Peach Tree",
"triptych"
] |
|
15029_T
|
Flowering Orchards
|
Describe the characteristics of the Pink Orchard in Flowering Orchards's Flowering orchard triptych.
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In Paris, Van Gogh had learned to paint more than what one sees, but what it should be. He felt Pink Orchard was an example of wise use of that technique, such as leaving a field blank behind the orchard to create the feeling of distance. The way in which he outlined the bark of the tree indicates influence of the Japanese prints that he greatly admired. Using an Impressionist technique of placing colors side by side, Van Gogh makes short dots or brush strokes of colors to represent grass. On the top of the tree he uses rougher, more impasto brushstrokes to represent the colorful blossoms. Vincent asked Theo to "shave off" some of the impasto in this painting. Apparently he did not reline, a process of heavy pressure and heat to flatten the surface, because sharp edges of thick impasto remain on the canvas.
|
[
"Theo",
"Japanese",
"Impressionist",
"impasto"
] |
|
15029_NT
|
Flowering Orchards
|
Describe the characteristics of the Pink Orchard in this artwork's Flowering orchard triptych.
|
In Paris, Van Gogh had learned to paint more than what one sees, but what it should be. He felt Pink Orchard was an example of wise use of that technique, such as leaving a field blank behind the orchard to create the feeling of distance. The way in which he outlined the bark of the tree indicates influence of the Japanese prints that he greatly admired. Using an Impressionist technique of placing colors side by side, Van Gogh makes short dots or brush strokes of colors to represent grass. On the top of the tree he uses rougher, more impasto brushstrokes to represent the colorful blossoms. Vincent asked Theo to "shave off" some of the impasto in this painting. Apparently he did not reline, a process of heavy pressure and heat to flatten the surface, because sharp edges of thick impasto remain on the canvas.
|
[
"Theo",
"Japanese",
"Impressionist",
"impasto"
] |
|
15030_T
|
Flowering Orchards
|
In the context of Flowering Orchards, explore the Pink Peach Tree of the Flowering orchard triptych.
|
In the Pink Peach Tree, center of the triptych, the bright pink in the painting has faded over time and looks more white than pink now.Van Gogh wrote of his approach, perhaps due to the challenges of painting in the mistral winds, and use of color in painting the flowering tree like the Pink Peach Tree:"At the moment I am absorbed in the blooming fruit trees, pink peach trees, yellow-white pear trees. My brush stroke has no system at all. I hit the canvas with irregular touches of the brush, which I leave as they are. Patches of thickly laid-on color, spots of canvas left uncovered, here and there portions that are absolutely unfinished, repetitions, savageries… Working direct on the spot all the time, I try to grasp what is essential in the drawings -- later I fill in the spaces which are bounded by contours — either expressed or not, but in any case felt — with tones which are also simplified, by which I mean that all that is going to be soil will have the same violet-like tone, that the whole sky will have a blue tint, that the green vegetation will be either green-blue or green-yellow, purposefully exaggerating the yellows and blues in this case."
|
[
"winds",
"Pink Peach Tree",
"fruit tree",
"triptych"
] |
|
15030_NT
|
Flowering Orchards
|
In the context of this artwork, explore the Pink Peach Tree of the Flowering orchard triptych.
|
In the Pink Peach Tree, center of the triptych, the bright pink in the painting has faded over time and looks more white than pink now.Van Gogh wrote of his approach, perhaps due to the challenges of painting in the mistral winds, and use of color in painting the flowering tree like the Pink Peach Tree:"At the moment I am absorbed in the blooming fruit trees, pink peach trees, yellow-white pear trees. My brush stroke has no system at all. I hit the canvas with irregular touches of the brush, which I leave as they are. Patches of thickly laid-on color, spots of canvas left uncovered, here and there portions that are absolutely unfinished, repetitions, savageries… Working direct on the spot all the time, I try to grasp what is essential in the drawings -- later I fill in the spaces which are bounded by contours — either expressed or not, but in any case felt — with tones which are also simplified, by which I mean that all that is going to be soil will have the same violet-like tone, that the whole sky will have a blue tint, that the green vegetation will be either green-blue or green-yellow, purposefully exaggerating the yellows and blues in this case."
|
[
"winds",
"Pink Peach Tree",
"fruit tree",
"triptych"
] |
|
15031_T
|
Flowering Orchards
|
In the context of Flowering Orchards, explain the White Orchard of the Flowering orchard triptych.
|
Continuing on with his paintings of orchards, Van Gogh wrote, "At the moment I am working on some plum trees, yellowish-white, with thousands of black branches." Two days later he wrote of the same painting, "This morning I worked on an orchard of plum trees in bloom; all at once a fierce wind sprang up, an effect I had seen nowhere else but here, and returned at intervals. The sun shone in between, and all the little white flowers sparkled. It was so lovely. My friend the Dane came to join me, and I went on painting at the risk and peril of seeing the whole show on the ground at any moment - it's a white effect with a good deal of yellow in it, and blue and lilac, the sky white and blue."
|
[] |
|
15031_NT
|
Flowering Orchards
|
In the context of this artwork, explain the White Orchard of the Flowering orchard triptych.
|
Continuing on with his paintings of orchards, Van Gogh wrote, "At the moment I am working on some plum trees, yellowish-white, with thousands of black branches." Two days later he wrote of the same painting, "This morning I worked on an orchard of plum trees in bloom; all at once a fierce wind sprang up, an effect I had seen nowhere else but here, and returned at intervals. The sun shone in between, and all the little white flowers sparkled. It was so lovely. My friend the Dane came to join me, and I went on painting at the risk and peril of seeing the whole show on the ground at any moment - it's a white effect with a good deal of yellow in it, and blue and lilac, the sky white and blue."
|
[] |
|
15032_T
|
Flowering Orchards
|
Explore the Center piece for a second triptych: Blossoming Pear Tree of this artwork, Flowering Orchards.
|
Van Gogh chose Blossoming Pear Tree as the center piece of a grouping, However, there is no information linking this painting to any others.
The Van Gogh Museum described Van Gogh's approach and technique when he made Blossoming Pear Tree:He chose a high vantage point, creating a contrast between the angular trunk and branches with their dark, heavy contours and the light background. A stone wall and a few trees can be seen to the rear, while to the left is a fence in front of a garden near a pink-yellow house. The large, flat yellow butterfly among the flowers to the right of the trunk is also noteworthy. The decorative painting, with the small tree in the foreground, the high vantage point and the lack of depth, is strongly influenced by the art of the Japanese printmakers, which Van Gogh admired enormously.
It is difficult to overstate the impact that Japanese art had on Van Gogh. In a letter to Theo, he said, "All my work is in a way founded on Japanese art, and we do not know enough about Japanese prints. In decadence in its own country, pigeonholed in collections already impossible to find in Japan itself, Japanese art is taking root again among French Impressionist artists."
|
[
"Van Gogh Museum",
"Theo",
"Japanese",
"Impressionist",
"Japanese art",
"triptych"
] |
|
15032_NT
|
Flowering Orchards
|
Explore the Center piece for a second triptych: Blossoming Pear Tree of this artwork.
|
Van Gogh chose Blossoming Pear Tree as the center piece of a grouping, However, there is no information linking this painting to any others.
The Van Gogh Museum described Van Gogh's approach and technique when he made Blossoming Pear Tree:He chose a high vantage point, creating a contrast between the angular trunk and branches with their dark, heavy contours and the light background. A stone wall and a few trees can be seen to the rear, while to the left is a fence in front of a garden near a pink-yellow house. The large, flat yellow butterfly among the flowers to the right of the trunk is also noteworthy. The decorative painting, with the small tree in the foreground, the high vantage point and the lack of depth, is strongly influenced by the art of the Japanese printmakers, which Van Gogh admired enormously.
It is difficult to overstate the impact that Japanese art had on Van Gogh. In a letter to Theo, he said, "All my work is in a way founded on Japanese art, and we do not know enough about Japanese prints. In decadence in its own country, pigeonholed in collections already impossible to find in Japan itself, Japanese art is taking root again among French Impressionist artists."
|
[
"Van Gogh Museum",
"Theo",
"Japanese",
"Impressionist",
"Japanese art",
"triptych"
] |
|
15033_T
|
Flowering Orchards
|
In Flowering Orchards, how is the Almond Tree in Blossom of the Specific trees elucidated?
|
Van Gogh writes of the weather and that the almond trees are coming into full flower, "The weather here is changeable, often windy with turbulent skies, but the almond trees are beginning to flower everywhere." The rendering of Almond Tree in Blossom is positioned close and accessible to the viewer, and the branches appear to extend beyond the painting's frame. A yellow butterfly flits among the pink blossoms growing on the red branches. The subject is reminiscent of an earlier painting which Van Gogh made in Paris depicting flowering trees. Apricot Trees in Blossom was made in April 1888. It is now held in a private collection.
|
[] |
|
15033_NT
|
Flowering Orchards
|
In this artwork, how is the Almond Tree in Blossom of the Specific trees elucidated?
|
Van Gogh writes of the weather and that the almond trees are coming into full flower, "The weather here is changeable, often windy with turbulent skies, but the almond trees are beginning to flower everywhere." The rendering of Almond Tree in Blossom is positioned close and accessible to the viewer, and the branches appear to extend beyond the painting's frame. A yellow butterfly flits among the pink blossoms growing on the red branches. The subject is reminiscent of an earlier painting which Van Gogh made in Paris depicting flowering trees. Apricot Trees in Blossom was made in April 1888. It is now held in a private collection.
|
[] |
|
15034_T
|
Flowering Orchards
|
In the context of Flowering Orchards, analyze the Peach trees of the Specific trees.
|
In addition to Pink Peach Tree (F404) in the triptych, Van Gogh painted two other paintings of peach trees and a watercolor.
|
[
"Pink Peach Tree",
"triptych"
] |
|
15034_NT
|
Flowering Orchards
|
In the context of this artwork, analyze the Peach trees of the Specific trees.
|
In addition to Pink Peach Tree (F404) in the triptych, Van Gogh painted two other paintings of peach trees and a watercolor.
|
[
"Pink Peach Tree",
"triptych"
] |
|
15035_T
|
Flowering Orchards
|
When looking at the Specific trees of Flowering Orchards, how do you discuss its Peach trees's Orchard with Peach Trees in Blossom?
|
Orchard with Peach Trees in Blossom The Van Gogh Museum's version of Orchard with Peach Trees in Blossom was painted in April. This may be the painting that Van Gogh referred to as one with a great deal of stippling that depicts an orchard surrounded by cypress trees. If so, Van Gogh intended it to be paired with another painting of the same size.
|
[
"Van Gogh Museum",
"Peach Trees in Blossom",
"stippling"
] |
|
15035_NT
|
Flowering Orchards
|
When looking at the Specific trees of this artwork, how do you discuss its Peach trees's Orchard with Peach Trees in Blossom?
|
Orchard with Peach Trees in Blossom The Van Gogh Museum's version of Orchard with Peach Trees in Blossom was painted in April. This may be the painting that Van Gogh referred to as one with a great deal of stippling that depicts an orchard surrounded by cypress trees. If so, Van Gogh intended it to be paired with another painting of the same size.
|
[
"Van Gogh Museum",
"Peach Trees in Blossom",
"stippling"
] |
|
15036_T
|
Flowering Orchards
|
Focusing on the Specific trees of Flowering Orchards, explore the Pink Peach Tree, Souvenir to Mauve about the Peach trees.
|
Pink Peach Tree, Souvenir to Mauve Van Gogh wrote of Pink Peach Tree in Blossom (Souvenir de Mauve) that he completed in March, "I have been working on a size 20 canvas in the open air in an orchard, lilac ploughland, a reed fence, two pink peach trees against a sky of glorious blue and white. Probably the best landscape I have done. I had just brought it home when I received from our sister a Dutch notice in memory of Anton Mauve, with his portrait (the portrait, very good), the text, poor and nothing in it a pretty water color. Something - I don't know what - took hold of me and brought a lump to my throat, and I wrote on my picture, 'Souvenir de Mauve'." Van Gogh knew Anton Mauve during his stay in The Hague. Mauve had taken an interest in Van Gogh and encouraged him to work in color. Van Gogh asked that Pink Peach Tree be sent to Mauve's widow Jet. To his sister Wil, Van Gogh explained that he chose the particular painting because of the "delicate palette" to express his deep fondness. "It seemed to me that everything in memory of Mauve must be at once tender and very gay, and not a study in a graver key."
|
[
"The Hague",
"Anton Mauve",
"Pink Peach Tree"
] |
|
15036_NT
|
Flowering Orchards
|
Focusing on the Specific trees of this artwork, explore the Pink Peach Tree, Souvenir to Mauve about the Peach trees.
|
Pink Peach Tree, Souvenir to Mauve Van Gogh wrote of Pink Peach Tree in Blossom (Souvenir de Mauve) that he completed in March, "I have been working on a size 20 canvas in the open air in an orchard, lilac ploughland, a reed fence, two pink peach trees against a sky of glorious blue and white. Probably the best landscape I have done. I had just brought it home when I received from our sister a Dutch notice in memory of Anton Mauve, with his portrait (the portrait, very good), the text, poor and nothing in it a pretty water color. Something - I don't know what - took hold of me and brought a lump to my throat, and I wrote on my picture, 'Souvenir de Mauve'." Van Gogh knew Anton Mauve during his stay in The Hague. Mauve had taken an interest in Van Gogh and encouraged him to work in color. Van Gogh asked that Pink Peach Tree be sent to Mauve's widow Jet. To his sister Wil, Van Gogh explained that he chose the particular painting because of the "delicate palette" to express his deep fondness. "It seemed to me that everything in memory of Mauve must be at once tender and very gay, and not a study in a graver key."
|
[
"The Hague",
"Anton Mauve",
"Pink Peach Tree"
] |
|
15037_T
|
Flowering Orchards
|
Explore the Orchard in Blossom (Plum Trees) about the Specific trees of this artwork, Flowering Orchards.
|
The National Gallery of Scotland described Orchard in Blossom (Plum Trees):The structure of the branches of the plum trees is still clearly visible through the blossom and his brushstrokes follow the direction of the vertical tree trunks.
The presence of the glittery white blossoms and absence of leaves indicate that Van Gogh made this painting shortly after the tree flowered. The painting reflects Impressionist influences in the use of short brush strokes and projection of light.
|
[
"National Gallery of Scotland",
"Impressionist"
] |
|
15037_NT
|
Flowering Orchards
|
Explore the Orchard in Blossom (Plum Trees) about the Specific trees of this artwork.
|
The National Gallery of Scotland described Orchard in Blossom (Plum Trees):The structure of the branches of the plum trees is still clearly visible through the blossom and his brushstrokes follow the direction of the vertical tree trunks.
The presence of the glittery white blossoms and absence of leaves indicate that Van Gogh made this painting shortly after the tree flowered. The painting reflects Impressionist influences in the use of short brush strokes and projection of light.
|
[
"National Gallery of Scotland",
"Impressionist"
] |
|
15038_T
|
Flowering Orchards
|
Focus on Flowering Orchards and discuss the Orchard in Blossom, Bordered by Cypresses.
|
To his friend Émile Bernard, Van Gogh wrote of his enthusiasm of painting orchards, "At the moment I am absorbed in the blooming fruit trees, pink peach trees, yellow-white pear trees. My brush stroke has no system at all. I hit the canvas with irregular touches of the brush, which I leave as they are. Patches of thickly laid-on colour, spots of canvas left uncovered, here or there portions that are left absolutely unfinished, repetitions, savageries; in short, I am inclined to think that the result is so disquieting and irritating as to be a godsend to those people who have preconceived ideas about technique." In the same letter he made a sketch of Orchard in Bloom, Bordered by Cypresses, "the entrance to a Provençal orchard with its yellow fences, its enclosure of black cypresses (against the mistral), its characteristic vegetables of varying greens: yellow lettuces, onions, garlic, emerald leeks."
|
[
"Émile Bernard",
"fruit tree"
] |
|
15038_NT
|
Flowering Orchards
|
Focus on this artwork and discuss the Orchard in Blossom, Bordered by Cypresses.
|
To his friend Émile Bernard, Van Gogh wrote of his enthusiasm of painting orchards, "At the moment I am absorbed in the blooming fruit trees, pink peach trees, yellow-white pear trees. My brush stroke has no system at all. I hit the canvas with irregular touches of the brush, which I leave as they are. Patches of thickly laid-on colour, spots of canvas left uncovered, here or there portions that are left absolutely unfinished, repetitions, savageries; in short, I am inclined to think that the result is so disquieting and irritating as to be a godsend to those people who have preconceived ideas about technique." In the same letter he made a sketch of Orchard in Bloom, Bordered by Cypresses, "the entrance to a Provençal orchard with its yellow fences, its enclosure of black cypresses (against the mistral), its characteristic vegetables of varying greens: yellow lettuces, onions, garlic, emerald leeks."
|
[
"Émile Bernard",
"fruit tree"
] |
|
15039_T
|
Flowering Orchards
|
In the context of Flowering Orchards, analyze the Orchard in Blossom (F406) of the Other flowering orchard paintings.
|
Orchard in Blossom (F406) was painted for Theo for May Day with "a frenzy of impastos of the faintest yellow and lilac on the original white mass." To his friend Émile Bernard he provided more detail: "Here is another orchard, rather simple as a composition: a white tree, a small green tree, a square patch of green, lilac soil, an orange roof, a large blue sky."
|
[
"Émile Bernard",
"Theo",
"May Day",
"impasto"
] |
|
15039_NT
|
Flowering Orchards
|
In the context of this artwork, analyze the Orchard in Blossom (F406) of the Other flowering orchard paintings.
|
Orchard in Blossom (F406) was painted for Theo for May Day with "a frenzy of impastos of the faintest yellow and lilac on the original white mass." To his friend Émile Bernard he provided more detail: "Here is another orchard, rather simple as a composition: a white tree, a small green tree, a square patch of green, lilac soil, an orange roof, a large blue sky."
|
[
"Émile Bernard",
"Theo",
"May Day",
"impasto"
] |
|
15040_T
|
Flowering Orchards
|
Describe the characteristics of the Orchard in Blossom (F511) in Flowering Orchards's Other flowering orchard paintings.
|
The Van Gogh Museum's version of Orchard in Blossom was painted in April. Vincent asked Theo to "shave off" some of the impasto in this painting. Apparently he did not reline, a process of heavy pressure and heat to flatten the surface, because sharp edges of thick impasto remain on the painting.
|
[
"Van Gogh Museum",
"Theo",
"impasto"
] |
|
15040_NT
|
Flowering Orchards
|
Describe the characteristics of the Orchard in Blossom (F511) in this artwork's Other flowering orchard paintings.
|
The Van Gogh Museum's version of Orchard in Blossom was painted in April. Vincent asked Theo to "shave off" some of the impasto in this painting. Apparently he did not reline, a process of heavy pressure and heat to flatten the surface, because sharp edges of thick impasto remain on the painting.
|
[
"Van Gogh Museum",
"Theo",
"impasto"
] |
|
15041_T
|
Flowering Orchards
|
In the context of Flowering Orchards, explore the View of Arles, Flowering Orchards of the Other flowering orchard paintings.
|
Van Gogh painted View of Arles, Flowering Orchards in spring 1889. It provides a view across a canal, with poplar trees along its banks, toward the historical center of Arles, with the towers of Saint-Trophime and Notre-Dame-le-major to the left, contrasted by recent building of the casern housing the Zouave Regiment to the right. Van Gogh incorporated this painting in his selection of works to be displayed at Les XX, in Brussels 1890.
|
[
"View of Arles, Flowering Orchards",
"Saint-Trophime",
"selection",
"Arles",
"Zouave",
"casern",
"Les XX"
] |
|
15041_NT
|
Flowering Orchards
|
In the context of this artwork, explore the View of Arles, Flowering Orchards of the Other flowering orchard paintings.
|
Van Gogh painted View of Arles, Flowering Orchards in spring 1889. It provides a view across a canal, with poplar trees along its banks, toward the historical center of Arles, with the towers of Saint-Trophime and Notre-Dame-le-major to the left, contrasted by recent building of the casern housing the Zouave Regiment to the right. Van Gogh incorporated this painting in his selection of works to be displayed at Les XX, in Brussels 1890.
|
[
"View of Arles, Flowering Orchards",
"Saint-Trophime",
"selection",
"Arles",
"Zouave",
"casern",
"Les XX"
] |
|
15042_T
|
Flowering Orchards
|
In the context of Flowering Orchards, explain the Flowering Orchard of the Other flowering orchard paintings.
|
The Metropolitan Museum of Art notes that Flowering Orchard is one of only two orchard paintings from Van Gogh's orchard series that alludes to human labor, in this instance by including a scythe and a rake. Japanese influence is understood from Van Gogh's stylized treatment and motif. The painting is also known as Orchard in Blossom, another English translation of its French title.
|
[
"Japanese",
"Metropolitan Museum of Art"
] |
|
15042_NT
|
Flowering Orchards
|
In the context of this artwork, explain the Flowering Orchard of the Other flowering orchard paintings.
|
The Metropolitan Museum of Art notes that Flowering Orchard is one of only two orchard paintings from Van Gogh's orchard series that alludes to human labor, in this instance by including a scythe and a rake. Japanese influence is understood from Van Gogh's stylized treatment and motif. The painting is also known as Orchard in Blossom, another English translation of its French title.
|
[
"Japanese",
"Metropolitan Museum of Art"
] |
|
15043_T
|
Flowering Orchards
|
Explore the View of Arles with Trees in Blossom about the Other flowering orchard paintings of this artwork, Flowering Orchards.
|
Most of these paintings were done in April 1888, or in April 1889.
|
[
"Arles"
] |
|
15043_NT
|
Flowering Orchards
|
Explore the View of Arles with Trees in Blossom about the Other flowering orchard paintings of this artwork.
|
Most of these paintings were done in April 1888, or in April 1889.
|
[
"Arles"
] |
|
15044_T
|
Statue of Charles III of Spain
|
Focus on Statue of Charles III of Spain and discuss the abstract.
|
A statue of Charles III of Spain (also known as King Carlos III) is installed at Los Angeles Plaza Park in El Pueblo de Los Ángeles Historical Monument, Los Angeles, California. Previously, the statue was installed in MacArthur Park, in the city's Westlake neighborhood.
|
[
"MacArthur Park",
"Los Angeles, California",
"El Pueblo de Los Ángeles Historical Monument",
"Charles III of Spain",
"Los Angeles",
"Westlake"
] |
|
15044_NT
|
Statue of Charles III of Spain
|
Focus on this artwork and discuss the abstract.
|
A statue of Charles III of Spain (also known as King Carlos III) is installed at Los Angeles Plaza Park in El Pueblo de Los Ángeles Historical Monument, Los Angeles, California. Previously, the statue was installed in MacArthur Park, in the city's Westlake neighborhood.
|
[
"MacArthur Park",
"Los Angeles, California",
"El Pueblo de Los Ángeles Historical Monument",
"Charles III of Spain",
"Los Angeles",
"Westlake"
] |
|
15045_T
|
The Baptism of the Eunuch
|
How does The Baptism of the Eunuch elucidate its abstract?
|
The Baptism of the Eunuch is a 1626 painting by the Dutch artist Rembrandt van Rijn, owned by the Museum Catharijneconvent in Utrecht since 1976. It shows Philip the Evangelist baptising an Ethiopian man, a eunuch, on the road from Jerusalem to Gaza, traditionally marking the start of the Ethiopian Church (Acts 8:26–39).
|
[
"Museum Catharijneconvent",
"Utrecht",
"Ethiopian Church",
"Rembrandt van Rijn",
"Philip the Evangelist",
"Jerusalem",
"Rembrandt",
"Eunuch",
"eunuch",
"Ethiopian man",
"Gaza"
] |
|
15045_NT
|
The Baptism of the Eunuch
|
How does this artwork elucidate its abstract?
|
The Baptism of the Eunuch is a 1626 painting by the Dutch artist Rembrandt van Rijn, owned by the Museum Catharijneconvent in Utrecht since 1976. It shows Philip the Evangelist baptising an Ethiopian man, a eunuch, on the road from Jerusalem to Gaza, traditionally marking the start of the Ethiopian Church (Acts 8:26–39).
|
[
"Museum Catharijneconvent",
"Utrecht",
"Ethiopian Church",
"Rembrandt van Rijn",
"Philip the Evangelist",
"Jerusalem",
"Rembrandt",
"Eunuch",
"eunuch",
"Ethiopian man",
"Gaza"
] |
|
15046_T
|
The Baptism of the Eunuch
|
Focus on The Baptism of the Eunuch and analyze the Description.
|
In the middle of the foreground, a black man kneels as the foremost of seven figures staggered one behind the other, wearing an ermine cloak over a purple robe and a white waistband over it. His hair is black, short and curly, he seems to wear only a thin goatee and whiskers. He wears a gold pendant on his left ear and a gold ring on his right thumb. His left knee is on the ground and his right leg is bent, with his foot on the ground. The man faces the left foreground with his hands crossed in front of his chest, so that his head is in the center of the picture and his upper right arm follows the picture diagonal to the bottom left.
To the left of the center of the picture stands a tall white man with a sparse fringe of hair and a long gray beard, who is dressed in a light brown robe and wears an orange waistband and a purple cloak. He looks down at the black man's head and makes a blessing gesture with his right hand, which must be seen in the context as a baptismal gesture.
Another black man squats behind the baptismal candidate, who looks much younger and also has short black hair. He wears a grey-green robe with an elaborate green and yellow pattern on the hem and a green cape. His robe is fastened with a golden fibula on the right shoulder and he wears a large ring on his left ear. He attentively observes the baptism, and on his knees he holds his master's turban of blue and red fabric.
To the right of center, but slightly offset from the background from the Baptist, stands a brown-skinned Oriental with a long blue robe and a turban-like white and purple headdress with a white feather. He holds a large open book in front of his stomach and looks at the viewer. Behind him, aligned to the right edge of the picture, is an open carriage with two horses and a white man dressed in oriental clothes, with a whip on the carriage and another servant behind him. Again, behind the two horses of the carriage is a white rider, also dressed in oriental clothing, who is facing left and, like the two carriage drivers, is looking at the viewer. He wears a quiver with arrows on his saddle, only the tail of his horse can be seen.
The background on the left is occupied by a palm tree that reaches up to the upper edge of the picture. On the right edge of the picture, the view extends far into the distance, with towering dark rocks or the silhouette of a town in front of two hills. In the left foreground is a large brown and white dog coming out from behind the Baptist and drinking at the water of the river in the lower left corner of the picture. To the right of it, but still in the left foreground, some herbs are shown. The foreground on the right is free; here the painter has scratched an irregular structure into the paint with the wooden shaft of his brush. In the lower right corner there is a monogram and the date RH 1626. The signature corresponds to other signatures by Rembrandt from 1626.
|
[
"Rembrandt"
] |
|
15046_NT
|
The Baptism of the Eunuch
|
Focus on this artwork and analyze the Description.
|
In the middle of the foreground, a black man kneels as the foremost of seven figures staggered one behind the other, wearing an ermine cloak over a purple robe and a white waistband over it. His hair is black, short and curly, he seems to wear only a thin goatee and whiskers. He wears a gold pendant on his left ear and a gold ring on his right thumb. His left knee is on the ground and his right leg is bent, with his foot on the ground. The man faces the left foreground with his hands crossed in front of his chest, so that his head is in the center of the picture and his upper right arm follows the picture diagonal to the bottom left.
To the left of the center of the picture stands a tall white man with a sparse fringe of hair and a long gray beard, who is dressed in a light brown robe and wears an orange waistband and a purple cloak. He looks down at the black man's head and makes a blessing gesture with his right hand, which must be seen in the context as a baptismal gesture.
Another black man squats behind the baptismal candidate, who looks much younger and also has short black hair. He wears a grey-green robe with an elaborate green and yellow pattern on the hem and a green cape. His robe is fastened with a golden fibula on the right shoulder and he wears a large ring on his left ear. He attentively observes the baptism, and on his knees he holds his master's turban of blue and red fabric.
To the right of center, but slightly offset from the background from the Baptist, stands a brown-skinned Oriental with a long blue robe and a turban-like white and purple headdress with a white feather. He holds a large open book in front of his stomach and looks at the viewer. Behind him, aligned to the right edge of the picture, is an open carriage with two horses and a white man dressed in oriental clothes, with a whip on the carriage and another servant behind him. Again, behind the two horses of the carriage is a white rider, also dressed in oriental clothing, who is facing left and, like the two carriage drivers, is looking at the viewer. He wears a quiver with arrows on his saddle, only the tail of his horse can be seen.
The background on the left is occupied by a palm tree that reaches up to the upper edge of the picture. On the right edge of the picture, the view extends far into the distance, with towering dark rocks or the silhouette of a town in front of two hills. In the left foreground is a large brown and white dog coming out from behind the Baptist and drinking at the water of the river in the lower left corner of the picture. To the right of it, but still in the left foreground, some herbs are shown. The foreground on the right is free; here the painter has scratched an irregular structure into the paint with the wooden shaft of his brush. In the lower right corner there is a monogram and the date RH 1626. The signature corresponds to other signatures by Rembrandt from 1626.
|
[
"Rembrandt"
] |
|
15047_T
|
The Catskills (painting)
|
In The Catskills (painting), how is the abstract discussed?
|
The Catskills by Asher Brown Durand, an American engraver, portraitist, and landscape artist, was commissioned by William Thompson Walters in 1858.
|
[
"William Thompson Walters",
"Asher Brown Durand"
] |
|
15047_NT
|
The Catskills (painting)
|
In this artwork, how is the abstract discussed?
|
The Catskills by Asher Brown Durand, an American engraver, portraitist, and landscape artist, was commissioned by William Thompson Walters in 1858.
|
[
"William Thompson Walters",
"Asher Brown Durand"
] |
|
15048_T
|
The Catskills (painting)
|
Focus on The Catskills (painting) and explore the Composition.
|
In the foreground two large trees are presented, one a black birch and the other a sycamore. A stream falls over a cliff and then winds through the valley toward the sunny area in the distance. A squirrel crouching on a rock is the only sign of animate life, representing the loneliness of the scene.
|
[] |
|
15048_NT
|
The Catskills (painting)
|
Focus on this artwork and explore the Composition.
|
In the foreground two large trees are presented, one a black birch and the other a sycamore. A stream falls over a cliff and then winds through the valley toward the sunny area in the distance. A squirrel crouching on a rock is the only sign of animate life, representing the loneliness of the scene.
|
[] |
|
15049_T
|
The Catskills (painting)
|
Focus on The Catskills (painting) and explain the Exhibition history.
|
Romanticism in America. Baltimore Museum of Art, Baltimore. 1940.
Highlights from the Collection. The Walters Art Gallery, Baltimore. 1998-2001.
The American Artist as Painter and Draftsman. The Walters Art Museum, Baltimore. 2001.
Kindred Spirits: Asher B. Durand and the American Landscape. Brooklyn Museum, Brooklyn; Smithsonian American Art Museum, Washington; San Diego Museum Of Art, San Diego. 2007-2008.
19th Century Masterpieces from the Walters Art Museum. Santa Barbara Museum of Art, Santa Barbara; Jack S. Blanton Museum of Art, Austin. 2010-2011.
|
[
"Walters Art Museum",
"Baltimore",
"The Walters Art Museum",
"Brooklyn Museum",
"Romanticism"
] |
|
15049_NT
|
The Catskills (painting)
|
Focus on this artwork and explain the Exhibition history.
|
Romanticism in America. Baltimore Museum of Art, Baltimore. 1940.
Highlights from the Collection. The Walters Art Gallery, Baltimore. 1998-2001.
The American Artist as Painter and Draftsman. The Walters Art Museum, Baltimore. 2001.
Kindred Spirits: Asher B. Durand and the American Landscape. Brooklyn Museum, Brooklyn; Smithsonian American Art Museum, Washington; San Diego Museum Of Art, San Diego. 2007-2008.
19th Century Masterpieces from the Walters Art Museum. Santa Barbara Museum of Art, Santa Barbara; Jack S. Blanton Museum of Art, Austin. 2010-2011.
|
[
"Walters Art Museum",
"Baltimore",
"The Walters Art Museum",
"Brooklyn Museum",
"Romanticism"
] |
|
15050_T
|
Spaceship Earth (sculpture)
|
Explore the abstract of this artwork, Spaceship Earth (sculpture).
|
Spaceship Earth was a 350,000-pound Brazilian blue quartzite sculpture created by Finnish American artist Eino Romppanen, Eino. The sculpture was commissioned by Brian Maxwell of Powerbar the Maxwell Family Foundation for the late environmentalist David Brower and its name was often used by Brower referring to mankind traveling through life in a common vehicle. Displayed at Kennesaw State University adjacent to the Social Science building, the sculpture was the first LEED-certified building at the University System of Georgia.The 175-ton chunk of rock was formed from 88 individual pieces of quartzite and bonded with specially made polyepoxide. After these pieces were in place, Eino attached a life-size bronze model of the late Brower. Additionally, 2,400 bronze pieces were added to the exterior to outline land masses on the earth.Spaceship Earth was completed in August 2006 and unveiled in October. The sculpture broke apart and started spilling over just two months later. First reports cited poor adhesive and unsound construction contributed to its demise while Eino argued that it had to have been an act of vandalism. The sculpture was rededicated in November 2006.The sculpture was knocked down and removed from the Kennesaw State University campus on December 20, 2022.
|
[
"LEED",
"David Brower",
"Powerbar",
"Kennesaw",
"polyepoxide",
"Eino",
"University System of Georgia",
"Kennesaw State University",
"quartzite"
] |
|
15050_NT
|
Spaceship Earth (sculpture)
|
Explore the abstract of this artwork.
|
Spaceship Earth was a 350,000-pound Brazilian blue quartzite sculpture created by Finnish American artist Eino Romppanen, Eino. The sculpture was commissioned by Brian Maxwell of Powerbar the Maxwell Family Foundation for the late environmentalist David Brower and its name was often used by Brower referring to mankind traveling through life in a common vehicle. Displayed at Kennesaw State University adjacent to the Social Science building, the sculpture was the first LEED-certified building at the University System of Georgia.The 175-ton chunk of rock was formed from 88 individual pieces of quartzite and bonded with specially made polyepoxide. After these pieces were in place, Eino attached a life-size bronze model of the late Brower. Additionally, 2,400 bronze pieces were added to the exterior to outline land masses on the earth.Spaceship Earth was completed in August 2006 and unveiled in October. The sculpture broke apart and started spilling over just two months later. First reports cited poor adhesive and unsound construction contributed to its demise while Eino argued that it had to have been an act of vandalism. The sculpture was rededicated in November 2006.The sculpture was knocked down and removed from the Kennesaw State University campus on December 20, 2022.
|
[
"LEED",
"David Brower",
"Powerbar",
"Kennesaw",
"polyepoxide",
"Eino",
"University System of Georgia",
"Kennesaw State University",
"quartzite"
] |
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