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15051_T | Spaceship Earth (sculpture) | Focus on Spaceship Earth (sculpture) and discuss the History. | A few months before the November 2000 death of the first Executive Director Sierra Club and lifelong environmentalist David Brower, the founders of PowerBar, Brian and Jennifer Maxwell, commissioned the 175-ton tribute in his honor. It was during a morning run with photographer Galen Rowell and PowerBar's Brian Maxwell that the tribute was conceived. Shortly after, Maxwell met with his friend, environmentalist and Finnish-American artist Eino, to create such a sculpture.Eino was sent stone samples from a rock quarry in Brazil at the start of the project and "[he] thought, oh my, this is three times harder than marble. But immediately I understood this was the right stone. It is more permanent than anything else. No pollution can hurt it. No graffiti will harm it. It was the right stone to be here for 1,000 years." Over 175 tons of Brazilian blue quartzite was shipped and stored in a parking lot while Eino and Maxwell sought to secure a home for the sculpture. Locations in Berkeley to Washington, D.C., were proposed, but all were turned down by local art commissions or city councils. For nearly a year, Eino argued to have the sculpture placed in the streets of San Francisco, but the San Francisco Arts Commission's Visual Arts Committee turned it down by saying it "not only had little or nothing to do with the city" but "was too big and did not represent Brower's ideals."Later, in 2004, Jennifer Maxwell, then the widow of Brian Maxwell, contacted the City of Berkeley to find a home for the tribute. A few members of the Berkeley Arts Commission spoke out against the sculpture's design and how it seemed to be forced on the city. In October 2004, the commission voted 7–2 to accept the sculpture with conditions. For final approval by the Civic Art Commission 15-foot-wide (4.6 m) sculpture could not be adorned with the bronze statue of Brower, and the Maxwell family had to pay the entire installation cost. By 2005, with a push from the Mayor, the Civic Art Commission found nearly 30 different locations the sculpture could live. In August 2005, two Berkeley area commissions voted to consider another location. While negotiations were dragging on with bureaucrats in Berkeley, officials at Kennesaw State University contacted Eino and accepted the memorial.The sculpture resided at Kennesaw State University, adjacent to the Social Science building. Nearly six years after its conception, Spaceship Earth was finished and unveiled on October 20, 2006. In late December 2006, only three months after its installation on campus, Spaceship Earth collapsed. The sculpture was intended to be a permanent reminder to future generations to take care of their delicate planet. After the collapse, Eino attributed the disaster to vandalism, but later reports associated the collapse with poor construction. Reconstruction was to begin in February 2007 but was delayed until July and was completed by November 2007. | [
"David Brower",
"PowerBar",
"Kennesaw",
"Eino",
"Kennesaw State University",
"quartzite",
"Sierra Club"
] |
|
15051_NT | Spaceship Earth (sculpture) | Focus on this artwork and discuss the History. | A few months before the November 2000 death of the first Executive Director Sierra Club and lifelong environmentalist David Brower, the founders of PowerBar, Brian and Jennifer Maxwell, commissioned the 175-ton tribute in his honor. It was during a morning run with photographer Galen Rowell and PowerBar's Brian Maxwell that the tribute was conceived. Shortly after, Maxwell met with his friend, environmentalist and Finnish-American artist Eino, to create such a sculpture.Eino was sent stone samples from a rock quarry in Brazil at the start of the project and "[he] thought, oh my, this is three times harder than marble. But immediately I understood this was the right stone. It is more permanent than anything else. No pollution can hurt it. No graffiti will harm it. It was the right stone to be here for 1,000 years." Over 175 tons of Brazilian blue quartzite was shipped and stored in a parking lot while Eino and Maxwell sought to secure a home for the sculpture. Locations in Berkeley to Washington, D.C., were proposed, but all were turned down by local art commissions or city councils. For nearly a year, Eino argued to have the sculpture placed in the streets of San Francisco, but the San Francisco Arts Commission's Visual Arts Committee turned it down by saying it "not only had little or nothing to do with the city" but "was too big and did not represent Brower's ideals."Later, in 2004, Jennifer Maxwell, then the widow of Brian Maxwell, contacted the City of Berkeley to find a home for the tribute. A few members of the Berkeley Arts Commission spoke out against the sculpture's design and how it seemed to be forced on the city. In October 2004, the commission voted 7–2 to accept the sculpture with conditions. For final approval by the Civic Art Commission 15-foot-wide (4.6 m) sculpture could not be adorned with the bronze statue of Brower, and the Maxwell family had to pay the entire installation cost. By 2005, with a push from the Mayor, the Civic Art Commission found nearly 30 different locations the sculpture could live. In August 2005, two Berkeley area commissions voted to consider another location. While negotiations were dragging on with bureaucrats in Berkeley, officials at Kennesaw State University contacted Eino and accepted the memorial.The sculpture resided at Kennesaw State University, adjacent to the Social Science building. Nearly six years after its conception, Spaceship Earth was finished and unveiled on October 20, 2006. In late December 2006, only three months after its installation on campus, Spaceship Earth collapsed. The sculpture was intended to be a permanent reminder to future generations to take care of their delicate planet. After the collapse, Eino attributed the disaster to vandalism, but later reports associated the collapse with poor construction. Reconstruction was to begin in February 2007 but was delayed until July and was completed by November 2007. | [
"David Brower",
"PowerBar",
"Kennesaw",
"Eino",
"Kennesaw State University",
"quartzite",
"Sierra Club"
] |
|
15052_T | Equestrian statue of Paul Revere | How does Equestrian statue of Paul Revere elucidate its abstract? | An equestrian statue of Paul Revere by Cyrus Edwin Dallin is installed at Paul Revere Mall near the Old North Church in Boston, Massachusetts. | [
"Cyrus Edwin Dallin",
"equestrian statue",
"Old North Church",
"Paul Revere",
"Boston",
"Paul Revere Mall",
"Massachusetts"
] |
|
15052_NT | Equestrian statue of Paul Revere | How does this artwork elucidate its abstract? | An equestrian statue of Paul Revere by Cyrus Edwin Dallin is installed at Paul Revere Mall near the Old North Church in Boston, Massachusetts. | [
"Cyrus Edwin Dallin",
"equestrian statue",
"Old North Church",
"Paul Revere",
"Boston",
"Paul Revere Mall",
"Massachusetts"
] |
|
15053_T | Equestrian statue of Paul Revere | Focus on Equestrian statue of Paul Revere and analyze the Description and history. | The sculpture was modeled in 1885, cast in bronze in 1940, and dedicated on September 22 of that year. The statue rests on a Milford pink granite base designed by Y. Lovell Little and Raymond A. Porter.
Twenty-three-year-old Cyrus Dallin won a competition for the sculpture in 1885 beating out two other finalists: Daniel Chester French and James C. Kelly of New York. Other famous sculptors competed including Thomas Ball. The day following the award French visited Dallin and congratulated him on the award. Boston Mayor Hugh Obrien's signed contract confirmed the award. But due to a variety of circumstances, the final version would not be installed for over 50 years.
At the age of 79 Dallin's project went forward when the George Robert White Fund Trustees accepted Dallin's model for casting and appropriated $27,500 for its execution in bronze. It was cast at the T. F. McGann Foundry in Somerville.At the 1940 dedication event James F. O'Connell, manager of the White Fund presented the statue to the Mayor of Boston, Maurice J. Tobin. The Mayor then introduced Henry L. Shattuck of the Boston City Council to give the dedication address that was heard by thousands. Also in attendance was Raymond J. Kelly who was National Commander of the American legion.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"George Robert White Fund",
"bronze",
"American legion",
"Hugh Obrien",
"Daniel Chester French",
"Somerville",
"Thomas Ball",
"Boston",
"Smithsonian Institution",
"Maurice J. Tobin",
"Save Outdoor Sculpture!",
"Boston City Council",
"George Robert White"
] |
|
15053_NT | Equestrian statue of Paul Revere | Focus on this artwork and analyze the Description and history. | The sculpture was modeled in 1885, cast in bronze in 1940, and dedicated on September 22 of that year. The statue rests on a Milford pink granite base designed by Y. Lovell Little and Raymond A. Porter.
Twenty-three-year-old Cyrus Dallin won a competition for the sculpture in 1885 beating out two other finalists: Daniel Chester French and James C. Kelly of New York. Other famous sculptors competed including Thomas Ball. The day following the award French visited Dallin and congratulated him on the award. Boston Mayor Hugh Obrien's signed contract confirmed the award. But due to a variety of circumstances, the final version would not be installed for over 50 years.
At the age of 79 Dallin's project went forward when the George Robert White Fund Trustees accepted Dallin's model for casting and appropriated $27,500 for its execution in bronze. It was cast at the T. F. McGann Foundry in Somerville.At the 1940 dedication event James F. O'Connell, manager of the White Fund presented the statue to the Mayor of Boston, Maurice J. Tobin. The Mayor then introduced Henry L. Shattuck of the Boston City Council to give the dedication address that was heard by thousands. Also in attendance was Raymond J. Kelly who was National Commander of the American legion.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"George Robert White Fund",
"bronze",
"American legion",
"Hugh Obrien",
"Daniel Chester French",
"Somerville",
"Thomas Ball",
"Boston",
"Smithsonian Institution",
"Maurice J. Tobin",
"Save Outdoor Sculpture!",
"Boston City Council",
"George Robert White"
] |
|
15054_T | Captain George K. H. Coussmaker | In Captain George K. H. Coussmaker, how is the abstract discussed? | Captain George K. H. Coussmaker (1782) is an oil on canvas portrait by Joshua Reynolds.
George Keene Hayward Coussmaker was born in London in 1759 to Evert and Mary Coussmaker, and entered the military as an ensign in the 1st Regiment of Foot Guards in 1776. He was promoted to lieutenant in 1778 and to captain in 1788, but never saw active service and retired in 1795. He married Catherine Southwell in 1790 and fathered two children, George and Sophia (later, the Baroness de Clifford). He died in 1801.
Coussmaker sat for Reynolds 21 times and his horse 8 times between February 9 and April 16, 1782 - an exceptional number of times. Reynolds was paid 205 pounds, plus 10 guineas for the frame. The portrait remained with Coussmaker and his descendants until 1884 when it was sold to William K. Vanderbilt and bequeathed to the Metropolitan Museum of Art in 1920. Museum curators describe the picture as "an exceptionally fine work ... The composition is complex and the whole vigorously painted." | [
"Joshua Reynolds",
"oil on canvas",
"1st Regiment of Foot Guards",
"Baroness de Clifford",
"Metropolitan Museum of Art",
"William K. Vanderbilt",
"portrait"
] |
|
15054_NT | Captain George K. H. Coussmaker | In this artwork, how is the abstract discussed? | Captain George K. H. Coussmaker (1782) is an oil on canvas portrait by Joshua Reynolds.
George Keene Hayward Coussmaker was born in London in 1759 to Evert and Mary Coussmaker, and entered the military as an ensign in the 1st Regiment of Foot Guards in 1776. He was promoted to lieutenant in 1778 and to captain in 1788, but never saw active service and retired in 1795. He married Catherine Southwell in 1790 and fathered two children, George and Sophia (later, the Baroness de Clifford). He died in 1801.
Coussmaker sat for Reynolds 21 times and his horse 8 times between February 9 and April 16, 1782 - an exceptional number of times. Reynolds was paid 205 pounds, plus 10 guineas for the frame. The portrait remained with Coussmaker and his descendants until 1884 when it was sold to William K. Vanderbilt and bequeathed to the Metropolitan Museum of Art in 1920. Museum curators describe the picture as "an exceptionally fine work ... The composition is complex and the whole vigorously painted." | [
"Joshua Reynolds",
"oil on canvas",
"1st Regiment of Foot Guards",
"Baroness de Clifford",
"Metropolitan Museum of Art",
"William K. Vanderbilt",
"portrait"
] |
|
15055_T | Statue of Kurt Christoph Graf von Schwerin | Focus on Statue of Kurt Christoph Graf von Schwerin and explore the abstract. | The statue of Kurt Christoph Graf von Schwerin is a bronze sculpture by August Kiss at Zietenplatz in Berlin, Germany. | [
"bronze sculpture",
"Kurt Christoph Graf von Schwerin",
"Zietenplatz",
"August Kiss",
"Germany",
"Berlin"
] |
|
15055_NT | Statue of Kurt Christoph Graf von Schwerin | Focus on this artwork and explore the abstract. | The statue of Kurt Christoph Graf von Schwerin is a bronze sculpture by August Kiss at Zietenplatz in Berlin, Germany. | [
"bronze sculpture",
"Kurt Christoph Graf von Schwerin",
"Zietenplatz",
"August Kiss",
"Germany",
"Berlin"
] |
|
15056_T | The Rocky Mountains, Lander's Peak | Focus on The Rocky Mountains, Lander's Peak and explain the abstract. | The Rocky Mountains, Lander's Peak is an 1863 landscape oil painting by the German-American painter Albert Bierstadt. It is based on sketches made during Bierstadt's travels with Frederick W. Lander's Honey Road Survey Party in 1859. The painting shows Lander's Peak in the Wyoming Range of the Rocky Mountains, with an encampment of Native Americans in the foreground. It has been compared to, and exhibited with, The Heart of the Andes by Frederic Edwin Church. Lander's Peak immediately became a critical and popular success and sold in 1865 for $25,000. | [
"Frederick W. Lander",
"Wyoming Range",
"landscape",
"The Heart of the Andes",
"Rocky Mountains",
"Frederic Edwin Church",
"Lander's Peak",
"Wyoming",
"German-American",
"Albert Bierstadt"
] |
|
15056_NT | The Rocky Mountains, Lander's Peak | Focus on this artwork and explain the abstract. | The Rocky Mountains, Lander's Peak is an 1863 landscape oil painting by the German-American painter Albert Bierstadt. It is based on sketches made during Bierstadt's travels with Frederick W. Lander's Honey Road Survey Party in 1859. The painting shows Lander's Peak in the Wyoming Range of the Rocky Mountains, with an encampment of Native Americans in the foreground. It has been compared to, and exhibited with, The Heart of the Andes by Frederic Edwin Church. Lander's Peak immediately became a critical and popular success and sold in 1865 for $25,000. | [
"Frederick W. Lander",
"Wyoming Range",
"landscape",
"The Heart of the Andes",
"Rocky Mountains",
"Frederic Edwin Church",
"Lander's Peak",
"Wyoming",
"German-American",
"Albert Bierstadt"
] |
|
15057_T | The Rocky Mountains, Lander's Peak | Explore the Background of this artwork, The Rocky Mountains, Lander's Peak. | Hudson River School landscape painter Albert Bierstadt (1830–1902) was born in Germany, and, though his family moved to New Bedford, Massachusetts, when he was two, he spent many of his formative years in Europe. He made his debut in an 1858 exhibition, but his breakthrough came in the aftermath of a journey he made the following year. In the spring of 1859, Bierstadt joined the Honey Road Survey Party led by then-colonel Frederick W. Lander. Bierstadt traveled as far as the Wyoming Range in the Rocky Mountains and made studies for numerous paintings along the way. Bierstadt was greatly impressed by the landscape he encountered and described the Rocky Mountains as "the best material for the artist in the world." Bierstadt habitually extensively prepared for his work, making as many as fifty sketches for a single painting. In 1860, he exhibited Base of the Rocky Mountains, Laramie Peak at the National Academy of Design. His greatest success, however, came with The Rocky Mountains, Lander's Peak, which he exhibited in 1863 at the Tenth Street Studio Building, where he also had a studio. | [
"Frederick W. Lander",
"Wyoming Range",
"landscape",
"Tenth Street Studio Building",
"Rocky Mountains",
"New Bedford, Massachusetts",
"Lander's Peak",
"Wyoming",
"Hudson River School",
"Albert Bierstadt"
] |
|
15057_NT | The Rocky Mountains, Lander's Peak | Explore the Background of this artwork. | Hudson River School landscape painter Albert Bierstadt (1830–1902) was born in Germany, and, though his family moved to New Bedford, Massachusetts, when he was two, he spent many of his formative years in Europe. He made his debut in an 1858 exhibition, but his breakthrough came in the aftermath of a journey he made the following year. In the spring of 1859, Bierstadt joined the Honey Road Survey Party led by then-colonel Frederick W. Lander. Bierstadt traveled as far as the Wyoming Range in the Rocky Mountains and made studies for numerous paintings along the way. Bierstadt was greatly impressed by the landscape he encountered and described the Rocky Mountains as "the best material for the artist in the world." Bierstadt habitually extensively prepared for his work, making as many as fifty sketches for a single painting. In 1860, he exhibited Base of the Rocky Mountains, Laramie Peak at the National Academy of Design. His greatest success, however, came with The Rocky Mountains, Lander's Peak, which he exhibited in 1863 at the Tenth Street Studio Building, where he also had a studio. | [
"Frederick W. Lander",
"Wyoming Range",
"landscape",
"Tenth Street Studio Building",
"Rocky Mountains",
"New Bedford, Massachusetts",
"Lander's Peak",
"Wyoming",
"Hudson River School",
"Albert Bierstadt"
] |
|
15058_T | The Rocky Mountains, Lander's Peak | Focus on The Rocky Mountains, Lander's Peak and discuss the Composition and theme. | The painting shows Lander's Peak, a mountain with a summit of 10,456 feet (3,187 m) in the Wyoming Range in modern-day Wyoming. The peak was named after Frederick W. Lander on Bierstadt's initiative, after Lander's death in the Civil War. In one description of the painting, "Sharply pointed granite peaks and fantastically illuminated clouds float above a tranquil, wooded genre scene." The foreground is dominated by the campsite of a tribe of Native Americans. The landscape in the painting is not the actual landscape as it appears at Lander's Peak but rather an ideal landscape based on nature, altered by Bierstadt for dramatic effect.Bierstadt's painting hit a nerve with contemporary Americans by portraying the grandeur and pristine beauty of the nation's western wilderness. It was a reference to the idea of Manifest Destiny, where the Rocky Mountains represented both natural beauty and an obstacle to westward expansion. In the words of historian Anne F. Hyde: "Bierstadt painted the West as Americans hoped it would be, which made his paintings vastly popular and reinforced the perception of the West as either Europe or sublime Eden." At the same time, the Native Americans in the foreground gave the scene authenticity and presented it as a timeless place, untouched by European hands. | [
"Frederick W. Lander",
"Wyoming Range",
"landscape",
"Rocky Mountains",
"Manifest Destiny",
"Lander's Peak",
"Wyoming",
"Civil War"
] |
|
15058_NT | The Rocky Mountains, Lander's Peak | Focus on this artwork and discuss the Composition and theme. | The painting shows Lander's Peak, a mountain with a summit of 10,456 feet (3,187 m) in the Wyoming Range in modern-day Wyoming. The peak was named after Frederick W. Lander on Bierstadt's initiative, after Lander's death in the Civil War. In one description of the painting, "Sharply pointed granite peaks and fantastically illuminated clouds float above a tranquil, wooded genre scene." The foreground is dominated by the campsite of a tribe of Native Americans. The landscape in the painting is not the actual landscape as it appears at Lander's Peak but rather an ideal landscape based on nature, altered by Bierstadt for dramatic effect.Bierstadt's painting hit a nerve with contemporary Americans by portraying the grandeur and pristine beauty of the nation's western wilderness. It was a reference to the idea of Manifest Destiny, where the Rocky Mountains represented both natural beauty and an obstacle to westward expansion. In the words of historian Anne F. Hyde: "Bierstadt painted the West as Americans hoped it would be, which made his paintings vastly popular and reinforced the perception of the West as either Europe or sublime Eden." At the same time, the Native Americans in the foreground gave the scene authenticity and presented it as a timeless place, untouched by European hands. | [
"Frederick W. Lander",
"Wyoming Range",
"landscape",
"Rocky Mountains",
"Manifest Destiny",
"Lander's Peak",
"Wyoming",
"Civil War"
] |
|
15059_T | The Rocky Mountains, Lander's Peak | How does The Rocky Mountains, Lander's Peak elucidate its Depiction of Shoshone Peoples? | Bierstadt paints a band of Shoshone Native peoples at the forefront of the painting. According to a review in Harper's Weekly from March 26, 1864, Lander's Peak "is purely an American scene, and from the faithful and elaborate delineation of the Indian village, a form of life now rapidly disappearing from the earth, may be called a historic landscape." Bierstadt illustrated Shoshone people along with the majestic peaks as a marker of the "sublime" which authors like James Fenimore Cooper, John C. Frémont, and Washington Irving wrote about. Bierstadt does not include who these people are in his painting title. Unlike Catlin, Bierstadt did not focus on the individuality of members of the Shoshone people. Rather, his focus was on their relationship with the landscape. As Bierstadt scholar Matthew Biagell suggests, "He placed them, as he placed European peasants in earlier works, in the middle distance so that we witness their presence in a landscape setting rather than focus on their movements."In 1859, Eastern Shoshone peoples lived in the region now called Western Wyoming. Bierstadt commented on the Shoshone people he saw in a letter from July 10, 1859, which The Crayon, an art magazine, published in September 1859. "The manners and customs of the Indians are still as they were hundreds of years ago, and now is the time to paint them, for they are rapidly passing away, and soon will be known only in history. I think that the artist ought to tell his portion of their history as well as the writer; a combination of both will assuredly render it more complete" Bierstadt adds, "We have a great many Indian subjects. We were quite fortunate in getting them, the natives not being very willing to have the brass tube pointed at them. Of course they were astonished when we showed them the pictures they did not sit for; and the best we have taken have been obtained without the knowledge of the parties, which is, in fact the best way to take any portrait" The Shoshone people are depicted on a similar level as the nature of the image. Bierstadt is attempting to capture an image of them and the Rockies, something which he believes must be preserved as a part of history. | [
"landscape",
"Harper's Weekly",
"Shoshone",
"John C. Frémont",
"Lander's Peak",
"Wyoming",
"Washington Irving",
"Eastern Shoshone",
"James Fenimore Cooper",
"Catlin"
] |
|
15059_NT | The Rocky Mountains, Lander's Peak | How does this artwork elucidate its Depiction of Shoshone Peoples? | Bierstadt paints a band of Shoshone Native peoples at the forefront of the painting. According to a review in Harper's Weekly from March 26, 1864, Lander's Peak "is purely an American scene, and from the faithful and elaborate delineation of the Indian village, a form of life now rapidly disappearing from the earth, may be called a historic landscape." Bierstadt illustrated Shoshone people along with the majestic peaks as a marker of the "sublime" which authors like James Fenimore Cooper, John C. Frémont, and Washington Irving wrote about. Bierstadt does not include who these people are in his painting title. Unlike Catlin, Bierstadt did not focus on the individuality of members of the Shoshone people. Rather, his focus was on their relationship with the landscape. As Bierstadt scholar Matthew Biagell suggests, "He placed them, as he placed European peasants in earlier works, in the middle distance so that we witness their presence in a landscape setting rather than focus on their movements."In 1859, Eastern Shoshone peoples lived in the region now called Western Wyoming. Bierstadt commented on the Shoshone people he saw in a letter from July 10, 1859, which The Crayon, an art magazine, published in September 1859. "The manners and customs of the Indians are still as they were hundreds of years ago, and now is the time to paint them, for they are rapidly passing away, and soon will be known only in history. I think that the artist ought to tell his portion of their history as well as the writer; a combination of both will assuredly render it more complete" Bierstadt adds, "We have a great many Indian subjects. We were quite fortunate in getting them, the natives not being very willing to have the brass tube pointed at them. Of course they were astonished when we showed them the pictures they did not sit for; and the best we have taken have been obtained without the knowledge of the parties, which is, in fact the best way to take any portrait" The Shoshone people are depicted on a similar level as the nature of the image. Bierstadt is attempting to capture an image of them and the Rockies, something which he believes must be preserved as a part of history. | [
"landscape",
"Harper's Weekly",
"Shoshone",
"John C. Frémont",
"Lander's Peak",
"Wyoming",
"Washington Irving",
"Eastern Shoshone",
"James Fenimore Cooper",
"Catlin"
] |
|
15060_T | The Rocky Mountains, Lander's Peak | Focus on The Rocky Mountains, Lander's Peak and analyze the Reception. | Lander's Peak was an immediate success; twelve hundred people were invited to the exhibition, and almost a thousand showed up. Bierstadt was a shrewd self-promoter and a gifted artist, and this was the first of his paintings to be widely promoted with a single-picture exhibition accompanied by a pamphlet, engravings, and a tour. The painting, with its ten-foot width, was intended both for exhibition halls and the homes of America's emergent millionaire class. In 1865, British railway entrepreneur James McHenry purchased the work for $25,000, the most paid for an American painting to that point. Bierstadt later repurchased it, and gave or sold it to his brother Edward, before it was eventually acquired for the Metropolitan Museum of Art in New York in 1907.Comparisons were made between Lander's Peak and The Heart of the Andes, a contemporary painting by one of Bierstadt's main rivals in the landscape genre, Frederic Edwin Church. The two works represented the two great mountain ranges spanning North and South America. At the New York Metropolitan Fair in 1864, held by the United States Sanitary Commission to raise money for the Union war effort, the two paintings were exhibited opposite each other. Lander's Peak and The Heart of the Andes are still exhibited on opposite walls at their current location at the Metropolitan.Most reviews of the painting were positive; one review called it "beyond question one of the finest landscapes ever painted in this country", adding, "Its artistic merits are in some respects unrivaled: and added to these it has the advantage of being a representative painting of a portion of the most sublime and beautiful scenery on the American Continent." The painting won a prize at the Exposition Universelle in Paris in 1867. At the same time, there were also critical voices; in particular, some American Pre-Raphaelites found his brushwork wanting. One such critic complained that it would have been better "if the marks of the brush had, by dexterous handling, been made to stand for scrap and fissure, crag and cranny, but as it is, we have only too little geology and too much bristle." | [
"landscape",
"The Heart of the Andes",
"Frederic Edwin Church",
"Lander's Peak",
"American Pre-Raphaelites",
"Union",
"United States Sanitary Commission",
"Exposition Universelle",
"Metropolitan Museum of Art"
] |
|
15060_NT | The Rocky Mountains, Lander's Peak | Focus on this artwork and analyze the Reception. | Lander's Peak was an immediate success; twelve hundred people were invited to the exhibition, and almost a thousand showed up. Bierstadt was a shrewd self-promoter and a gifted artist, and this was the first of his paintings to be widely promoted with a single-picture exhibition accompanied by a pamphlet, engravings, and a tour. The painting, with its ten-foot width, was intended both for exhibition halls and the homes of America's emergent millionaire class. In 1865, British railway entrepreneur James McHenry purchased the work for $25,000, the most paid for an American painting to that point. Bierstadt later repurchased it, and gave or sold it to his brother Edward, before it was eventually acquired for the Metropolitan Museum of Art in New York in 1907.Comparisons were made between Lander's Peak and The Heart of the Andes, a contemporary painting by one of Bierstadt's main rivals in the landscape genre, Frederic Edwin Church. The two works represented the two great mountain ranges spanning North and South America. At the New York Metropolitan Fair in 1864, held by the United States Sanitary Commission to raise money for the Union war effort, the two paintings were exhibited opposite each other. Lander's Peak and The Heart of the Andes are still exhibited on opposite walls at their current location at the Metropolitan.Most reviews of the painting were positive; one review called it "beyond question one of the finest landscapes ever painted in this country", adding, "Its artistic merits are in some respects unrivaled: and added to these it has the advantage of being a representative painting of a portion of the most sublime and beautiful scenery on the American Continent." The painting won a prize at the Exposition Universelle in Paris in 1867. At the same time, there were also critical voices; in particular, some American Pre-Raphaelites found his brushwork wanting. One such critic complained that it would have been better "if the marks of the brush had, by dexterous handling, been made to stand for scrap and fissure, crag and cranny, but as it is, we have only too little geology and too much bristle." | [
"landscape",
"The Heart of the Andes",
"Frederic Edwin Church",
"Lander's Peak",
"American Pre-Raphaelites",
"Union",
"United States Sanitary Commission",
"Exposition Universelle",
"Metropolitan Museum of Art"
] |
|
15061_T | Bust of Auguste Rodin (Bourdelle) | In Bust of Auguste Rodin (Bourdelle), how is the abstract discussed? | The Bust of Auguste Rodin is a totemic portrait originally moulded in clay in 1909 by the French artist Antoine Bourdelle. The artist's teacher and associate, Auguste Rodin, is portrayed as a sacred icon with the visage and horns of Michelangelo's Moses. A bronze cast of a modified version was displayed in the 1910 Salon de la Société Nationale des Beaux–Arts on the Champ de Mars along with his Hercules the Archer. | [
"Hercules the Archer",
"Antoine Bourdelle",
"Champ de Mars",
"totem",
"Salon de la Société Nationale des Beaux–Arts",
"Auguste Rodin"
] |
|
15061_NT | Bust of Auguste Rodin (Bourdelle) | In this artwork, how is the abstract discussed? | The Bust of Auguste Rodin is a totemic portrait originally moulded in clay in 1909 by the French artist Antoine Bourdelle. The artist's teacher and associate, Auguste Rodin, is portrayed as a sacred icon with the visage and horns of Michelangelo's Moses. A bronze cast of a modified version was displayed in the 1910 Salon de la Société Nationale des Beaux–Arts on the Champ de Mars along with his Hercules the Archer. | [
"Hercules the Archer",
"Antoine Bourdelle",
"Champ de Mars",
"totem",
"Salon de la Société Nationale des Beaux–Arts",
"Auguste Rodin"
] |
|
15062_T | Sun God (statue) | Focus on Sun God (statue) and explore the abstract. | Sun God is a monumental statue by French-American sculptor Niki de Saint Phalle located on the campus of the University of California San Diego. The figurative sculpture is a 14-foot (4.3 m) multicolored bird-like creature, perched atop a 15-foot (4.6 m) tall arch-shaped, vine-covered concrete pedestal.
Erected in February 1983 as the first of the Stuart Collection of public art projects, the polyester and fiberglass Sun God has become a notable feature of the UC San Diego campus, with many traditions surrounding the statue It is located on a grassy area between the Faculty Club and Mandeville Auditorium, East of John Muir College and Sixth College.
Since the 1980s, the UC San Diego Associated Students Concerts & Events division has sponsored an annual event, the Sun God Festival, with the statue as its official mascot. Over the years, numerous students have accessorized the statue with items such as sunglasses; a cap and gown; an ID card; a large, water-spraying phallus; and even a nest with eggs painted in the statue's trademark bright colors. | [
"John Muir College",
"sunglasses",
"ID card",
"arch",
"mascot",
"cap and gown",
"polyester and fiberglass",
"Stuart Collection",
"Sun God Festival",
"phallus",
"Niki de Saint Phalle",
"University of California San Diego",
"Sixth College",
"nest"
] |
|
15062_NT | Sun God (statue) | Focus on this artwork and explore the abstract. | Sun God is a monumental statue by French-American sculptor Niki de Saint Phalle located on the campus of the University of California San Diego. The figurative sculpture is a 14-foot (4.3 m) multicolored bird-like creature, perched atop a 15-foot (4.6 m) tall arch-shaped, vine-covered concrete pedestal.
Erected in February 1983 as the first of the Stuart Collection of public art projects, the polyester and fiberglass Sun God has become a notable feature of the UC San Diego campus, with many traditions surrounding the statue It is located on a grassy area between the Faculty Club and Mandeville Auditorium, East of John Muir College and Sixth College.
Since the 1980s, the UC San Diego Associated Students Concerts & Events division has sponsored an annual event, the Sun God Festival, with the statue as its official mascot. Over the years, numerous students have accessorized the statue with items such as sunglasses; a cap and gown; an ID card; a large, water-spraying phallus; and even a nest with eggs painted in the statue's trademark bright colors. | [
"John Muir College",
"sunglasses",
"ID card",
"arch",
"mascot",
"cap and gown",
"polyester and fiberglass",
"Stuart Collection",
"Sun God Festival",
"phallus",
"Niki de Saint Phalle",
"University of California San Diego",
"Sixth College",
"nest"
] |
|
15063_T | Vase with carved peony scrolls | Focus on Vase with carved peony scrolls and explain the abstract. | Vase with carved peony scrolls is a Cizhou-type stoneware vase of the Northern Song dynasty, made about 1100 and now in the Asian collection of the Indianapolis Museum of Art, where it is currently on display in the Richard M. Fairbanks Gallery.This Cizhou-style, stoneware vase features a wide, stylish body that was crafted using a white slip and clear glaze overcoat. Rising out of the body is a long, thin neck, topped with a "saucer-shaped mouth." Adorning the central body of the vase is a blend of peony flowers and leaves, with rows of elegant patterns bordering the top and base of the body. Each design was carved deep into the surface of the vase to expose to the dark body beneath the white slip, creating a two-tone color effect and natural shading elements. | [
"Song dynasty",
"Indianapolis Museum of Art",
"Northern Song dynasty",
"peony",
"Cizhou-type"
] |
|
15063_NT | Vase with carved peony scrolls | Focus on this artwork and explain the abstract. | Vase with carved peony scrolls is a Cizhou-type stoneware vase of the Northern Song dynasty, made about 1100 and now in the Asian collection of the Indianapolis Museum of Art, where it is currently on display in the Richard M. Fairbanks Gallery.This Cizhou-style, stoneware vase features a wide, stylish body that was crafted using a white slip and clear glaze overcoat. Rising out of the body is a long, thin neck, topped with a "saucer-shaped mouth." Adorning the central body of the vase is a blend of peony flowers and leaves, with rows of elegant patterns bordering the top and base of the body. Each design was carved deep into the surface of the vase to expose to the dark body beneath the white slip, creating a two-tone color effect and natural shading elements. | [
"Song dynasty",
"Indianapolis Museum of Art",
"Northern Song dynasty",
"peony",
"Cizhou-type"
] |
|
15064_T | Vase with carved peony scrolls | Explore the Background of this artwork, Vase with carved peony scrolls. | The Song Dynasty (960-1279) marked a new period of artistic design, with ceramics reaching new levels of perfection and popularity. One such ceramic style known as Cizhou wares, were produced at kilns across northern China, ranging from the Ningxia to Shandong provinces. The name of this style is derived from the largest manufacturing kilns in the Hebei and Henan provinces, which were located in a region known as Cizhou during the Northern Song dynasty, located in present-day Cixian county. Cizhou ceramics were created to withstand continuous daily use and were manufactured in large enough quantities to be accessible to the general populace. As a result, Cizhou-wares have come to be called "the people’s ware." One result of these wares being considered folk art, is that the potters were able to experiment with new techniques and designs, utilizing both glaze and slip processes as well as brush painting designs. This Cizhou vase featured at the Indianapolis Museum of Art serves as an example of a glaze and slip etching technique, while Cizhou-wares created in later periods often featured brush paintings placed directly on the slip with a protective glaze overcoat.Overall, Cizhou wares have one of the longest histories of all the ceramic styles. This style is noted for having been produced continuously from the 10th century onward, with significant manufacture rates during the Northern Song, Jin, and Yuan dynasties. | [
"Hebei",
"Jin",
"Song dynasty",
"Cizhou ware",
"Cixian",
"Ningxia",
"kilns",
"Song Dynasty",
"Indianapolis Museum of Art",
"Northern Song dynasty",
"Henan",
"Shandong",
"Yuan"
] |
|
15064_NT | Vase with carved peony scrolls | Explore the Background of this artwork. | The Song Dynasty (960-1279) marked a new period of artistic design, with ceramics reaching new levels of perfection and popularity. One such ceramic style known as Cizhou wares, were produced at kilns across northern China, ranging from the Ningxia to Shandong provinces. The name of this style is derived from the largest manufacturing kilns in the Hebei and Henan provinces, which were located in a region known as Cizhou during the Northern Song dynasty, located in present-day Cixian county. Cizhou ceramics were created to withstand continuous daily use and were manufactured in large enough quantities to be accessible to the general populace. As a result, Cizhou-wares have come to be called "the people’s ware." One result of these wares being considered folk art, is that the potters were able to experiment with new techniques and designs, utilizing both glaze and slip processes as well as brush painting designs. This Cizhou vase featured at the Indianapolis Museum of Art serves as an example of a glaze and slip etching technique, while Cizhou-wares created in later periods often featured brush paintings placed directly on the slip with a protective glaze overcoat.Overall, Cizhou wares have one of the longest histories of all the ceramic styles. This style is noted for having been produced continuously from the 10th century onward, with significant manufacture rates during the Northern Song, Jin, and Yuan dynasties. | [
"Hebei",
"Jin",
"Song dynasty",
"Cizhou ware",
"Cixian",
"Ningxia",
"kilns",
"Song Dynasty",
"Indianapolis Museum of Art",
"Northern Song dynasty",
"Henan",
"Shandong",
"Yuan"
] |
|
15065_T | Vase with carved peony scrolls | Focus on Vase with carved peony scrolls and discuss the Symbolism. | Adorning this vase are a series of peonies, a motif that was very common among Chinese artworks. Due to their bold colors and large size, many in China believe the flowers to symbolize royalty and rank. This symbolic association has earned the peony the name fùguìhuā (富贵花), which means "flower of riches and honor." Tree peonies, or those belonging to the woody family, are the versions traditionally found in Chinese art motifs. These peonies are characterized by large red flowers, which has resulted in them often being called the "king of flowers."During the Sui and Tang Dynasties, the peony was officially introduced into the Chinese imperial gardens. It was not however until royal consort Wu Zetian, who later became the only woman to serve as emperor of China, took an interest in the flower that it gained in popularity. Under her reign, many officials who sought to advance their careers began to show an increased appreciation for the peony, eventually resulting in its widespread acceptance as a flower of wealth and rank. | [
"Tang",
"Sui",
"peony",
"Wu Zetian"
] |
|
15065_NT | Vase with carved peony scrolls | Focus on this artwork and discuss the Symbolism. | Adorning this vase are a series of peonies, a motif that was very common among Chinese artworks. Due to their bold colors and large size, many in China believe the flowers to symbolize royalty and rank. This symbolic association has earned the peony the name fùguìhuā (富贵花), which means "flower of riches and honor." Tree peonies, or those belonging to the woody family, are the versions traditionally found in Chinese art motifs. These peonies are characterized by large red flowers, which has resulted in them often being called the "king of flowers."During the Sui and Tang Dynasties, the peony was officially introduced into the Chinese imperial gardens. It was not however until royal consort Wu Zetian, who later became the only woman to serve as emperor of China, took an interest in the flower that it gained in popularity. Under her reign, many officials who sought to advance their careers began to show an increased appreciation for the peony, eventually resulting in its widespread acceptance as a flower of wealth and rank. | [
"Tang",
"Sui",
"peony",
"Wu Zetian"
] |
|
15066_T | Vase with carved peony scrolls | How does Vase with carved peony scrolls elucidate its Acquisition? | This piece is listed as being a gift from Mr. and Mrs. Eli Lilly to the Indianapolis Museum of Art. The vase was donated to the museum in 1947. | [
"Indianapolis Museum of Art"
] |
|
15066_NT | Vase with carved peony scrolls | How does this artwork elucidate its Acquisition? | This piece is listed as being a gift from Mr. and Mrs. Eli Lilly to the Indianapolis Museum of Art. The vase was donated to the museum in 1947. | [
"Indianapolis Museum of Art"
] |
|
15067_T | Glory (sculpture) | Focus on Glory (sculpture) and analyze the abstract. | Glory is a sculpture created by American artist Garry R. Bibbs in 1999. The sculpture is installed above the entrance to the J. F. Miller Center, at the corner of West Michigan Street in Indianapolis, Indiana. Glory is made from fabricated steel and bronze. Angels and trumpets are the two distinct images visible within the sculpture. The sculpture is very large, with dimensions of 80 ft x 40 ft x 1 ft. Gibbs signed his name to the sculpture and included a copyright sign. | [
"bronze",
"copyright",
"Indianapolis",
"trumpets",
"sculpture",
"Angel",
"steel",
"Indianapolis, Indiana",
"Garry R. Bibbs",
"Indiana"
] |
|
15067_NT | Glory (sculpture) | Focus on this artwork and analyze the abstract. | Glory is a sculpture created by American artist Garry R. Bibbs in 1999. The sculpture is installed above the entrance to the J. F. Miller Center, at the corner of West Michigan Street in Indianapolis, Indiana. Glory is made from fabricated steel and bronze. Angels and trumpets are the two distinct images visible within the sculpture. The sculpture is very large, with dimensions of 80 ft x 40 ft x 1 ft. Gibbs signed his name to the sculpture and included a copyright sign. | [
"bronze",
"copyright",
"Indianapolis",
"trumpets",
"sculpture",
"Angel",
"steel",
"Indianapolis, Indiana",
"Garry R. Bibbs",
"Indiana"
] |
|
15068_T | Glory (sculpture) | In Glory (sculpture), how is the Commission discussed? | The sculpture was commissioned by Joseph F. Miller, founder of the J. F. Miller Center. The dedication date is listed as March 1999. The Center on West Michigan Street used to house the Second Baptist Church, one of the city's oldest African-American Baptist churches, until it moved in 2002. The building was renovated to house offices, as the Miller Center, which commissioned the sculpture.Bibbs drew inspiration from the Bible's Book of Ezekiel, from African-American heritage and from an African-American medical clinic located nearby. | [
"sculpture",
"Book of Ezekiel",
"African-American",
"Baptist"
] |
|
15068_NT | Glory (sculpture) | In this artwork, how is the Commission discussed? | The sculpture was commissioned by Joseph F. Miller, founder of the J. F. Miller Center. The dedication date is listed as March 1999. The Center on West Michigan Street used to house the Second Baptist Church, one of the city's oldest African-American Baptist churches, until it moved in 2002. The building was renovated to house offices, as the Miller Center, which commissioned the sculpture.Bibbs drew inspiration from the Bible's Book of Ezekiel, from African-American heritage and from an African-American medical clinic located nearby. | [
"sculpture",
"Book of Ezekiel",
"African-American",
"Baptist"
] |
|
15069_T | Glory (sculpture) | Focus on Glory (sculpture) and explore the Artist. | Garry R. Bibbs is an associate professor, head of sculpture and director of graduate studies at the University of Kentucky. He received a Ford Foundation Post-Doctoral Fellowship, which allowed him to study with internationally renowned sculptor Richard Hunt, at the School of the Art Institute of Chicago, Illinois. He was recipient of a 1996 Southern Arts Federation, National Endowment for the Arts Visual Arts Fellowship for Outstanding Printmaker in the Southern States. His exhibition history includes showings at the Smithsonian in Washington, D.C., the Raus in Indianapolis, Indiana, the Hertz Gallery in Louisville, Kentucky, the Art Institute of Chicago in Chicago, Illinois, and the Contemporary Arts Center in Cincinnati, Ohio. His works are in the collections of the High Museum in Atlanta, Georgia, Southern Illinois University, Edwardsville, Illinois, ATT Corporation–York City, Brown-Forman Corporation, Commonwealth Insurance, the Brown-Williamson Tobacco Corporation, the Robert Derden Collection, the Richard Hunt Collection, the Louisville City Fire Department and the Living Arts and Science Center in Lexington, Kentucky. Bibbs a member of the Pew Civic Entrepreneur Initiative, a coalition group in Lexington whose goal is to confront and solve issues relevant to the community on race relations and leadership. He received a Bachelor of Science from Kentucky State University and a Master of Fine Arts from the University of Kentucky before his postdoctoral work at the School of the Art Institute of Chicago. | [
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"School of the Art Institute of Chicago",
"High Museum",
"Atlanta, Georgia",
"University of Kentucky",
"Indianapolis",
"Washington, D.C.",
"sculpture",
"Chicago, Illinois",
"Lexington, Kentucky",
"Southern Illinois University",
"Atlanta",
"Indianapolis, Indiana",
"Richard Hunt",
"Louisville, Kentucky",
"Contemporary Arts Center",
"Garry R. Bibbs",
"Indiana",
"Chicago",
"Kentucky State University",
"Bachelor of Science",
"Master of Fine Arts",
"Cincinnati, Ohio",
"Edwardsville, Illinois",
"Cincinnati"
] |
|
15069_NT | Glory (sculpture) | Focus on this artwork and explore the Artist. | Garry R. Bibbs is an associate professor, head of sculpture and director of graduate studies at the University of Kentucky. He received a Ford Foundation Post-Doctoral Fellowship, which allowed him to study with internationally renowned sculptor Richard Hunt, at the School of the Art Institute of Chicago, Illinois. He was recipient of a 1996 Southern Arts Federation, National Endowment for the Arts Visual Arts Fellowship for Outstanding Printmaker in the Southern States. His exhibition history includes showings at the Smithsonian in Washington, D.C., the Raus in Indianapolis, Indiana, the Hertz Gallery in Louisville, Kentucky, the Art Institute of Chicago in Chicago, Illinois, and the Contemporary Arts Center in Cincinnati, Ohio. His works are in the collections of the High Museum in Atlanta, Georgia, Southern Illinois University, Edwardsville, Illinois, ATT Corporation–York City, Brown-Forman Corporation, Commonwealth Insurance, the Brown-Williamson Tobacco Corporation, the Robert Derden Collection, the Richard Hunt Collection, the Louisville City Fire Department and the Living Arts and Science Center in Lexington, Kentucky. Bibbs a member of the Pew Civic Entrepreneur Initiative, a coalition group in Lexington whose goal is to confront and solve issues relevant to the community on race relations and leadership. He received a Bachelor of Science from Kentucky State University and a Master of Fine Arts from the University of Kentucky before his postdoctoral work at the School of the Art Institute of Chicago. | [
"Smithsonian",
"School of the Art Institute of Chicago",
"High Museum",
"Atlanta, Georgia",
"University of Kentucky",
"Indianapolis",
"Washington, D.C.",
"sculpture",
"Chicago, Illinois",
"Lexington, Kentucky",
"Southern Illinois University",
"Atlanta",
"Indianapolis, Indiana",
"Richard Hunt",
"Louisville, Kentucky",
"Contemporary Arts Center",
"Garry R. Bibbs",
"Indiana",
"Chicago",
"Kentucky State University",
"Bachelor of Science",
"Master of Fine Arts",
"Cincinnati, Ohio",
"Edwardsville, Illinois",
"Cincinnati"
] |
|
15070_T | Glory (sculpture) | In the context of Glory (sculpture), explain the Artist statement of the Artist. | In his artist's statement for another sculpture, Bibbs wrote, "Through my art, I want to share honesty about my human experiences, my African American heritage and my environment, whether it is good, bad or indifferent. Life is so precious, so it is important that my viewers feel enlightened, uplifted and free. They should be made aware that there is an answer, a power and a glory. So live a good life and be gracious in God’s creative beauty, which we are given to use as we call, the ARTS."According to Glory-June Greiff, who wrote the book Remembrance, Faith And Fancy, Garry R. Bibbs drew on "the building's past using images of angels and trumpets of Gabriel - or are they from long gone jazz clubs of nearby Indiana Avenue?" | [
"trumpets",
"sculpture",
"jazz",
"Garry R. Bibbs",
"Indiana",
"angels"
] |
|
15070_NT | Glory (sculpture) | In the context of this artwork, explain the Artist statement of the Artist. | In his artist's statement for another sculpture, Bibbs wrote, "Through my art, I want to share honesty about my human experiences, my African American heritage and my environment, whether it is good, bad or indifferent. Life is so precious, so it is important that my viewers feel enlightened, uplifted and free. They should be made aware that there is an answer, a power and a glory. So live a good life and be gracious in God’s creative beauty, which we are given to use as we call, the ARTS."According to Glory-June Greiff, who wrote the book Remembrance, Faith And Fancy, Garry R. Bibbs drew on "the building's past using images of angels and trumpets of Gabriel - or are they from long gone jazz clubs of nearby Indiana Avenue?" | [
"trumpets",
"sculpture",
"jazz",
"Garry R. Bibbs",
"Indiana",
"angels"
] |
|
15071_T | Beethoven Frieze | Explore the abstract of this artwork, Beethoven Frieze. | The Beethoven Frieze (German: Beethovenfries) is a painting by Gustav Klimt on display in the Secession Building, Vienna, Austria. | [
"Secession Building",
"Frieze",
"Gustav Klimt",
"Vienna"
] |
|
15071_NT | Beethoven Frieze | Explore the abstract of this artwork. | The Beethoven Frieze (German: Beethovenfries) is a painting by Gustav Klimt on display in the Secession Building, Vienna, Austria. | [
"Secession Building",
"Frieze",
"Gustav Klimt",
"Vienna"
] |
|
15072_T | Beethoven Frieze | Focus on Beethoven Frieze and discuss the Description. | In 1902, Klimt painted the Beethoven Frieze for the Fourteenth Vienna Secession exhibition in celebration of 75th anniversary of the composer Ludwig van Beethoven's death. It was featured alongside a monumental polychrome sculpture by Max Klinger. Meant for the exhibition only, the frieze was painted directly on the walls with light materials.The frieze is large, standing at 2.15 m (7 ft 1 in) high with a width of 34.14 m (112.0 ft). The entire work weighs four tons. It is based on the composer Richard Wagner's interpretation of Beethoven's Ninth symphony.The frieze combined Ancient Greek, Byzantine, early medieval, and Japanese art styles, while incorporating Klimt's characteristic use of gold leaf. Its left side begins with genii floating toward a knight, driving him to protect mankind's happiness. The middle panel displays personified threats to society, such as lust, typhus, and syphilis. Its right wall culminates with the genii leading humanity to happiness through poetry, choir singing, and a loving embrace. | [
"poetry",
"Ludwig van Beethoven",
"frieze",
"genii",
"choir singing",
"Ancient Greek",
"Japanese",
"early medieval",
"typhus",
"Frieze",
"knight",
"Ludwig van Beethoven's",
"gold leaf",
"Vienna",
"Ninth symphony",
"Byzantine",
"Japanese art",
"Beethoven's",
"Max Klinger",
"lust",
"Vienna Secession",
"syphilis",
"Richard Wagner"
] |
|
15072_NT | Beethoven Frieze | Focus on this artwork and discuss the Description. | In 1902, Klimt painted the Beethoven Frieze for the Fourteenth Vienna Secession exhibition in celebration of 75th anniversary of the composer Ludwig van Beethoven's death. It was featured alongside a monumental polychrome sculpture by Max Klinger. Meant for the exhibition only, the frieze was painted directly on the walls with light materials.The frieze is large, standing at 2.15 m (7 ft 1 in) high with a width of 34.14 m (112.0 ft). The entire work weighs four tons. It is based on the composer Richard Wagner's interpretation of Beethoven's Ninth symphony.The frieze combined Ancient Greek, Byzantine, early medieval, and Japanese art styles, while incorporating Klimt's characteristic use of gold leaf. Its left side begins with genii floating toward a knight, driving him to protect mankind's happiness. The middle panel displays personified threats to society, such as lust, typhus, and syphilis. Its right wall culminates with the genii leading humanity to happiness through poetry, choir singing, and a loving embrace. | [
"poetry",
"Ludwig van Beethoven",
"frieze",
"genii",
"choir singing",
"Ancient Greek",
"Japanese",
"early medieval",
"typhus",
"Frieze",
"knight",
"Ludwig van Beethoven's",
"gold leaf",
"Vienna",
"Ninth symphony",
"Byzantine",
"Japanese art",
"Beethoven's",
"Max Klinger",
"lust",
"Vienna Secession",
"syphilis",
"Richard Wagner"
] |
|
15073_T | Beethoven Frieze | How does Beethoven Frieze elucidate its History? | In 1903, art collector Carl Reininghaus acquired the Klimt's Beethoven Frieze to prevent its destruction after the 14th Vienna Secession. In appreciation for preserving his work, Klimt provided Reininghaus with over 100 preparatory sketches, one of which was sold to the Museum of Fine Arts, Boston in 1964. Industrialist August Lederer was pressured by his wife, Serena, to acquire the frieze and many of these sketches in 1915.During the 1938 German annexation of Austria, the widowed Serena Lederer was forced to abandon her art collection as she fled to Switzerland to avoid Nazi persecution for her Jewish faith. After the painting was recovered by Allied forces from the Altaussee salt mine in Austria in 1945, it was returned to Serena's son, Erich Lederer. In 1973, Erich was forced to sell the frieze for $750,000 (half of its market value) to the Austrian government in exchange for Chancellor Bruno Kreisky granting export licenses for the Lederer family's other Klint pieces.Over ten years, Manfred Koller of the Austrian Federal Monuments Office restored the piece. After the Secession Building built a climate-controlled basement room in 1985, the Österreichische Galerie Belvedere permanently loaned the piece, publicly displaying the piece since 1986. In 2020, museum visitors were provided with headphones to hear Beethoven's Ninth Symphony while viewing the frieze in celebration of the composer's 250th birthday.In 2013, members of the Lederer family filed a claim for the Beethoven Frieze to be returned. However, the Austrian Art Restitution Advisory Board rejected this request in 2015, finding that Erich Lederer had voluntarily negotiated the sale price and that the Austrian government had significantly invested in its restoration at the Secession Building. | [
"Federal Monuments Office",
"frieze",
"Serena Lederer",
"Jewish",
"Secession Building",
"Frieze",
"German annexation of Austria",
"Nazi",
"Österreichische Galerie Belvedere",
"Allied forces",
"Altaussee salt mine",
"Bruno Kreisky",
"Vienna",
"market value",
"Switzerland",
"Serena",
"Beethoven's",
"Vienna Secession",
"Chancellor",
"Museum of Fine Arts, Boston",
"August Lederer"
] |
|
15073_NT | Beethoven Frieze | How does this artwork elucidate its History? | In 1903, art collector Carl Reininghaus acquired the Klimt's Beethoven Frieze to prevent its destruction after the 14th Vienna Secession. In appreciation for preserving his work, Klimt provided Reininghaus with over 100 preparatory sketches, one of which was sold to the Museum of Fine Arts, Boston in 1964. Industrialist August Lederer was pressured by his wife, Serena, to acquire the frieze and many of these sketches in 1915.During the 1938 German annexation of Austria, the widowed Serena Lederer was forced to abandon her art collection as she fled to Switzerland to avoid Nazi persecution for her Jewish faith. After the painting was recovered by Allied forces from the Altaussee salt mine in Austria in 1945, it was returned to Serena's son, Erich Lederer. In 1973, Erich was forced to sell the frieze for $750,000 (half of its market value) to the Austrian government in exchange for Chancellor Bruno Kreisky granting export licenses for the Lederer family's other Klint pieces.Over ten years, Manfred Koller of the Austrian Federal Monuments Office restored the piece. After the Secession Building built a climate-controlled basement room in 1985, the Österreichische Galerie Belvedere permanently loaned the piece, publicly displaying the piece since 1986. In 2020, museum visitors were provided with headphones to hear Beethoven's Ninth Symphony while viewing the frieze in celebration of the composer's 250th birthday.In 2013, members of the Lederer family filed a claim for the Beethoven Frieze to be returned. However, the Austrian Art Restitution Advisory Board rejected this request in 2015, finding that Erich Lederer had voluntarily negotiated the sale price and that the Austrian government had significantly invested in its restoration at the Secession Building. | [
"Federal Monuments Office",
"frieze",
"Serena Lederer",
"Jewish",
"Secession Building",
"Frieze",
"German annexation of Austria",
"Nazi",
"Österreichische Galerie Belvedere",
"Allied forces",
"Altaussee salt mine",
"Bruno Kreisky",
"Vienna",
"market value",
"Switzerland",
"Serena",
"Beethoven's",
"Vienna Secession",
"Chancellor",
"Museum of Fine Arts, Boston",
"August Lederer"
] |
|
15074_T | Beethoven Frieze | Focus on Beethoven Frieze and analyze the Commemorative coin. | Because of the frieze's fame and popularity, it was made the main motif of a collectors' coin: the Austrian 100 euro Secession Coin, minted on 10 November 2004. The reverse side features a small portion of the frieze. The extract from the painting features three figures: a knight in armor representing "Armored Strength", one woman in the background symbolizing "Ambition" holding up a wreath of victory and a second woman representing "Sympathy" with lowered head and clasped hands. | [
"Secession Coin",
"frieze",
"knight"
] |
|
15074_NT | Beethoven Frieze | Focus on this artwork and analyze the Commemorative coin. | Because of the frieze's fame and popularity, it was made the main motif of a collectors' coin: the Austrian 100 euro Secession Coin, minted on 10 November 2004. The reverse side features a small portion of the frieze. The extract from the painting features three figures: a knight in armor representing "Armored Strength", one woman in the background symbolizing "Ambition" holding up a wreath of victory and a second woman representing "Sympathy" with lowered head and clasped hands. | [
"Secession Coin",
"frieze",
"knight"
] |
|
15075_T | Happy-Go-Luckies of Nature and Technology | In Happy-Go-Luckies of Nature and Technology, how is the abstract discussed? | Happy-Go-Luckies of Nature and Technology is a public artwork by German artist Guido Brink located on the University of Wisconsin–Milwaukee campus, which is near Milwaukee, Wisconsin, United States. The sculpture is a steel structure that is painted red. It was dedicated at UWM's Lapham Hall on October 23, 1992. | [
"Milwaukee, Wisconsin",
"steel",
"Guido Brink",
"Milwaukee",
"German",
"University of Wisconsin–Milwaukee"
] |
|
15075_NT | Happy-Go-Luckies of Nature and Technology | In this artwork, how is the abstract discussed? | Happy-Go-Luckies of Nature and Technology is a public artwork by German artist Guido Brink located on the University of Wisconsin–Milwaukee campus, which is near Milwaukee, Wisconsin, United States. The sculpture is a steel structure that is painted red. It was dedicated at UWM's Lapham Hall on October 23, 1992. | [
"Milwaukee, Wisconsin",
"steel",
"Guido Brink",
"Milwaukee",
"German",
"University of Wisconsin–Milwaukee"
] |
|
15076_T | Happy-Go-Luckies of Nature and Technology | Focus on Happy-Go-Luckies of Nature and Technology and explore the Historical information. | The sculpture was funded by the Wisconsin Percent for Art program as part of Lapham Hall's new addition. It was commissioned by the University of Wisconsin-Milwaukee. Happy-Go-Luckies of Nature and Technology was installed by the artist on the south side of Lapham Hall and dedicated in October 1992. | [
"Percent for Art",
"Milwaukee"
] |
|
15076_NT | Happy-Go-Luckies of Nature and Technology | Focus on this artwork and explore the Historical information. | The sculpture was funded by the Wisconsin Percent for Art program as part of Lapham Hall's new addition. It was commissioned by the University of Wisconsin-Milwaukee. Happy-Go-Luckies of Nature and Technology was installed by the artist on the south side of Lapham Hall and dedicated in October 1992. | [
"Percent for Art",
"Milwaukee"
] |
|
15077_T | Happy-Go-Luckies of Nature and Technology | Focus on Happy-Go-Luckies of Nature and Technology and explain the Artist. | Guido Brink was born in Düsseldorf, Germany in 1913. He came to New York as a teenager with the purpose of working at A.L. Brink Studios, his uncle's stained glass studio. The artist returned to Germany after three years in the United States, and attended the State Academy of Fine Arts in Düsseldorf where he studied under Maximillian Clarenbach. "Brink vividly recalls his experience as a young art student compelled by Hitler, along with other art students, to view the famous 1937 exhibition of Degenerate Art, organized at the former Munich Architectural Institute. Contrary to Hitler's intentions, the young artists were excited by the so-called degenerate art and would in time develop new directions in their own work inspired by the modern art of the condemned artists." He was drafted by the German Army upon graduation and sent to Russia, where he fought on the front. The artist moved to New York City with his wife Ello in 1952. "The couple came to Milwaukee in 1953 for Brink to work as a stained glass window artist for the Conrad Schmitt Studios. They settled in Milwaukee where Ello worked as architectural critic for The Milwaukee Journal; in 1953 Guido became a faculty member at the Layton School of Art where he remained until its closing in 1974." Brink began his career as a painter, yet was intrigued by three-dimensional works. He thus turned to Milwaukee's craftspeople to translate his paintings into sculpture. For more than twenty years Brink was an artists in residence at Super Steel Products Corporation where he produced his humanoid sculptures. "These flat, angular profiles positioned in poetic angles are free-standing works, mostly in brightly painted metal. Sometimes referred to as "Techno-Spirits," these sculptures are the artist's signature works." Happy-Go-Luckies of Nature and Technology falls into this category. | [
"Layton School of Art",
"Guido Brink",
"Steel",
"Milwaukee",
"German",
"Düsseldorf",
"Milwaukee Journal",
"degenerate art",
"Germany",
"Russia"
] |
|
15077_NT | Happy-Go-Luckies of Nature and Technology | Focus on this artwork and explain the Artist. | Guido Brink was born in Düsseldorf, Germany in 1913. He came to New York as a teenager with the purpose of working at A.L. Brink Studios, his uncle's stained glass studio. The artist returned to Germany after three years in the United States, and attended the State Academy of Fine Arts in Düsseldorf where he studied under Maximillian Clarenbach. "Brink vividly recalls his experience as a young art student compelled by Hitler, along with other art students, to view the famous 1937 exhibition of Degenerate Art, organized at the former Munich Architectural Institute. Contrary to Hitler's intentions, the young artists were excited by the so-called degenerate art and would in time develop new directions in their own work inspired by the modern art of the condemned artists." He was drafted by the German Army upon graduation and sent to Russia, where he fought on the front. The artist moved to New York City with his wife Ello in 1952. "The couple came to Milwaukee in 1953 for Brink to work as a stained glass window artist for the Conrad Schmitt Studios. They settled in Milwaukee where Ello worked as architectural critic for The Milwaukee Journal; in 1953 Guido became a faculty member at the Layton School of Art where he remained until its closing in 1974." Brink began his career as a painter, yet was intrigued by three-dimensional works. He thus turned to Milwaukee's craftspeople to translate his paintings into sculpture. For more than twenty years Brink was an artists in residence at Super Steel Products Corporation where he produced his humanoid sculptures. "These flat, angular profiles positioned in poetic angles are free-standing works, mostly in brightly painted metal. Sometimes referred to as "Techno-Spirits," these sculptures are the artist's signature works." Happy-Go-Luckies of Nature and Technology falls into this category. | [
"Layton School of Art",
"Guido Brink",
"Steel",
"Milwaukee",
"German",
"Düsseldorf",
"Milwaukee Journal",
"degenerate art",
"Germany",
"Russia"
] |
|
15078_T | Equestrian Portrait of Count Stanislas Potocki | In the context of Equestrian Portrait of Count Stanislas Potocki, discuss the Jacques-Louis David (1748–1824) of the Historical context. | Jacques-Louis David was a major French representative of Neo-Classicism, a 19th-century style in European academic art profoundly influenced by the aesthetic order and monumentality of classical antiquity. Between 1775 and 1780, David lived in Rome, where he was influenced by the paintings of Italian High Renaissance and early Baroque masters, prompting him to abandon the Rococo style, then dominant in France, in favor of an approach characterized, in the judgement of the art historian Kathryn Calley Galitz, by its precise contours, well-defined forms, and refined surfaces. David's style was also marked by a commitment to classical forms, echoing the visual language of Greek and Roman art, particularly following his visit to Naples in 1779. A prolific portraitist, David pursued commissions from an array of patrons, not only the aristocracy, but also what the art historian Allison Lee Palmer has called the "enlightened middle class". While the artist's political alliances shifted over time—he actively participated in the French Revolution before being appointed “First Painter to the Emperor” by Napoleon in 1804—David remained committed to the tenets of Neo-Classicism throughout his career. | [
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"Napoleon",
"Naples",
"Jacques-Louis David",
"commission",
"classical antiquity",
"aristocracy",
"pl",
"Baroque",
"High Renaissance",
"Italian High Renaissance",
"middle class",
"Rococo",
"Neo-Classicism",
"patrons",
"French Revolution"
] |
|
15078_NT | Equestrian Portrait of Count Stanislas Potocki | In the context of this artwork, discuss the Jacques-Louis David (1748–1824) of the Historical context. | Jacques-Louis David was a major French representative of Neo-Classicism, a 19th-century style in European academic art profoundly influenced by the aesthetic order and monumentality of classical antiquity. Between 1775 and 1780, David lived in Rome, where he was influenced by the paintings of Italian High Renaissance and early Baroque masters, prompting him to abandon the Rococo style, then dominant in France, in favor of an approach characterized, in the judgement of the art historian Kathryn Calley Galitz, by its precise contours, well-defined forms, and refined surfaces. David's style was also marked by a commitment to classical forms, echoing the visual language of Greek and Roman art, particularly following his visit to Naples in 1779. A prolific portraitist, David pursued commissions from an array of patrons, not only the aristocracy, but also what the art historian Allison Lee Palmer has called the "enlightened middle class". While the artist's political alliances shifted over time—he actively participated in the French Revolution before being appointed “First Painter to the Emperor” by Napoleon in 1804—David remained committed to the tenets of Neo-Classicism throughout his career. | [
"hat",
"Napoleon",
"Naples",
"Jacques-Louis David",
"commission",
"classical antiquity",
"aristocracy",
"pl",
"Baroque",
"High Renaissance",
"Italian High Renaissance",
"middle class",
"Rococo",
"Neo-Classicism",
"patrons",
"French Revolution"
] |
|
15079_T | Equestrian Portrait of Count Stanislas Potocki | In Equestrian Portrait of Count Stanislas Potocki, how is the Stanisław Kostka Potocki (1755–1821) of the Historical context elucidated? | Potocki reportedly first met David in Italy during the artist's 1779–1780 Grand Tour. Potocki was a Polish nobleman who would later become an influential politician in the Polish–Lithuanian Commonwealth. He traveled extensively around Europe, visiting Italy, France, Switzerland and Germany between 1772 and 1775. In 1776, he married Aleksandra Lubomirska, a member of the aristocratic Polish Lubomirski family, and began his political activity in 1778 as a deputy to the Sejm of the Polish–Lithuanian Commonwealth from the Lublin Voivodeship.Potocki was a patriot and would serve as a general during the Polish–Russian War of 1792, a decisive military conflict that precipitated the Second Partition of Poland in 1793. His contributions to the country were recognized by two state awards: the Order of Saint Stanislaus in 1780 and the Order of the White Eagle in 1781. Both distinctions would later be reflected in David's depiction of Potocki. A strong advocate for public education, he served as co-founder of the Warsaw Society of Friends of Science (Polish: Towarzystwo Przyjaciół Nauk) in 1800 and the University of Warsaw in 1816. Potocki was also an avid art collector with a strong interest in classical antiquity. He translated History of the Art of Antiquity, a 1764 treatise by the German art historian Johann Joachim Winckelmann, into Polish. A comprehensive scholarly study of the history of Western ancient art, Winckelmann's book had a profound influence on the evolution of Neo-Classical art across Europe. | [
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"Aleksandra Lubomirska",
"Polish–Russian War of 1792",
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"Polish–Lithuanian Commonwealth",
"classical antiquity",
"Order of Saint Stanislaus",
"nobleman",
"patriot",
"Neo-Classical",
"Second Partition of Poland",
"Stanisław Kostka Potocki",
"art collector",
"Grand Tour",
"Lublin Voivodeship",
"politician",
"Johann Joachim Winckelmann",
"Lubomirski",
"Order of the White Eagle",
"Sejm of the Polish–Lithuanian Commonwealth"
] |
|
15079_NT | Equestrian Portrait of Count Stanislas Potocki | In this artwork, how is the Stanisław Kostka Potocki (1755–1821) of the Historical context elucidated? | Potocki reportedly first met David in Italy during the artist's 1779–1780 Grand Tour. Potocki was a Polish nobleman who would later become an influential politician in the Polish–Lithuanian Commonwealth. He traveled extensively around Europe, visiting Italy, France, Switzerland and Germany between 1772 and 1775. In 1776, he married Aleksandra Lubomirska, a member of the aristocratic Polish Lubomirski family, and began his political activity in 1778 as a deputy to the Sejm of the Polish–Lithuanian Commonwealth from the Lublin Voivodeship.Potocki was a patriot and would serve as a general during the Polish–Russian War of 1792, a decisive military conflict that precipitated the Second Partition of Poland in 1793. His contributions to the country were recognized by two state awards: the Order of Saint Stanislaus in 1780 and the Order of the White Eagle in 1781. Both distinctions would later be reflected in David's depiction of Potocki. A strong advocate for public education, he served as co-founder of the Warsaw Society of Friends of Science (Polish: Towarzystwo Przyjaciół Nauk) in 1800 and the University of Warsaw in 1816. Potocki was also an avid art collector with a strong interest in classical antiquity. He translated History of the Art of Antiquity, a 1764 treatise by the German art historian Johann Joachim Winckelmann, into Polish. A comprehensive scholarly study of the history of Western ancient art, Winckelmann's book had a profound influence on the evolution of Neo-Classical art across Europe. | [
"hat",
"Aleksandra Lubomirska",
"Polish–Russian War of 1792",
"University of Warsaw",
"general",
"Warsaw",
"Warsaw Society of Friends of Science",
"Potocki",
"Polish–Lithuanian Commonwealth",
"classical antiquity",
"Order of Saint Stanislaus",
"nobleman",
"patriot",
"Neo-Classical",
"Second Partition of Poland",
"Stanisław Kostka Potocki",
"art collector",
"Grand Tour",
"Lublin Voivodeship",
"politician",
"Johann Joachim Winckelmann",
"Lubomirski",
"Order of the White Eagle",
"Sejm of the Polish–Lithuanian Commonwealth"
] |
|
15080_T | Equestrian Portrait of Count Stanislas Potocki | Focus on Equestrian Portrait of Count Stanislas Potocki and analyze the Commission. | While Potocki's travels to Italy between 1779 and 1780, as well as his subsequent encounter with David, have been well documented, the exact circumstances of the portrait's commission remain a subject of scholarly debate. Some art historians propose that Potocki directly requested that David paint his portrait sometime in 1780. A collection catalogue published by the Potocki family in 1834 mentioned that "the portrait was completed in Paris after a sketch made from life in the Naples Riding School".This version of events was later confirmed by David's grandson, Jacques-Louis-Jules David, who in 1880 published an album titled Le peintre Louis David 1748–1825 celebrating the artist's oeuvre. He claimed that Ferdinand IV of Naples commissioned the painting in 1780 after Potocki had visited him in Naples. According to Jacques-Louis-Jules, Potocki impressed the king by taming a wild horse during a hunting trip, leading Ferdinand to request an equestrian portrait from David. This led some scholars to believe that David had begun painting the work in Rome in 1780 before finishing it in Paris in 1781 and exhibiting it in the same year at the Paris Salon , an official art exhibition organized by the members of the Royal Academy of Painting and Sculpture (Académie royale de peinture et de sculpture). In the 1960s, Polish art historian Andrzej Ryszkiewicz challenged this narrative, asserting a lack of historical evidence to confirm that the 1780 encounter between David and Potocki in Naples had ever transpired.While Ryszkiewicz's claim influenced art historical research into the origins of the work in the subsequent decades, a 2019 conservation report from the Museum of King Jan III's Palace in Wilanów lent credibility to the account of David's grandson. The report analyzed x-rays of the original painting and an early modello of the composition—a preparatory study drawing initially believed to be a 19th-century sketch. The drawing portrays Potocki adorned with the Order of St. Stanislaus ribbon, awarded in 1780, rather than the Polish Order of the White Eagle, which he received in 1781. These findings led researchers to conclude that the 1780 drawing was an original work by David, created in Naples. Additionally, the x-rays exposed red paint beneath the existing blue ribbon, further substantiating the notion that the painting's initial design was meant to showcase the Order of St. Stanislaus. | [
"hat",
"Museum of King Jan III's Palace",
"Naples",
"Royal Academy of Painting and Sculpture",
"Salon",
"Polish Order of the White Eagle",
"Potocki",
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"conservation",
"taming",
"commission",
"modello",
"Académie royale de peinture et de sculpture",
"pl",
"Ferdinand IV of Naples",
"Wilanów",
"Order of St. Stanislaus",
"historical evidence",
"Palace",
"equestrian portrait",
"Order of the White Eagle",
"hunting trip"
] |
|
15080_NT | Equestrian Portrait of Count Stanislas Potocki | Focus on this artwork and analyze the Commission. | While Potocki's travels to Italy between 1779 and 1780, as well as his subsequent encounter with David, have been well documented, the exact circumstances of the portrait's commission remain a subject of scholarly debate. Some art historians propose that Potocki directly requested that David paint his portrait sometime in 1780. A collection catalogue published by the Potocki family in 1834 mentioned that "the portrait was completed in Paris after a sketch made from life in the Naples Riding School".This version of events was later confirmed by David's grandson, Jacques-Louis-Jules David, who in 1880 published an album titled Le peintre Louis David 1748–1825 celebrating the artist's oeuvre. He claimed that Ferdinand IV of Naples commissioned the painting in 1780 after Potocki had visited him in Naples. According to Jacques-Louis-Jules, Potocki impressed the king by taming a wild horse during a hunting trip, leading Ferdinand to request an equestrian portrait from David. This led some scholars to believe that David had begun painting the work in Rome in 1780 before finishing it in Paris in 1781 and exhibiting it in the same year at the Paris Salon , an official art exhibition organized by the members of the Royal Academy of Painting and Sculpture (Académie royale de peinture et de sculpture). In the 1960s, Polish art historian Andrzej Ryszkiewicz challenged this narrative, asserting a lack of historical evidence to confirm that the 1780 encounter between David and Potocki in Naples had ever transpired.While Ryszkiewicz's claim influenced art historical research into the origins of the work in the subsequent decades, a 2019 conservation report from the Museum of King Jan III's Palace in Wilanów lent credibility to the account of David's grandson. The report analyzed x-rays of the original painting and an early modello of the composition—a preparatory study drawing initially believed to be a 19th-century sketch. The drawing portrays Potocki adorned with the Order of St. Stanislaus ribbon, awarded in 1780, rather than the Polish Order of the White Eagle, which he received in 1781. These findings led researchers to conclude that the 1780 drawing was an original work by David, created in Naples. Additionally, the x-rays exposed red paint beneath the existing blue ribbon, further substantiating the notion that the painting's initial design was meant to showcase the Order of St. Stanislaus. | [
"hat",
"Museum of King Jan III's Palace",
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"Royal Academy of Painting and Sculpture",
"Salon",
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"conservation",
"taming",
"commission",
"modello",
"Académie royale de peinture et de sculpture",
"pl",
"Ferdinand IV of Naples",
"Wilanów",
"Order of St. Stanislaus",
"historical evidence",
"Palace",
"equestrian portrait",
"Order of the White Eagle",
"hunting trip"
] |
|
15081_T | Equestrian Portrait of Count Stanislas Potocki | In the context of Equestrian Portrait of Count Stanislas Potocki, explore the Description of the Analysis. | David depicts Potocki on horseback against a grey wall on top of which two classical columns are placed. Art historian Antoine Schnapper notes that the presence of straw beneath the horse's hooves could suggest a stable setting, while the "stately architecture" in the background might hint at an imaginary or idealized backdrop. Potocki is depicted with no coat and only the blue sash of the Polish Order of the White Eagle, the country's highest civilian order, indicates his rank. He is attired in what Palmer characterized as the "finest" clothing: yellow trousers and a white shirt. Potocki is seen removing his hat in a cordial greeting to the viewer, as the horse lowers its head. In the lower left-hand corner, a dog can be observed barking at the horse. | [
"hat",
"Polish Order of the White Eagle",
"Potocki",
"horseback",
"pl",
"hooves",
"Antoine Schnapper",
"straw",
"shirt",
"stable",
"column",
"trousers",
"Order of the White Eagle"
] |
|
15081_NT | Equestrian Portrait of Count Stanislas Potocki | In the context of this artwork, explore the Description of the Analysis. | David depicts Potocki on horseback against a grey wall on top of which two classical columns are placed. Art historian Antoine Schnapper notes that the presence of straw beneath the horse's hooves could suggest a stable setting, while the "stately architecture" in the background might hint at an imaginary or idealized backdrop. Potocki is depicted with no coat and only the blue sash of the Polish Order of the White Eagle, the country's highest civilian order, indicates his rank. He is attired in what Palmer characterized as the "finest" clothing: yellow trousers and a white shirt. Potocki is seen removing his hat in a cordial greeting to the viewer, as the horse lowers its head. In the lower left-hand corner, a dog can be observed barking at the horse. | [
"hat",
"Polish Order of the White Eagle",
"Potocki",
"horseback",
"pl",
"hooves",
"Antoine Schnapper",
"straw",
"shirt",
"stable",
"column",
"trousers",
"Order of the White Eagle"
] |
|
15082_T | Equestrian Portrait of Count Stanislas Potocki | In the context of Equestrian Portrait of Count Stanislas Potocki, explain the Influences and scholarship of the Analysis. | The portrait has been described as one of David's masterpieces, and marking the return to prominence of equestrian portraiture in European late 18th-century painting. The art historian Lorenz Eitner notes the influence of two 17th-century Flemish Baroque painters, Peter Paul Rubens and Anthony van Dyck, on David's 1781 portrait, and argues that the painting "offers a premonition of the manner in which [David] was later to treat modern, national subjects". According to Antoine Schnapper, the painting recalls van Dyck's 1634 equestrian portrait of Thomas Francis, Prince of Carignano, a sketch of which David had completed prior to painting the Polish nobleman.Schnapper also concludes that the "horse's forequarters" correspond to a 17th-century tapestry fragment illustrating the story of Publius Decius Mus, a 4th-century BCE Roman consul known for sacrificing himself during the Second Latin War. The tapestry, designed after a composition originally painted by Rubens in 1618, had been copied by David sometime prior to 1780 and later exhibited at the Louvre. The importance of Rubens is also noted by the American art historian Robert Rosenblum who described the horse in Potocki's portrait as a "Rubensian stallion". In examining the formal qualities of the composition, the French scholar of 18th-century art Charlotte Guichard highlights the atypical placement of the artist's signature found on the dog's golden collar in the bottom left corner of the painting. She suggests that by "breaking dynamically into the space of representation, David's glittering name shines forth, catching the light and the viewer's attention".Scholars have also addressed the political resonance of the painting. According to Palmer, the portrait might symbolize the "prerevolutionary debate" of whether the nobility were "superior merely by blood or also of mind". Analyzing Eastern European representation in the late 18th-century Western art, historian Larry Wolff considers that the motif of horsemanship alluded to the "taming and harnessing" of Eastern Europe more broadly, in common with other works of art from the 1780s. He observes that "the Polish nobleman astride a perfectly poised, intensely muscled horse, head bent in submission beneath a dramatic mane" is depicted with great discipline. Moreover, the French art historian Philippe Bordes positions the painting alongside David's other contemporary portraits of prominent social figures—including the 1788 depiction of the French chemist Antoine-Laurent Lavoisier and his wife Marie-Anne Pierrette Paulze—created by an artist he asserts was "determined to engage his talent to climb the social ladder". | [
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"formal",
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"masterpiece",
"1788 depiction of the French chemist Antoine-Laurent Lavoisier and his wife",
"Potocki",
"Thomas Francis, Prince of Carignano",
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"Roman consul",
"Anthony van Dyck",
"taming",
"nobleman",
"Louvre",
"Flemish Baroque",
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"Lorenz Eitner",
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"Rubens",
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"Second Latin War",
"sacrificing"
] |
|
15082_NT | Equestrian Portrait of Count Stanislas Potocki | In the context of this artwork, explain the Influences and scholarship of the Analysis. | The portrait has been described as one of David's masterpieces, and marking the return to prominence of equestrian portraiture in European late 18th-century painting. The art historian Lorenz Eitner notes the influence of two 17th-century Flemish Baroque painters, Peter Paul Rubens and Anthony van Dyck, on David's 1781 portrait, and argues that the painting "offers a premonition of the manner in which [David] was later to treat modern, national subjects". According to Antoine Schnapper, the painting recalls van Dyck's 1634 equestrian portrait of Thomas Francis, Prince of Carignano, a sketch of which David had completed prior to painting the Polish nobleman.Schnapper also concludes that the "horse's forequarters" correspond to a 17th-century tapestry fragment illustrating the story of Publius Decius Mus, a 4th-century BCE Roman consul known for sacrificing himself during the Second Latin War. The tapestry, designed after a composition originally painted by Rubens in 1618, had been copied by David sometime prior to 1780 and later exhibited at the Louvre. The importance of Rubens is also noted by the American art historian Robert Rosenblum who described the horse in Potocki's portrait as a "Rubensian stallion". In examining the formal qualities of the composition, the French scholar of 18th-century art Charlotte Guichard highlights the atypical placement of the artist's signature found on the dog's golden collar in the bottom left corner of the painting. She suggests that by "breaking dynamically into the space of representation, David's glittering name shines forth, catching the light and the viewer's attention".Scholars have also addressed the political resonance of the painting. According to Palmer, the portrait might symbolize the "prerevolutionary debate" of whether the nobility were "superior merely by blood or also of mind". Analyzing Eastern European representation in the late 18th-century Western art, historian Larry Wolff considers that the motif of horsemanship alluded to the "taming and harnessing" of Eastern Europe more broadly, in common with other works of art from the 1780s. He observes that "the Polish nobleman astride a perfectly poised, intensely muscled horse, head bent in submission beneath a dramatic mane" is depicted with great discipline. Moreover, the French art historian Philippe Bordes positions the painting alongside David's other contemporary portraits of prominent social figures—including the 1788 depiction of the French chemist Antoine-Laurent Lavoisier and his wife Marie-Anne Pierrette Paulze—created by an artist he asserts was "determined to engage his talent to climb the social ladder". | [
"hat",
"formal",
"Peter Paul Rubens",
"masterpiece",
"1788 depiction of the French chemist Antoine-Laurent Lavoisier and his wife",
"Potocki",
"Thomas Francis, Prince of Carignano",
"tapestry",
"Roman consul",
"Anthony van Dyck",
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"Louvre",
"Flemish Baroque",
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"Lorenz Eitner",
"Robert Rosenblum",
"equestrian portrait",
"Rubens",
"social ladder",
"Second Latin War",
"sacrificing"
] |
|
15083_T | Equestrian Portrait of Count Stanislas Potocki | In the context of Equestrian Portrait of Count Stanislas Potocki, discuss the Paris Salon (1781) of the Reception and ownership. | In his 1930 biographical study of the artist, art historian Richard Cantinelli noted that David began working on the Equestrian Portrait of Count Stanislas Potocki in Rome and departed for Paris on July 17, 1780. In Paris, he finished the painting and displayed it at the 1781 Salon. The exhibition was David's Salon debut and Potocki's portrait was shown alongside Belisarius Begging for Alms, Saint Roch Interceding with the Virgin for the Plague-Stricken,The Funeral Games of Patroclus, and a composition titled A Woman Suckling Her Child, all of which were praised by the French Enlightenment philosopher and prominent writer Denis Diderot. When discussing Potocki's portrait, Diderot singled out David's light color palette, which stood in contrast to history paintings completed by the artist during the same period.
[David] displays the grand manner in everything he does. He has soul, his heads have expression without affectation, his attitudes are noble and natural, he draws, he knows how to arrange drapery and make handsome folds, his color is beautiful (...)
Although Belisarius Begging for Alms has received the highest amount of praise from contemporary critics, Equestrian Portrait of Count Stanislas Potocki has since been described as one of the paintings that "cemented David's success". David's debut at the 1781 Salon proved to be an important artistic milestone and helped to establish him as "the most promising painter of the rising generation". Following its display in Paris, the portrait was sent to Warsaw, although the precise timeline of its movements remains uncertain. Existing records indicate that it was transferred to Wilanów Palace, a former royal residence near Warsaw owned by Potocki, on December 5, 1801. The Baroque palace and its accompanying gardens, originally built for King John III Sobieski and his wife Marie Casimire Louise de La Grange d'Arquien in 1681–1696, was inherited by Izabela Lubomirska, the sister of Potocki's wife Aleksandra, in 1778. | [
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"writer"
] |
|
15083_NT | Equestrian Portrait of Count Stanislas Potocki | In the context of this artwork, discuss the Paris Salon (1781) of the Reception and ownership. | In his 1930 biographical study of the artist, art historian Richard Cantinelli noted that David began working on the Equestrian Portrait of Count Stanislas Potocki in Rome and departed for Paris on July 17, 1780. In Paris, he finished the painting and displayed it at the 1781 Salon. The exhibition was David's Salon debut and Potocki's portrait was shown alongside Belisarius Begging for Alms, Saint Roch Interceding with the Virgin for the Plague-Stricken,The Funeral Games of Patroclus, and a composition titled A Woman Suckling Her Child, all of which were praised by the French Enlightenment philosopher and prominent writer Denis Diderot. When discussing Potocki's portrait, Diderot singled out David's light color palette, which stood in contrast to history paintings completed by the artist during the same period.
[David] displays the grand manner in everything he does. He has soul, his heads have expression without affectation, his attitudes are noble and natural, he draws, he knows how to arrange drapery and make handsome folds, his color is beautiful (...)
Although Belisarius Begging for Alms has received the highest amount of praise from contemporary critics, Equestrian Portrait of Count Stanislas Potocki has since been described as one of the paintings that "cemented David's success". David's debut at the 1781 Salon proved to be an important artistic milestone and helped to establish him as "the most promising painter of the rising generation". Following its display in Paris, the portrait was sent to Warsaw, although the precise timeline of its movements remains uncertain. Existing records indicate that it was transferred to Wilanów Palace, a former royal residence near Warsaw owned by Potocki, on December 5, 1801. The Baroque palace and its accompanying gardens, originally built for King John III Sobieski and his wife Marie Casimire Louise de La Grange d'Arquien in 1681–1696, was inherited by Izabela Lubomirska, the sister of Potocki's wife Aleksandra, in 1778. | [
"hat",
"Saint Roch Interceding with the Virgin for the Plague-Stricken",
"Belisarius Begging for Alms",
"Warsaw",
"Salon",
"Potocki",
"Equestrian Portrait of Count Stanislas Potocki",
"Izabela Lubomirska",
"John III Sobieski",
"color palette",
"The Funeral Games of Patroclus",
"pl",
"history painting",
"Enlightenment philosopher",
"Wilanów Palace",
"Wilanów",
"Baroque",
"Marie Casimire Louise de La Grange d'Arquien",
"Denis Diderot",
"Palace",
"Count Stanislas Potocki",
"writer"
] |
|
15084_T | Equestrian Portrait of Count Stanislas Potocki | In Equestrian Portrait of Count Stanislas Potocki, how is the Later years (1781–1939) of the Reception and ownership elucidated? | The ownership of Wilanów was transferred to Potocki in 1799, who would amass a significant collection of European and East Asian art. David's portrait of Potocki was placed on the eastern wall of the Great Hall (now known as the White Hall) of the palace. in 1805, the collection was officially opened to the public, becoming one of the first public art museums in Poland. In 1831, amid concerns of potential Russian pillaging due to the November Uprising—an armed insurrection that had erupted on 29 November 1830 against the occupying Russian Empire—the portrait of Potocki was relocated to Warsaw for safekeeping, where it remained until 1834.Placed on public display at the palace until 1864, it was then moved to private quarters to become part of the Potocki family portrait collection put together by August Potocki, Stanisław's grandson. In 1877, Aleksandra Potocka, August's widow, published an illustrated catalogue of the Wilanów collection, which included a reproduction of David's portrait of Stanisław Kostka Potocki. The ownership of the palace and the collection was subsequently passed to the Branicki family in 1892. In 1913, it was featured in David's retrospective titled David et ses Eleves at the Petit Palais in Paris. In 1932, the portrait, along with several other works by David, was shown at the Exhibition of French Art 1200–1900, an extensive survey show of French art across seven centuries, organized at the Royal Academy of Arts in London. In 1937, it was exhibited at Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris. | [
"hat",
"Petit Palais",
"art museum",
"Warsaw",
"Potocki",
"Royal Academy of Arts",
"pl",
"Russian Empire",
"retrospective",
"Stanisław Kostka Potocki",
"insurrection",
"Wilanów",
"Branicki family",
"Exposition Internationale des Arts et Techniques dans la Vie Moderne",
"November Uprising"
] |
|
15084_NT | Equestrian Portrait of Count Stanislas Potocki | In this artwork, how is the Later years (1781–1939) of the Reception and ownership elucidated? | The ownership of Wilanów was transferred to Potocki in 1799, who would amass a significant collection of European and East Asian art. David's portrait of Potocki was placed on the eastern wall of the Great Hall (now known as the White Hall) of the palace. in 1805, the collection was officially opened to the public, becoming one of the first public art museums in Poland. In 1831, amid concerns of potential Russian pillaging due to the November Uprising—an armed insurrection that had erupted on 29 November 1830 against the occupying Russian Empire—the portrait of Potocki was relocated to Warsaw for safekeeping, where it remained until 1834.Placed on public display at the palace until 1864, it was then moved to private quarters to become part of the Potocki family portrait collection put together by August Potocki, Stanisław's grandson. In 1877, Aleksandra Potocka, August's widow, published an illustrated catalogue of the Wilanów collection, which included a reproduction of David's portrait of Stanisław Kostka Potocki. The ownership of the palace and the collection was subsequently passed to the Branicki family in 1892. In 1913, it was featured in David's retrospective titled David et ses Eleves at the Petit Palais in Paris. In 1932, the portrait, along with several other works by David, was shown at the Exhibition of French Art 1200–1900, an extensive survey show of French art across seven centuries, organized at the Royal Academy of Arts in London. In 1937, it was exhibited at Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris. | [
"hat",
"Petit Palais",
"art museum",
"Warsaw",
"Potocki",
"Royal Academy of Arts",
"pl",
"Russian Empire",
"retrospective",
"Stanisław Kostka Potocki",
"insurrection",
"Wilanów",
"Branicki family",
"Exposition Internationale des Arts et Techniques dans la Vie Moderne",
"November Uprising"
] |
|
15085_T | Equestrian Portrait of Count Stanislas Potocki | In the context of Equestrian Portrait of Count Stanislas Potocki, analyze the World War II and its aftermath of the Reception and ownership. | In 1944, during World War II, Equestrian Portrait of Count Stanislas Potocki was looted by the Nazi forces. According to surviving records, the painting was stolen by a group led by the Wehrmacht General Eberhard Kinzel in December 1944, who first transported it to Świdnica and then to Germany.: 396 During Jacques-Louis David's bi-centenary exhibition in Paris in 1948, art historian Douglas Cooper described the portrait of Potocki as one of the "important works" missing from the show. In 1952, Soviet authorities informed the Polish government (by then the USSR-aligned Polish People's Republic), that they had retrieved numerous works from the Wilanów collection as part of their wider post-war restitution campaign that spanned across Germany.: 397 According to Stanisław Lorentz, who was the director of the National Museum in Warsaw at the time, the initial set of works was repatriated to Poland in the same year. The remaining works, which included the portrait by David, were returned during an official ceremony held at the Hermitage Museum in St. Petersburg (then Leningrad) in 1956.: 398 Subsequently, the portrait was placed in the collection of the National Museum in Warsaw. In 1990, after the fall of communism in Poland, the work was transferred back to Wilanów, then part of the National Museum in Warsaw, and placed on public display. In 1995, the palace became an independent national museum and in 2013, it was renamed the Museum of King John III's Palace at Wilanów. In 2016, after undergoing extensive conservation, the painting was moved from the North Hall to the White Hall, its original location during the early 1800s where David's painting remains on view as of April 2023. | [
"hat",
"Museum of King John III's Palace at Wilanów",
"Warsaw",
"National Museum in Warsaw",
"Wehrmacht",
"returned",
"Potocki",
"Jacques-Louis David",
"Equestrian Portrait of Count Stanislas Potocki",
"looted",
"conservation",
"Hermitage Museum",
"fall of communism in Poland",
"Eberhard Kinzel",
"pl",
"Wilanów",
"repatriated",
"Stanisław Lorentz",
"Palace",
"Count Stanislas Potocki",
"Soviet",
"Polish People's Republic",
"Świdnica",
"Douglas Cooper"
] |
|
15085_NT | Equestrian Portrait of Count Stanislas Potocki | In the context of this artwork, analyze the World War II and its aftermath of the Reception and ownership. | In 1944, during World War II, Equestrian Portrait of Count Stanislas Potocki was looted by the Nazi forces. According to surviving records, the painting was stolen by a group led by the Wehrmacht General Eberhard Kinzel in December 1944, who first transported it to Świdnica and then to Germany.: 396 During Jacques-Louis David's bi-centenary exhibition in Paris in 1948, art historian Douglas Cooper described the portrait of Potocki as one of the "important works" missing from the show. In 1952, Soviet authorities informed the Polish government (by then the USSR-aligned Polish People's Republic), that they had retrieved numerous works from the Wilanów collection as part of their wider post-war restitution campaign that spanned across Germany.: 397 According to Stanisław Lorentz, who was the director of the National Museum in Warsaw at the time, the initial set of works was repatriated to Poland in the same year. The remaining works, which included the portrait by David, were returned during an official ceremony held at the Hermitage Museum in St. Petersburg (then Leningrad) in 1956.: 398 Subsequently, the portrait was placed in the collection of the National Museum in Warsaw. In 1990, after the fall of communism in Poland, the work was transferred back to Wilanów, then part of the National Museum in Warsaw, and placed on public display. In 1995, the palace became an independent national museum and in 2013, it was renamed the Museum of King John III's Palace at Wilanów. In 2016, after undergoing extensive conservation, the painting was moved from the North Hall to the White Hall, its original location during the early 1800s where David's painting remains on view as of April 2023. | [
"hat",
"Museum of King John III's Palace at Wilanów",
"Warsaw",
"National Museum in Warsaw",
"Wehrmacht",
"returned",
"Potocki",
"Jacques-Louis David",
"Equestrian Portrait of Count Stanislas Potocki",
"looted",
"conservation",
"Hermitage Museum",
"fall of communism in Poland",
"Eberhard Kinzel",
"pl",
"Wilanów",
"repatriated",
"Stanisław Lorentz",
"Palace",
"Count Stanislas Potocki",
"Soviet",
"Polish People's Republic",
"Świdnica",
"Douglas Cooper"
] |
|
15086_T | Equestrian Portrait of Count Stanislas Potocki | Describe the characteristics of the Print reproductions and copies in Equestrian Portrait of Count Stanislas Potocki's Reception and ownership. | The painting has been often reproduced in print, most famously in the 1880 publication by Jacques-Louis-Jules David, which resulted in renewed interest in David's portrait of Potocki at the end of the 19th century. Moreover, several copies of the painting are said to have been completed over time, including those painted by David himself. Some scholars proposed that the painting originally commissioned by Ferdinand IV could be distinct from another work intended for Potocki, as suggested by the existence of a receipt the artist provided to Potocki on 30 June 1780, and follow-up correspondence between the two dated 10 July 1780.In an 1877 ledger from Wilanów Palace, Equestrian Portrait of Count Stanislas Potocki is described as "a study by David" made in 1781 which was bought later in Paris by Elżbieta Izabela Lubomirska for her daughter Aleksandra Potocka, prompting some researchers to speculate that the portrait currently in the Wilanów collection might itself be David's copy of the original work. The ledger also makes no mention of the 1781 Paris Salon, where the original painting is believed to have been first exhibited. Existing records further point to versions of the work made by other artists, including a 1791 copy by the Polish artist Franciszek Smuglewicz, which has since been lost, as well as one made in or around 1905 by the painter Wacław Pawliszak. Assertions about the existence of purported additional copies of the portrait have also emerged in the 21st century, though these claims have not yet been verified by researchers. | [
"hat",
"copies",
"receipt",
"Salon",
"Potocki",
"Equestrian Portrait of Count Stanislas Potocki",
"Izabela Lubomirska",
"print",
"commission",
"Franciszek Smuglewicz",
"correspondence",
"pl",
"Wilanów Palace",
"Wilanów",
"Elżbieta Izabela Lubomirska",
"Palace",
"Count Stanislas Potocki"
] |
|
15086_NT | Equestrian Portrait of Count Stanislas Potocki | Describe the characteristics of the Print reproductions and copies in this artwork's Reception and ownership. | The painting has been often reproduced in print, most famously in the 1880 publication by Jacques-Louis-Jules David, which resulted in renewed interest in David's portrait of Potocki at the end of the 19th century. Moreover, several copies of the painting are said to have been completed over time, including those painted by David himself. Some scholars proposed that the painting originally commissioned by Ferdinand IV could be distinct from another work intended for Potocki, as suggested by the existence of a receipt the artist provided to Potocki on 30 June 1780, and follow-up correspondence between the two dated 10 July 1780.In an 1877 ledger from Wilanów Palace, Equestrian Portrait of Count Stanislas Potocki is described as "a study by David" made in 1781 which was bought later in Paris by Elżbieta Izabela Lubomirska for her daughter Aleksandra Potocka, prompting some researchers to speculate that the portrait currently in the Wilanów collection might itself be David's copy of the original work. The ledger also makes no mention of the 1781 Paris Salon, where the original painting is believed to have been first exhibited. Existing records further point to versions of the work made by other artists, including a 1791 copy by the Polish artist Franciszek Smuglewicz, which has since been lost, as well as one made in or around 1905 by the painter Wacław Pawliszak. Assertions about the existence of purported additional copies of the portrait have also emerged in the 21st century, though these claims have not yet been verified by researchers. | [
"hat",
"copies",
"receipt",
"Salon",
"Potocki",
"Equestrian Portrait of Count Stanislas Potocki",
"Izabela Lubomirska",
"print",
"commission",
"Franciszek Smuglewicz",
"correspondence",
"pl",
"Wilanów Palace",
"Wilanów",
"Elżbieta Izabela Lubomirska",
"Palace",
"Count Stanislas Potocki"
] |
|
15087_T | The Double Dream of Spring | Focus on The Double Dream of Spring and explore the abstract. | The Double Dream of Spring (also known as Doppio Sogno di Primavera, 1915) is a painting by the Italian metaphysical painter Giorgio de Chirico.
The painting depicts apparently related but separate scenes. The scene on the left shows a statue of a man in a frock-coat from behind. The statue appears to be staring contemplatively into an open sky. The two scenes are separated in the middle by a wooden beam, perhaps part of an easel. Near the base of the beam is a blueprint drawing of an interior, in which large arches and a window open onto a landscape including the stick-like figures of two men meeting, and distant mountains. The scene on the right appears to be looking down on the same landscape from a slightly different angle. Above the landscape is the shape of the head of a tailor's dummy.
Similar dummies appear many times in de Chirico's work (cf. The Seer). This time the dummy's head looms over the landscape like a hot air balloon.
The title was used by John Ashbery for his 1970 book of poems. | [
"Italian",
"Giorgio de Chirico",
"John Ashbery",
"metaphysical painter"
] |
|
15087_NT | The Double Dream of Spring | Focus on this artwork and explore the abstract. | The Double Dream of Spring (also known as Doppio Sogno di Primavera, 1915) is a painting by the Italian metaphysical painter Giorgio de Chirico.
The painting depicts apparently related but separate scenes. The scene on the left shows a statue of a man in a frock-coat from behind. The statue appears to be staring contemplatively into an open sky. The two scenes are separated in the middle by a wooden beam, perhaps part of an easel. Near the base of the beam is a blueprint drawing of an interior, in which large arches and a window open onto a landscape including the stick-like figures of two men meeting, and distant mountains. The scene on the right appears to be looking down on the same landscape from a slightly different angle. Above the landscape is the shape of the head of a tailor's dummy.
Similar dummies appear many times in de Chirico's work (cf. The Seer). This time the dummy's head looms over the landscape like a hot air balloon.
The title was used by John Ashbery for his 1970 book of poems. | [
"Italian",
"Giorgio de Chirico",
"John Ashbery",
"metaphysical painter"
] |
|
15088_T | The Advance-Guard, or The Military Sacrifice | Focus on The Advance-Guard, or The Military Sacrifice and explain the abstract. | The Advance-Guard, or The Military Sacrifice (The Ambush) is an 1890 oil painting by Frederic Remington. | [
"Frederic Remington",
"oil painting"
] |
|
15088_NT | The Advance-Guard, or The Military Sacrifice | Focus on this artwork and explain the abstract. | The Advance-Guard, or The Military Sacrifice (The Ambush) is an 1890 oil painting by Frederic Remington. | [
"Frederic Remington",
"oil painting"
] |
|
15089_T | The Advance-Guard, or The Military Sacrifice | Explore the Description of this artwork, The Advance-Guard, or The Military Sacrifice. | The painting depicts a cavalry scout slumping over his horse after being shot by an unseen Sioux warrior in ambush. Behind the scout are other mounted troops who are fleeing the ambush. | [
"Sioux"
] |
|
15089_NT | The Advance-Guard, or The Military Sacrifice | Explore the Description of this artwork. | The painting depicts a cavalry scout slumping over his horse after being shot by an unseen Sioux warrior in ambush. Behind the scout are other mounted troops who are fleeing the ambush. | [
"Sioux"
] |
|
15090_T | The Advance-Guard, or The Military Sacrifice | Focus on The Advance-Guard, or The Military Sacrifice and discuss the Provenance. | In an auction of 1893 led by Thomas Ellis Kirby at the American Art Association, the painting was sold to E. H. Wales for US$250. It was acquired by the George F. Harding Museum some time before 1982. In 1982, ownership was transferred to the Art Institute of Chicago. | [
"American Art Association",
"Thomas Ellis Kirby",
"Art Institute of Chicago",
"Chicago"
] |
|
15090_NT | The Advance-Guard, or The Military Sacrifice | Focus on this artwork and discuss the Provenance. | In an auction of 1893 led by Thomas Ellis Kirby at the American Art Association, the painting was sold to E. H. Wales for US$250. It was acquired by the George F. Harding Museum some time before 1982. In 1982, ownership was transferred to the Art Institute of Chicago. | [
"American Art Association",
"Thomas Ellis Kirby",
"Art Institute of Chicago",
"Chicago"
] |
|
15091_T | Iron Man (Minnesota statue) | How does Iron Man (Minnesota statue) elucidate its abstract? | The Iron Man statue is a figure of an iron miner located at the entrance to the Minnesota Discovery Center 1.28 kilometres (0.80 mi) outside of Chisholm, Minnesota. It is 85-foot tall (26 m) including the 36-foot tall figure (11 m), and was completed in 1987 out of iron ore by Jack E. Anderson. The brass and copper 36' Iron Man is balanced atop a 49' structure of steel and is a tribute to the men who labored in the open pit mines when the mining industry boomed on the Iron Range of northern Minnesota. The work is titled The Emergence of Man Through Steel. | [
"Minnesota Discovery Center",
"Chisholm",
"Chisholm, Minnesota",
"iron",
"miner",
"Iron",
"Jack E. Anderson",
"Minnesota",
"iron ore"
] |
|
15091_NT | Iron Man (Minnesota statue) | How does this artwork elucidate its abstract? | The Iron Man statue is a figure of an iron miner located at the entrance to the Minnesota Discovery Center 1.28 kilometres (0.80 mi) outside of Chisholm, Minnesota. It is 85-foot tall (26 m) including the 36-foot tall figure (11 m), and was completed in 1987 out of iron ore by Jack E. Anderson. The brass and copper 36' Iron Man is balanced atop a 49' structure of steel and is a tribute to the men who labored in the open pit mines when the mining industry boomed on the Iron Range of northern Minnesota. The work is titled The Emergence of Man Through Steel. | [
"Minnesota Discovery Center",
"Chisholm",
"Chisholm, Minnesota",
"iron",
"miner",
"Iron",
"Jack E. Anderson",
"Minnesota",
"iron ore"
] |
|
15092_T | Iron Man (Minnesota statue) | Focus on Iron Man (Minnesota statue) and analyze the Sculpture. | The statue was created by Jack E. Anderson of Lake Linden, Michigan, who also created a Bishop Baraga sculpture in L'Anse, Michigan. Anderson said that the iron worker's posture represented the weariness of a day spent working in mines.
The Ironman's facial features were taken from the miner Daniel Tolonen, an immigrant from Finland who resided in and is buried in Chisholm MN. Daniel Tolonen was present with five generations of his family on the day the statue was dedicated July 4, 1987, along with Governor Rudy Perpich and U.S. Representative James Oberstar among the day's speakers. It measures 85 feet (26 m) tall, from the base to the top of the helmet. | [
"L'Anse, Michigan",
"Chisholm",
"Bishop Baraga",
"iron",
"miner",
"James Oberstar",
"Lake Linden, Michigan",
"Iron",
"Governor",
"Jack E. Anderson",
"U.S. Representative",
"Rudy Perpich"
] |
|
15092_NT | Iron Man (Minnesota statue) | Focus on this artwork and analyze the Sculpture. | The statue was created by Jack E. Anderson of Lake Linden, Michigan, who also created a Bishop Baraga sculpture in L'Anse, Michigan. Anderson said that the iron worker's posture represented the weariness of a day spent working in mines.
The Ironman's facial features were taken from the miner Daniel Tolonen, an immigrant from Finland who resided in and is buried in Chisholm MN. Daniel Tolonen was present with five generations of his family on the day the statue was dedicated July 4, 1987, along with Governor Rudy Perpich and U.S. Representative James Oberstar among the day's speakers. It measures 85 feet (26 m) tall, from the base to the top of the helmet. | [
"L'Anse, Michigan",
"Chisholm",
"Bishop Baraga",
"iron",
"miner",
"James Oberstar",
"Lake Linden, Michigan",
"Iron",
"Governor",
"Jack E. Anderson",
"U.S. Representative",
"Rudy Perpich"
] |
|
15093_T | Smiling Fishergirl | In Smiling Fishergirl, how is the abstract discussed? | Smiling Fishergirl is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in the early 1630s, now in a private collection. | [
"Dutch Golden Age painter",
"Frans Hals"
] |
|
15093_NT | Smiling Fishergirl | In this artwork, how is the abstract discussed? | Smiling Fishergirl is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in the early 1630s, now in a private collection. | [
"Dutch Golden Age painter",
"Frans Hals"
] |
|
15094_T | Smiling Fishergirl | Focus on Smiling Fishergirl and explore the Painting. | This painting was documented by Cornelis Hofstede de Groot in 1910, who wrote:114. A WOMAN SELLING HERRINGS. B. 51.; In a dune landscape, a girl seen to the knees sits facing three-quarters right. She smiles and looks to the right. On her lap she holds with her left hand a wooden tub of herrings. She holds a fish in her right hand, which rests on the edge of the tub. She wears a red bodice, a white scarf, and a black cap. In the left distance is the sea. To the right are high dunes on which are two figures standing. To the left of them is the sail of a ship. The sky is covered with grey clouds. Three birds are flying. Signed on the tub with the monogram; canvas, 32 inches by 26 1/2 inches. An old copy was in the possession of a London dealer in 1908. Engraved by Gaujean. In the Oudry collection. Sale. Baron de Beurnonville, Paris, May 9, 1881, No. 302.
Hofstede de Groot noted several fisherboys by Hals along with this one (catalogue numbers 49 through to 58c). This painting was also documented by W.R. Valentiner in 1923.Other fisher folk by Hals: | [
"Cornelis Hofstede de Groot",
"Baron de Beurnonville",
"W.R. Valentiner",
"B",
"Gaujean"
] |
|
15094_NT | Smiling Fishergirl | Focus on this artwork and explore the Painting. | This painting was documented by Cornelis Hofstede de Groot in 1910, who wrote:114. A WOMAN SELLING HERRINGS. B. 51.; In a dune landscape, a girl seen to the knees sits facing three-quarters right. She smiles and looks to the right. On her lap she holds with her left hand a wooden tub of herrings. She holds a fish in her right hand, which rests on the edge of the tub. She wears a red bodice, a white scarf, and a black cap. In the left distance is the sea. To the right are high dunes on which are two figures standing. To the left of them is the sail of a ship. The sky is covered with grey clouds. Three birds are flying. Signed on the tub with the monogram; canvas, 32 inches by 26 1/2 inches. An old copy was in the possession of a London dealer in 1908. Engraved by Gaujean. In the Oudry collection. Sale. Baron de Beurnonville, Paris, May 9, 1881, No. 302.
Hofstede de Groot noted several fisherboys by Hals along with this one (catalogue numbers 49 through to 58c). This painting was also documented by W.R. Valentiner in 1923.Other fisher folk by Hals: | [
"Cornelis Hofstede de Groot",
"Baron de Beurnonville",
"W.R. Valentiner",
"B",
"Gaujean"
] |
|
15095_T | Equestrian statue of the Viscount Wolseley | Focus on Equestrian statue of the Viscount Wolseley and explain the abstract. | The equestrian statue of the Viscount Wolseley is an outdoor sculpture depicting Garnet Wolseley, 1st Viscount Wolseley, located at the Horse Guards Parade in London, United Kingdom. It is by Sir William Goscombe John and was unveiled by the Duke of Connaught in 1920. The front of the plinth contains an inscription which reads "Wolseley", while the back includes the inscription: "Field-Marshal Viscount Wolseley, KP, GCB, OM, GCMG, 1833–1913, Commander-in-Chief of the British Army, 1895–1900. / Burmah 1852–3 / Crimea 1854–5 / Indian Mutiny 1857–9 / China 1860–1 / Red River 1870 / Ashanti 1873–4 / South Africa 1879 / Egypt 1882 / Soudan 1884–5." | [
"Horse Guards Parade",
"William Goscombe John",
"Garnet Wolseley, 1st Viscount Wolseley",
"London",
"Wolseley",
"Goscombe John"
] |
|
15095_NT | Equestrian statue of the Viscount Wolseley | Focus on this artwork and explain the abstract. | The equestrian statue of the Viscount Wolseley is an outdoor sculpture depicting Garnet Wolseley, 1st Viscount Wolseley, located at the Horse Guards Parade in London, United Kingdom. It is by Sir William Goscombe John and was unveiled by the Duke of Connaught in 1920. The front of the plinth contains an inscription which reads "Wolseley", while the back includes the inscription: "Field-Marshal Viscount Wolseley, KP, GCB, OM, GCMG, 1833–1913, Commander-in-Chief of the British Army, 1895–1900. / Burmah 1852–3 / Crimea 1854–5 / Indian Mutiny 1857–9 / China 1860–1 / Red River 1870 / Ashanti 1873–4 / South Africa 1879 / Egypt 1882 / Soudan 1884–5." | [
"Horse Guards Parade",
"William Goscombe John",
"Garnet Wolseley, 1st Viscount Wolseley",
"London",
"Wolseley",
"Goscombe John"
] |
|
15096_T | Interior of St Bavo's Church in Haarlem | Explore the abstract of this artwork, Interior of St Bavo's Church in Haarlem. | Interior of St Bavo's Church in Haarlem is a 1636 oil on panel painting by the Dutch artist Pieter Jansz Saenredam, now in the Rijksmuseum Amsterdam. As the title suggests, it shows a view of the interior of St Bavo's Church in the Dutch town of Haarlem. | [
"Rijksmuseum",
"Rijksmuseum Amsterdam",
"St Bavo's Church",
"Haarlem",
"Pieter Jansz Saenredam"
] |
|
15096_NT | Interior of St Bavo's Church in Haarlem | Explore the abstract of this artwork. | Interior of St Bavo's Church in Haarlem is a 1636 oil on panel painting by the Dutch artist Pieter Jansz Saenredam, now in the Rijksmuseum Amsterdam. As the title suggests, it shows a view of the interior of St Bavo's Church in the Dutch town of Haarlem. | [
"Rijksmuseum",
"Rijksmuseum Amsterdam",
"St Bavo's Church",
"Haarlem",
"Pieter Jansz Saenredam"
] |
|
15097_T | Eagle (Calder) | Focus on Eagle (Calder) and discuss the History. | It was located at the Bank One building, 500 Throckmorton Street, Fort Worth, Texas.
It was commissioned by Fort Worth National Bank.
It was constructed in 1971 of painted sheet steel. It was erected, and dedicated on February 15, 1974.
It was relocated in 2000 after being purchased by the Seattle Art Museum with funding from Jon and Mary Shirley. | [
"Bank One building",
"Seattle Art Museum",
"Seattle",
"Fort Worth, Texas"
] |
|
15097_NT | Eagle (Calder) | Focus on this artwork and discuss the History. | It was located at the Bank One building, 500 Throckmorton Street, Fort Worth, Texas.
It was commissioned by Fort Worth National Bank.
It was constructed in 1971 of painted sheet steel. It was erected, and dedicated on February 15, 1974.
It was relocated in 2000 after being purchased by the Seattle Art Museum with funding from Jon and Mary Shirley. | [
"Bank One building",
"Seattle Art Museum",
"Seattle",
"Fort Worth, Texas"
] |
|
15098_T | Battle of Vigo Bay (painting) | How does Battle of Vigo Bay (painting) elucidate its abstract? | The Battle of Vigo Bay is a 1702 oil on canvas painting by the Dutch artist Ludolf Bakhuizen. It depicts the Battle of Vigo Bay fought by Anglo-Dutch and Franco-Spanish forces. | [
"Battle of Vigo Bay",
"Ludolf Bakhuizen"
] |
|
15098_NT | Battle of Vigo Bay (painting) | How does this artwork elucidate its abstract? | The Battle of Vigo Bay is a 1702 oil on canvas painting by the Dutch artist Ludolf Bakhuizen. It depicts the Battle of Vigo Bay fought by Anglo-Dutch and Franco-Spanish forces. | [
"Battle of Vigo Bay",
"Ludolf Bakhuizen"
] |
|
15099_T | Statue of George L. Shoup | Focus on Statue of George L. Shoup and analyze the abstract. | George L. Shoup is a marble sculpture of George L. Shoup created by Frederick Triebel and placed in the National Statuary Hall Collection in the Capitol Building in Washington, D.C., one of the two statues there from Idaho. It was dedicated in 1910. The work cost $7,500 and was unveiled in Washington on January 15, 1910. | [
"National Statuary Hall Collection",
"Capitol Building",
"Washington, D.C.",
"National Statuary Hall",
"George L. Shoup",
"marble sculpture",
"Frederick Triebel",
"Idaho"
] |
|
15099_NT | Statue of George L. Shoup | Focus on this artwork and analyze the abstract. | George L. Shoup is a marble sculpture of George L. Shoup created by Frederick Triebel and placed in the National Statuary Hall Collection in the Capitol Building in Washington, D.C., one of the two statues there from Idaho. It was dedicated in 1910. The work cost $7,500 and was unveiled in Washington on January 15, 1910. | [
"National Statuary Hall Collection",
"Capitol Building",
"Washington, D.C.",
"National Statuary Hall",
"George L. Shoup",
"marble sculpture",
"Frederick Triebel",
"Idaho"
] |
|
15100_T | The Emigrants (Daumier) | In The Emigrants (Daumier), how is the abstract discussed? | The Emigrants is an oil-on-wood painting by the French realist painter Honoré Daumier. It was created c. 1852–1855 and is of small dimensions: 16.2 cm by 28.7 cm. It is held in the Petit Palais, in Paris. This painting is also known as The Fugitives. | [
"Petit Palais",
"Honoré Daumier",
"Paris"
] |
|
15100_NT | The Emigrants (Daumier) | In this artwork, how is the abstract discussed? | The Emigrants is an oil-on-wood painting by the French realist painter Honoré Daumier. It was created c. 1852–1855 and is of small dimensions: 16.2 cm by 28.7 cm. It is held in the Petit Palais, in Paris. This painting is also known as The Fugitives. | [
"Petit Palais",
"Honoré Daumier",
"Paris"
] |
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