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15101_T | The Emigrants (Daumier) | Focus on The Emigrants (Daumier) and explore the History. | After the workers' revolution of June 1848, the government of Louis Philippe reacted with strong repression, issuing death sentences, thousands of imprisonments and deportations to Algeria. Such events inspired Daumier on this painting, as well as a series of oil paintings, lithographs, and several reliefs titled The Emigrants, The Fugitives, and The Detainees. | [
"Louis Philippe",
"Algeria"
] |
|
15101_NT | The Emigrants (Daumier) | Focus on this artwork and explore the History. | After the workers' revolution of June 1848, the government of Louis Philippe reacted with strong repression, issuing death sentences, thousands of imprisonments and deportations to Algeria. Such events inspired Daumier on this painting, as well as a series of oil paintings, lithographs, and several reliefs titled The Emigrants, The Fugitives, and The Detainees. | [
"Louis Philippe",
"Algeria"
] |
|
15102_T | The Emigrants (Daumier) | Focus on The Emigrants (Daumier) and explain the Description. | The painting depicts a group of political fugitives crossing a mountainous landscape, on feet and on horseback. A landscape of dunes is traversed by a column of curved, schematically, hardly recognizable, drawn figures. Contours are defined by thick black lines. The chiaroscuro intensifies the drama of the scene. Daumier manages to convey desperation and anguish through this simple diagonal composition of yellow and brown tones. | [
"chiaroscuro"
] |
|
15102_NT | The Emigrants (Daumier) | Focus on this artwork and explain the Description. | The painting depicts a group of political fugitives crossing a mountainous landscape, on feet and on horseback. A landscape of dunes is traversed by a column of curved, schematically, hardly recognizable, drawn figures. Contours are defined by thick black lines. The chiaroscuro intensifies the drama of the scene. Daumier manages to convey desperation and anguish through this simple diagonal composition of yellow and brown tones. | [
"chiaroscuro"
] |
|
15103_T | La Blanchisseuse (Toulouse-Lautrec) | Explore the abstract of this artwork, La Blanchisseuse (Toulouse-Lautrec). | La Blanchisseuse (French: [la blɑ̃ʃisøz], The Laundress) is an 1886 oil-on-canvas painting by French artist Henri de Toulouse-Lautrec. In November 2005, it was sold for 22.4 million dollars at auction by Christie's. The subject of laundresses, also known as washerwomen, was a popular one in art, especially in France.La Blanchisseuse was painted by Toulouse-Lautrec and posed for by the sex worker Carmen Gaudin in 1886. This painting showcases the gritty life and working conditions endured by the working classes throughout the 19th century. The painting was in storage until 2005, when an anonymous buyer acquired it for 22.4 million dollars, breaking the record for the most expensive Lautrec painting sold at an auction. | [
"canvas",
"washerwomen",
"Christie's",
"French",
"dollars",
"Henri de Toulouse-Lautrec",
"auction"
] |
|
15103_NT | La Blanchisseuse (Toulouse-Lautrec) | Explore the abstract of this artwork. | La Blanchisseuse (French: [la blɑ̃ʃisøz], The Laundress) is an 1886 oil-on-canvas painting by French artist Henri de Toulouse-Lautrec. In November 2005, it was sold for 22.4 million dollars at auction by Christie's. The subject of laundresses, also known as washerwomen, was a popular one in art, especially in France.La Blanchisseuse was painted by Toulouse-Lautrec and posed for by the sex worker Carmen Gaudin in 1886. This painting showcases the gritty life and working conditions endured by the working classes throughout the 19th century. The painting was in storage until 2005, when an anonymous buyer acquired it for 22.4 million dollars, breaking the record for the most expensive Lautrec painting sold at an auction. | [
"canvas",
"washerwomen",
"Christie's",
"French",
"dollars",
"Henri de Toulouse-Lautrec",
"auction"
] |
|
15104_T | Orsini Altarpiece | Focus on Orsini Altarpiece and discuss the abstract. | The Orsini Altarpiece, Orsini Polyptych or Passion Polyptych is a painting produced at an unknown location by Simone Martini for private devotion by a cardinal of the Orsini family. Its precise date is still under discussion. It was taken to France very early in its lifespan and formed a major influence on late medieval French artists. It is now split between the Louvre, the Royal Museum of Fine Arts, Antwerp and the Gemäldegalerie.
On the back of the Louvre panel (Christ Bearing the Cross) is the coat of arms of the Orsini family. It shows the man who commissioned the painting dressed as a cardinal at the foot of the cross. Some art historians see him as a portrait of the Roman cardinal Napoleone Orsini, who owned a fragment of the True Cross, which may explain the choice of subject. Under this hypothesis, he commissioned it before leaving Rome for the papal court in Avignon or in Avignon itself, where Martini followed Orsini.It was probably in the Champmol Charterhouse, near Dijon, by the end of the 14th century. It was still there in the prior's chambers in 1791, when it was sold and split up. The four panels in Antwerp (Crucifixion, Descent from the Cross, The Archangel Gabriel and Virgin of the Annunciation) were sold in Dijon in 1826 and acquired for the collection of Florent van Ertborn, mayor of Antwerp - they were originally two panels, with Gabriel and Virgin on the reverse of the other two panels, before they were later sawn off. The Louvre panel (Christ Bearing the Cross) was bought from a man named L. Saint-Denis in 1834. The Berlin panel (Entombment) was bought from the Paris art dealer Émile Pacully in 1904. Originally, it had the same golden background as the other panels, but this was painted over in red, probably in the middle of the 15th century. | [
"Royal Museum of Fine Arts, Antwerp",
"Champmol",
"Simone Martini",
"Gemäldegalerie",
"Florent van Ertborn",
"Napoleone Orsini",
"Louvre",
"Passion",
"Orsini family"
] |
|
15104_NT | Orsini Altarpiece | Focus on this artwork and discuss the abstract. | The Orsini Altarpiece, Orsini Polyptych or Passion Polyptych is a painting produced at an unknown location by Simone Martini for private devotion by a cardinal of the Orsini family. Its precise date is still under discussion. It was taken to France very early in its lifespan and formed a major influence on late medieval French artists. It is now split between the Louvre, the Royal Museum of Fine Arts, Antwerp and the Gemäldegalerie.
On the back of the Louvre panel (Christ Bearing the Cross) is the coat of arms of the Orsini family. It shows the man who commissioned the painting dressed as a cardinal at the foot of the cross. Some art historians see him as a portrait of the Roman cardinal Napoleone Orsini, who owned a fragment of the True Cross, which may explain the choice of subject. Under this hypothesis, he commissioned it before leaving Rome for the papal court in Avignon or in Avignon itself, where Martini followed Orsini.It was probably in the Champmol Charterhouse, near Dijon, by the end of the 14th century. It was still there in the prior's chambers in 1791, when it was sold and split up. The four panels in Antwerp (Crucifixion, Descent from the Cross, The Archangel Gabriel and Virgin of the Annunciation) were sold in Dijon in 1826 and acquired for the collection of Florent van Ertborn, mayor of Antwerp - they were originally two panels, with Gabriel and Virgin on the reverse of the other two panels, before they were later sawn off. The Louvre panel (Christ Bearing the Cross) was bought from a man named L. Saint-Denis in 1834. The Berlin panel (Entombment) was bought from the Paris art dealer Émile Pacully in 1904. Originally, it had the same golden background as the other panels, but this was painted over in red, probably in the middle of the 15th century. | [
"Royal Museum of Fine Arts, Antwerp",
"Champmol",
"Simone Martini",
"Gemäldegalerie",
"Florent van Ertborn",
"Napoleone Orsini",
"Louvre",
"Passion",
"Orsini family"
] |
|
15105_T | Portrait of a Seated Gentleman | How does Portrait of a Seated Gentleman elucidate its abstract? | Portrait of a Seated Gentleman is a portrait painted by Nicolas Benjamin Delapierre in 1785. Neither the subject nor the provenance before 1928 are known. | [
"Nicolas Benjamin Delapierre",
"provenance"
] |
|
15105_NT | Portrait of a Seated Gentleman | How does this artwork elucidate its abstract? | Portrait of a Seated Gentleman is a portrait painted by Nicolas Benjamin Delapierre in 1785. Neither the subject nor the provenance before 1928 are known. | [
"Nicolas Benjamin Delapierre",
"provenance"
] |
|
15106_T | Portrait of a Seated Gentleman | Focus on Portrait of a Seated Gentleman and analyze the Description. | The canvas, signed B. N. De La Pierre, is dated 1785 and measures 29-1/2 inches (height) by 24-1/2 inches (width). It shows an 18th-century gentleman sitting at a desk and beginning to write on a single sheet of paper. On the desk in the foreground is displayed a copy of De la Caisse d'Escompte, a financial pamphlet published on 17 May 1785 by the French orator and statesman Mirabeau (Honoré Gabriel Riqueti, comte de Mirabeau). The portrait was painted several years before Mirabeau achieved prominence.
Both the subject of the painting and the pre-1928 provenance are being researched by Omnis, Inc. | [
"Omnis, Inc.",
"Honoré Gabriel Riqueti, comte de Mirabeau",
"Caisse d'Escompte",
"provenance"
] |
|
15106_NT | Portrait of a Seated Gentleman | Focus on this artwork and analyze the Description. | The canvas, signed B. N. De La Pierre, is dated 1785 and measures 29-1/2 inches (height) by 24-1/2 inches (width). It shows an 18th-century gentleman sitting at a desk and beginning to write on a single sheet of paper. On the desk in the foreground is displayed a copy of De la Caisse d'Escompte, a financial pamphlet published on 17 May 1785 by the French orator and statesman Mirabeau (Honoré Gabriel Riqueti, comte de Mirabeau). The portrait was painted several years before Mirabeau achieved prominence.
Both the subject of the painting and the pre-1928 provenance are being researched by Omnis, Inc. | [
"Omnis, Inc.",
"Honoré Gabriel Riqueti, comte de Mirabeau",
"Caisse d'Escompte",
"provenance"
] |
|
15107_T | Portrait of a Seated Gentleman | In Portrait of a Seated Gentleman, how is the Provenance discussed? | The provenance before 1928 is unknown.
1 October 1928, Ugo Bardini (son of the art collector Stefano Bardini) sells to the art dealer
5 March 1929, Thos. Agnew & Sons sells to art collector and New York Philharmonic Orchestra conductor Josef Stransky
6 March 1936, passes to Stransky’s widow, Marie Stransky, upon his death
16 October 1954, following Mrs. Stransky's death, Parke-Bernet Galleries in New York sells to entrepreneur and art collector, O. Roy Chalk
1 December 1995, passes to Claire Chalk upon the death of her husband
14 April 1996, Mrs. Chalk sells at auction to an anonymous buyer at C. G. Sloan & Company in Bethesda, Maryland | [
"New York Philharmonic Orchestra",
"Parke-Bernet Galleries",
"Provenance",
"O. Roy Chalk",
"New York Philharmonic",
"Josef Stransky",
"provenance"
] |
|
15107_NT | Portrait of a Seated Gentleman | In this artwork, how is the Provenance discussed? | The provenance before 1928 is unknown.
1 October 1928, Ugo Bardini (son of the art collector Stefano Bardini) sells to the art dealer
5 March 1929, Thos. Agnew & Sons sells to art collector and New York Philharmonic Orchestra conductor Josef Stransky
6 March 1936, passes to Stransky’s widow, Marie Stransky, upon his death
16 October 1954, following Mrs. Stransky's death, Parke-Bernet Galleries in New York sells to entrepreneur and art collector, O. Roy Chalk
1 December 1995, passes to Claire Chalk upon the death of her husband
14 April 1996, Mrs. Chalk sells at auction to an anonymous buyer at C. G. Sloan & Company in Bethesda, Maryland | [
"New York Philharmonic Orchestra",
"Parke-Bernet Galleries",
"Provenance",
"O. Roy Chalk",
"New York Philharmonic",
"Josef Stransky",
"provenance"
] |
|
15108_T | Portrait of a Seated Gentleman | Focus on Portrait of a Seated Gentleman and explore the Subject. | Speculation that the painting may depict Mirabeau, the author of the pamphlet, is refuted by comparing the sitter to known images of Mirabeau. Some believe the painting to be the earliest known portrait of Thomas Jefferson. | [
"Thomas Jefferson"
] |
|
15108_NT | Portrait of a Seated Gentleman | Focus on this artwork and explore the Subject. | Speculation that the painting may depict Mirabeau, the author of the pamphlet, is refuted by comparing the sitter to known images of Mirabeau. Some believe the painting to be the earliest known portrait of Thomas Jefferson. | [
"Thomas Jefferson"
] |
|
15109_T | Jean d'Aire | Focus on Jean d'Aire and explain the abstract. | Jean d'Aire is a sculpture by the French artist Auguste Rodin, first conceived around 1885 as part of the planning for his group The Burghers of Calais. | [
"The Burghers of Calais",
"Jean d'Aire ",
"Auguste Rodin"
] |
|
15109_NT | Jean d'Aire | Focus on this artwork and explain the abstract. | Jean d'Aire is a sculpture by the French artist Auguste Rodin, first conceived around 1885 as part of the planning for his group The Burghers of Calais. | [
"The Burghers of Calais",
"Jean d'Aire ",
"Auguste Rodin"
] |
|
15110_T | Jean d'Aire | Explore the Versions of this artwork, Jean d'Aire. | After the first group modello, he made individual studies of each figure. The first such study of d'Aire was nude, followed by one partially covered in a kind of toga and with the noose round his neck more obvious. He holds a cushion bearing the keys of Calais and is drawn to the left by the noose. A bronze cast of this second version is now in the Museo Soumaya in Mexico City and other collections. | [
"Museo Soumaya",
"Mexico City"
] |
|
15110_NT | Jean d'Aire | Explore the Versions of this artwork. | After the first group modello, he made individual studies of each figure. The first such study of d'Aire was nude, followed by one partially covered in a kind of toga and with the noose round his neck more obvious. He holds a cushion bearing the keys of Calais and is drawn to the left by the noose. A bronze cast of this second version is now in the Museo Soumaya in Mexico City and other collections. | [
"Museo Soumaya",
"Mexico City"
] |
|
15111_T | Men of Destiny | Focus on Men of Destiny and discuss the abstract. | Men of Destiny is a painting by Irish artist Jack Butler Yeats, painted in 1946. An oil artwork on canvas, the modernist piece is noted for the strength and vibrancy of its colour palette and is considered to rank amongst Yeats' best work. The painting is on permanent display at the National Gallery of Ireland. | [
"canvas",
"Jack Butler Yeats",
"modernist",
"Ireland",
"National Gallery of Ireland",
"Irish"
] |
|
15111_NT | Men of Destiny | Focus on this artwork and discuss the abstract. | Men of Destiny is a painting by Irish artist Jack Butler Yeats, painted in 1946. An oil artwork on canvas, the modernist piece is noted for the strength and vibrancy of its colour palette and is considered to rank amongst Yeats' best work. The painting is on permanent display at the National Gallery of Ireland. | [
"canvas",
"Jack Butler Yeats",
"modernist",
"Ireland",
"National Gallery of Ireland",
"Irish"
] |
|
15112_T | Men of Destiny | How does Men of Destiny elucidate its Subject and title? | The painting depicts three fishermen securing a boat at Rosses Point in Sligo, in the west of Ireland. Painted in the period between the Easter Rising and the Republic of Ireland Act 1948, it has been suggested that the title could refer to the destiny of ordinary men, like the fishermen shown, to defend Irish freedom.The phrase "Men of Destiny" has also been used as a translation of the Irish Fianna Fáil (more commonly "Soldiers of Destiny"), which was the Irish name for the Irish Volunteers (as well as featuring in the Irish national anthem and as the name of an Irish potlical party). | [
"Republic of Ireland Act 1948",
"Easter Rising",
"Sligo",
"Irish Volunteers",
"Irish national anthem",
"Ireland",
"an Irish potlical party",
"Rosses Point",
"Fianna Fáil",
"Irish"
] |
|
15112_NT | Men of Destiny | How does this artwork elucidate its Subject and title? | The painting depicts three fishermen securing a boat at Rosses Point in Sligo, in the west of Ireland. Painted in the period between the Easter Rising and the Republic of Ireland Act 1948, it has been suggested that the title could refer to the destiny of ordinary men, like the fishermen shown, to defend Irish freedom.The phrase "Men of Destiny" has also been used as a translation of the Irish Fianna Fáil (more commonly "Soldiers of Destiny"), which was the Irish name for the Irish Volunteers (as well as featuring in the Irish national anthem and as the name of an Irish potlical party). | [
"Republic of Ireland Act 1948",
"Easter Rising",
"Sligo",
"Irish Volunteers",
"Irish national anthem",
"Ireland",
"an Irish potlical party",
"Rosses Point",
"Fianna Fáil",
"Irish"
] |
|
15113_T | Men of Destiny | Describe the characteristics of the Books in Men of Destiny's Media. | Men of Destiny is used as the cover image for "The Only Art of Jack B. Yeats: Letters and Essays", published by Lilliput Press in 2009. | [] |
|
15113_NT | Men of Destiny | Describe the characteristics of the Books in this artwork's Media. | Men of Destiny is used as the cover image for "The Only Art of Jack B. Yeats: Letters and Essays", published by Lilliput Press in 2009. | [] |
|
15114_T | Men of Destiny | In the context of Men of Destiny, explore the Exhibitions of the Media. | While normally on display in the National Gallery, Men of Destiny featured in the exhibition "Jack B. Yeats: The Outsider" in 2011, which ran in Sligo town from February 6–June 12. | [
"Sligo"
] |
|
15114_NT | Men of Destiny | In the context of this artwork, explore the Exhibitions of the Media. | While normally on display in the National Gallery, Men of Destiny featured in the exhibition "Jack B. Yeats: The Outsider" in 2011, which ran in Sligo town from February 6–June 12. | [
"Sligo"
] |
|
15115_T | Men of Destiny | In the context of Men of Destiny, explain the Examinations of the Media. | A question about the painting appeared on the Irish Leaving Certificate Art examination paper in 2006 for ordinary level students, under the "Art in Ireland" section. | [
"Ireland",
"Irish Leaving Certificate",
"Irish"
] |
|
15115_NT | Men of Destiny | In the context of this artwork, explain the Examinations of the Media. | A question about the painting appeared on the Irish Leaving Certificate Art examination paper in 2006 for ordinary level students, under the "Art in Ireland" section. | [
"Ireland",
"Irish Leaving Certificate",
"Irish"
] |
|
15116_T | George Rogers Clark Monument | Explore the abstract of this artwork, George Rogers Clark Monument. | The George Rogers Clark Monument was a historic monument consisting of multiple figures that was formerly located in Monument Square at Charlottesville, Virginia. Erected in November 1921, the monument consisted of seven figures, by the sculptor Robert Ingersoll Aitken, presented on the same pedestal. It was the last in a sequence of four works commissioned from members of the National Sculpture Society by philanthropist Paul Goodloe McIntire during the years 1919 to 1924. The sculpture was added to the National Register of Historic Places in 1997.The monument measured approximately 24 feet in height, 20 feet in length, and 8 feet in width. It included a tall bronze figure of George Rogers Clark mounted on a stallion in the center. The pedestal bore the inscription: "GEORGE ROGERS CLARK/ CONQUEROR OF THE NORTHWEST".The monument was removed by the University of Virginia on July 11, 2021. No immediate plan for what would be done with it was announced, although the university said it would consult with its students and members of the American Indian community of Charlottesville when deciding what to do with it. | [
"National Register of Historic Places",
"George Rogers Clark",
"Charlottesville, Virginia",
"National Sculpture Society",
"Monument",
"University of Virginia",
"Robert Ingersoll Aitken",
"Paul Goodloe McIntire",
"monument"
] |
|
15116_NT | George Rogers Clark Monument | Explore the abstract of this artwork. | The George Rogers Clark Monument was a historic monument consisting of multiple figures that was formerly located in Monument Square at Charlottesville, Virginia. Erected in November 1921, the monument consisted of seven figures, by the sculptor Robert Ingersoll Aitken, presented on the same pedestal. It was the last in a sequence of four works commissioned from members of the National Sculpture Society by philanthropist Paul Goodloe McIntire during the years 1919 to 1924. The sculpture was added to the National Register of Historic Places in 1997.The monument measured approximately 24 feet in height, 20 feet in length, and 8 feet in width. It included a tall bronze figure of George Rogers Clark mounted on a stallion in the center. The pedestal bore the inscription: "GEORGE ROGERS CLARK/ CONQUEROR OF THE NORTHWEST".The monument was removed by the University of Virginia on July 11, 2021. No immediate plan for what would be done with it was announced, although the university said it would consult with its students and members of the American Indian community of Charlottesville when deciding what to do with it. | [
"National Register of Historic Places",
"George Rogers Clark",
"Charlottesville, Virginia",
"National Sculpture Society",
"Monument",
"University of Virginia",
"Robert Ingersoll Aitken",
"Paul Goodloe McIntire",
"monument"
] |
|
15117_T | R. D. Whitehead Monument | Focus on R. D. Whitehead Monument and discuss the abstract. | The R. D. Whitehead Monument is a public artwork by Norwegian born American artist Sigvald Asbjornsen located on the south side of Milwaukee, Wisconsin, United States. The artwork consists of a bronze-relief plaque depicting a dog and horse, set on a granite pillar, which is in turn part of a fountain. | [
"American",
"Norwegian",
"Sigvald Asbjornsen",
"United States",
"Wisconsin",
"Milwaukee"
] |
|
15117_NT | R. D. Whitehead Monument | Focus on this artwork and discuss the abstract. | The R. D. Whitehead Monument is a public artwork by Norwegian born American artist Sigvald Asbjornsen located on the south side of Milwaukee, Wisconsin, United States. The artwork consists of a bronze-relief plaque depicting a dog and horse, set on a granite pillar, which is in turn part of a fountain. | [
"American",
"Norwegian",
"Sigvald Asbjornsen",
"United States",
"Wisconsin",
"Milwaukee"
] |
|
15118_T | R. D. Whitehead Monument | How does R. D. Whitehead Monument elucidate its Description? | The R. D. Whitehead Monument, also known as the Horse and Dog Fountain and the Whitehead Memorial Fountain, was originally a watering trough, located in Milwaukee's South Side, that was converted into a fountain in 1966. There is a granite pillar rising from the fountain on which there is a bronze bas-relief. The bronze depicts a horse and a dog, both in profile. There are several inscriptions on the sculpture:
The bottom of the relief reads: DANDY GEORGE
The front of the pillar's base reads:ERECTED BY
R. D. WHITEHEADThe rear of the pillar's base reads:ERECTED BY R. D. WHITEHEAD SUPT.
THE BADGER STATE HUMANE SOCIETY
IN REMEMBRANCE OF MY FAITHFUL FRIENDS
HORSE, GEORGE
DOGS, JIM, FLORA, DANDY, PET
PUNCH, JUDY & SHORTY
CATS, FRANK & HENRY
BIRDS, BROWNEY & DICKA plaque affixed to the rear of the base reads:R. D. WHITEHEAD MONUMENT
ORIGINALLY A HORSE WATERING TROUGH
ERECTED IN 1910
RESTORED AS A FOUNTAIN IN 1966
BY THE MAYOR'S BEAUTIFICATION COMMITTEE
DESIGNATED A MILWAUKEE LANDMARK IN 1974
IN RECOGNITION OF ITS HISTORICAL SIGNIFICANCE TO THE COMMUNITY | [
"Milwaukee"
] |
|
15118_NT | R. D. Whitehead Monument | How does this artwork elucidate its Description? | The R. D. Whitehead Monument, also known as the Horse and Dog Fountain and the Whitehead Memorial Fountain, was originally a watering trough, located in Milwaukee's South Side, that was converted into a fountain in 1966. There is a granite pillar rising from the fountain on which there is a bronze bas-relief. The bronze depicts a horse and a dog, both in profile. There are several inscriptions on the sculpture:
The bottom of the relief reads: DANDY GEORGE
The front of the pillar's base reads:ERECTED BY
R. D. WHITEHEADThe rear of the pillar's base reads:ERECTED BY R. D. WHITEHEAD SUPT.
THE BADGER STATE HUMANE SOCIETY
IN REMEMBRANCE OF MY FAITHFUL FRIENDS
HORSE, GEORGE
DOGS, JIM, FLORA, DANDY, PET
PUNCH, JUDY & SHORTY
CATS, FRANK & HENRY
BIRDS, BROWNEY & DICKA plaque affixed to the rear of the base reads:R. D. WHITEHEAD MONUMENT
ORIGINALLY A HORSE WATERING TROUGH
ERECTED IN 1910
RESTORED AS A FOUNTAIN IN 1966
BY THE MAYOR'S BEAUTIFICATION COMMITTEE
DESIGNATED A MILWAUKEE LANDMARK IN 1974
IN RECOGNITION OF ITS HISTORICAL SIGNIFICANCE TO THE COMMUNITY | [
"Milwaukee"
] |
|
15119_T | R. D. Whitehead Monument | Focus on R. D. Whitehead Monument and analyze the Historical information. | Richard D. Whitehead was appointed by the Humane Society as superintendent of the Wisconsin Humane Society in 1879, a position he filled for more than 25 years. The position called for Whitehead to investigate the cases of animal and child abuse referred to the organization. He grew up on a farm in Ohio and worked in a livery stable in Chicago, both experiences which made him aware of the mistreatment suffered by animals. Whitehead investigated more than 700 cases over the course of his career. These sometimes required that he exercise "his police powers in an effort to prevent further abuse". Whitehead left the Wisconsin Humane Society in 1906 and formed the short-lived Badger State Humane Society. Upon his retirement, he erected the R. D. Whitehead Memorial watering trough at as a memorial to all his faithful animals.
At the time that the R. D. Whitehead Memorial was completed, watering troughs were found at many intersections around Milwaukee. "This trough was particularly welcomed by horses that pulled wagonloads of produce to the Farmer's Market nearby on South 16th Street." It is the last watering trough left in the city of Milwaukee and became a City of Milwaukee Landmark in 1964. The trough was eventually turned into a water fountain in 1966. The animals depicted in the bas-relief, George the horse and Dandy the dog, were both animal friends of R. D. Whitehead. The animals listed on the plaque on the back of the monument are all animals the donor loved. | [
"Humane Society",
"Ohio",
"Chicago",
"Wisconsin",
"Milwaukee"
] |
|
15119_NT | R. D. Whitehead Monument | Focus on this artwork and analyze the Historical information. | Richard D. Whitehead was appointed by the Humane Society as superintendent of the Wisconsin Humane Society in 1879, a position he filled for more than 25 years. The position called for Whitehead to investigate the cases of animal and child abuse referred to the organization. He grew up on a farm in Ohio and worked in a livery stable in Chicago, both experiences which made him aware of the mistreatment suffered by animals. Whitehead investigated more than 700 cases over the course of his career. These sometimes required that he exercise "his police powers in an effort to prevent further abuse". Whitehead left the Wisconsin Humane Society in 1906 and formed the short-lived Badger State Humane Society. Upon his retirement, he erected the R. D. Whitehead Memorial watering trough at as a memorial to all his faithful animals.
At the time that the R. D. Whitehead Memorial was completed, watering troughs were found at many intersections around Milwaukee. "This trough was particularly welcomed by horses that pulled wagonloads of produce to the Farmer's Market nearby on South 16th Street." It is the last watering trough left in the city of Milwaukee and became a City of Milwaukee Landmark in 1964. The trough was eventually turned into a water fountain in 1966. The animals depicted in the bas-relief, George the horse and Dandy the dog, were both animal friends of R. D. Whitehead. The animals listed on the plaque on the back of the monument are all animals the donor loved. | [
"Humane Society",
"Ohio",
"Chicago",
"Wisconsin",
"Milwaukee"
] |
|
15120_T | R. D. Whitehead Monument | In R. D. Whitehead Monument, how is the Condition discussed? | In a survey conducted in April 1993, the sculpture was found to need treatment. | [] |
|
15120_NT | R. D. Whitehead Monument | In this artwork, how is the Condition discussed? | In a survey conducted in April 1993, the sculpture was found to need treatment. | [] |
|
15121_T | Last Judgement (Fra Bartolomeo) | Focus on Last Judgement (Fra Bartolomeo) and explore the abstract. | Last Judgement is a fresco, begun by the Italian Renaissance painter Fra Bartolomeo in 1499 and completed by his colleague Mariotto Albertinelli in 1501. Originally commissioned for a cemetery chapel of Ospedale di Santa Maria Nuova, it is now in the Museo Nazionale di San Marco in Florence. Parts of the composition are illegible as a result of centuries of surface losses. The painting was a key influence on contemporary artists such as Raphael. | [
"Fra Bartolomeo",
"Florence",
"Raphael",
"Italian Renaissance",
"Museo Nazionale di San Marco",
"Ospedale di Santa Maria Nuova",
"Mariotto Albertinelli"
] |
|
15121_NT | Last Judgement (Fra Bartolomeo) | Focus on this artwork and explore the abstract. | Last Judgement is a fresco, begun by the Italian Renaissance painter Fra Bartolomeo in 1499 and completed by his colleague Mariotto Albertinelli in 1501. Originally commissioned for a cemetery chapel of Ospedale di Santa Maria Nuova, it is now in the Museo Nazionale di San Marco in Florence. Parts of the composition are illegible as a result of centuries of surface losses. The painting was a key influence on contemporary artists such as Raphael. | [
"Fra Bartolomeo",
"Florence",
"Raphael",
"Italian Renaissance",
"Museo Nazionale di San Marco",
"Ospedale di Santa Maria Nuova",
"Mariotto Albertinelli"
] |
|
15122_T | Last Judgement (Fra Bartolomeo) | Focus on Last Judgement (Fra Bartolomeo) and explain the History. | On 22 April 1499, Gerozzo di Monna Vanna Dini commissioned the work from Fra Bartolomeo, though he was only able to complete the upper part of the lunette before taking vows as a Dominican friar on 26 July 1500 and temporarily renouncing painting. Using Fra Bartolomeo's "finished cartoon" and preparatory drawings, Albertinelli completed the fresco and received payment on 11 March 1501.Vasari described the work passionately: "He conducted with so much diligence and beautiful manner in that part that he ended up acquiring great fame, besides the one he had, much was celebrated for having with very good consideration expressed the glory of Heaven and Christ with the twelve Apostles judge the twelve tribes, which with beautiful cloths are softly colored. (...) This work [remained] imperfect, having more desire to attend to religion than to painting". | [
"Fra Bartolomeo"
] |
|
15122_NT | Last Judgement (Fra Bartolomeo) | Focus on this artwork and explain the History. | On 22 April 1499, Gerozzo di Monna Vanna Dini commissioned the work from Fra Bartolomeo, though he was only able to complete the upper part of the lunette before taking vows as a Dominican friar on 26 July 1500 and temporarily renouncing painting. Using Fra Bartolomeo's "finished cartoon" and preparatory drawings, Albertinelli completed the fresco and received payment on 11 March 1501.Vasari described the work passionately: "He conducted with so much diligence and beautiful manner in that part that he ended up acquiring great fame, besides the one he had, much was celebrated for having with very good consideration expressed the glory of Heaven and Christ with the twelve Apostles judge the twelve tribes, which with beautiful cloths are softly colored. (...) This work [remained] imperfect, having more desire to attend to religion than to painting". | [
"Fra Bartolomeo"
] |
|
15123_T | Last Judgement (Fra Bartolomeo) | Explore the Description and style of this artwork, Last Judgement (Fra Bartolomeo). | The upper part of the painting shows Christ the judge within a luminous almond, raising His arm as a sign of judgment, a typical gesture of iconography. He is surrounded by cherubs and seraphs, while below Him a flying angel holds the symbols of the Passion and two others blow the trumpets of the Apocalypse. On the sides, on benches of clouds, the Apostles and the Virgin Mary are arranged in two perspective foreshortened rows.
Below there are a series of figures arranged in a semicircle, today very incomplete, with the archangel Michael in the center. There are 75 figures, legible today mainly thanks to the existence of two copies, one of the Tuscan school (courtyard of the former convent of Sant'Apollonia, Florence) and a cartoon by Raffaello Bonaiuti executed in 1871, at the time of the detachment (Uffizi, Florence).
The figures of the angels in the center downwards are generally assigned to the Albertinelli. In the characters below there were various portraits that are scarcely legible today, including that of Giuliano Bugiardini and of Beato Angelico.
Overall, the work is inspired by the calm serenity of Perugino's works, or the Coronation of the Virgin in Domenico Ghirlandaio's Tornabuoni Chapel, but the artist detached himself from the 15-century style by creating a completely new monumentality, solemn and calm but also vigorous. He would have great influence on his young friend Raphael, who copied the setting of the figures in the Trinity and Saints of Perugia and who also had it in mind, a few years later, for the Dispute of the Sacrament in the Stanza della Segnatura. | [
"Florence",
"Stanza della Segnatura",
"Raphael",
"Domenico Ghirlandaio",
"Perugino"
] |
|
15123_NT | Last Judgement (Fra Bartolomeo) | Explore the Description and style of this artwork. | The upper part of the painting shows Christ the judge within a luminous almond, raising His arm as a sign of judgment, a typical gesture of iconography. He is surrounded by cherubs and seraphs, while below Him a flying angel holds the symbols of the Passion and two others blow the trumpets of the Apocalypse. On the sides, on benches of clouds, the Apostles and the Virgin Mary are arranged in two perspective foreshortened rows.
Below there are a series of figures arranged in a semicircle, today very incomplete, with the archangel Michael in the center. There are 75 figures, legible today mainly thanks to the existence of two copies, one of the Tuscan school (courtyard of the former convent of Sant'Apollonia, Florence) and a cartoon by Raffaello Bonaiuti executed in 1871, at the time of the detachment (Uffizi, Florence).
The figures of the angels in the center downwards are generally assigned to the Albertinelli. In the characters below there were various portraits that are scarcely legible today, including that of Giuliano Bugiardini and of Beato Angelico.
Overall, the work is inspired by the calm serenity of Perugino's works, or the Coronation of the Virgin in Domenico Ghirlandaio's Tornabuoni Chapel, but the artist detached himself from the 15-century style by creating a completely new monumentality, solemn and calm but also vigorous. He would have great influence on his young friend Raphael, who copied the setting of the figures in the Trinity and Saints of Perugia and who also had it in mind, a few years later, for the Dispute of the Sacrament in the Stanza della Segnatura. | [
"Florence",
"Stanza della Segnatura",
"Raphael",
"Domenico Ghirlandaio",
"Perugino"
] |
|
15124_T | Military Courage (DuBois) | Focus on Military Courage (DuBois) and discuss the abstract. | Military Courage is a bronze statue, by Paul Dubois.
It is located in the West Garden, at Mount Vernon Place, Baltimore.
The statue is a copy of the original, on the Cenotaph of General Jucault de Lamoricière in Nantes Cathedral, given by William Thompson Walters.
A reduced example is in the Walters Art Museum. | [
"Mount Vernon Place",
"William Thompson Walters",
"Jucault de Lamoricière",
"Walters Art Museum",
"Paul Dubois",
"Baltimore",
"Nantes Cathedral"
] |
|
15124_NT | Military Courage (DuBois) | Focus on this artwork and discuss the abstract. | Military Courage is a bronze statue, by Paul Dubois.
It is located in the West Garden, at Mount Vernon Place, Baltimore.
The statue is a copy of the original, on the Cenotaph of General Jucault de Lamoricière in Nantes Cathedral, given by William Thompson Walters.
A reduced example is in the Walters Art Museum. | [
"Mount Vernon Place",
"William Thompson Walters",
"Jucault de Lamoricière",
"Walters Art Museum",
"Paul Dubois",
"Baltimore",
"Nantes Cathedral"
] |
|
15125_T | The Finding of Moses (Orazio Gentileschi) | How does The Finding of Moses (Orazio Gentileschi) elucidate its London version? | This version was bought by a private collection in 1995 and went on long term loan to the National Gallery in 2002. After a loan of nearly 20 years the Gallery succeeded in purchasing the work for £22 Million in December 2019.Commissioned by Charles I for his wife Henrietta Maria to celebrate the birth of their son and heir Charles II, it was painted for the Queen's House in Greenwich. Upon completion it was hung in the Great Hall, opposite the 1628 version of Lot and His Daughters. After Charles’ execution it was returned to his widow in France in 1660. By the time it entered the Orleans Collection a half-century later, it was regarded as by Velázquez. It then entered the Castle Howard collection, and was only correctly identified after the existence of Gentileschi's second version in the Prado became known in England. | [
"Prado",
"Queen's House",
"Orleans Collection",
"Lot and His Daughters",
"Charles I",
"Velázquez",
"National Gallery",
"Castle Howard",
"London",
"Greenwich",
"Charles II",
"Henrietta Maria"
] |
|
15125_NT | The Finding of Moses (Orazio Gentileschi) | How does this artwork elucidate its London version? | This version was bought by a private collection in 1995 and went on long term loan to the National Gallery in 2002. After a loan of nearly 20 years the Gallery succeeded in purchasing the work for £22 Million in December 2019.Commissioned by Charles I for his wife Henrietta Maria to celebrate the birth of their son and heir Charles II, it was painted for the Queen's House in Greenwich. Upon completion it was hung in the Great Hall, opposite the 1628 version of Lot and His Daughters. After Charles’ execution it was returned to his widow in France in 1660. By the time it entered the Orleans Collection a half-century later, it was regarded as by Velázquez. It then entered the Castle Howard collection, and was only correctly identified after the existence of Gentileschi's second version in the Prado became known in England. | [
"Prado",
"Queen's House",
"Orleans Collection",
"Lot and His Daughters",
"Charles I",
"Velázquez",
"National Gallery",
"Castle Howard",
"London",
"Greenwich",
"Charles II",
"Henrietta Maria"
] |
|
15126_T | The Finding of Moses (Orazio Gentileschi) | Focus on The Finding of Moses (Orazio Gentileschi) and analyze the Madrid version. | The version now in the Prado in Madrid was painted in 1633. It is thought to be an autograph copy after his earlier version of the subject in London.
The artist produced it for Philip IV of Spain and sent it to him as a gift in summer 1633. It was delivered personally to Philip in Madrid by the artist's son Francesco. In October that year Arthur Hopton (English ambassador to Spain) wrote that the painting had been hung in the Salón Nuevo in the Royal Alcázar of Madrid.Pleased with the picture, Philip authorised the payment of 900 ducats to the artist.: p.238 The Madrid version is slightly smaller and the nudity has been softened. | [
"Prado",
"Royal Alcázar of Madrid",
"Francesco",
"Arthur Hopton",
"London",
"Philip IV of Spain",
"Madrid"
] |
|
15126_NT | The Finding of Moses (Orazio Gentileschi) | Focus on this artwork and analyze the Madrid version. | The version now in the Prado in Madrid was painted in 1633. It is thought to be an autograph copy after his earlier version of the subject in London.
The artist produced it for Philip IV of Spain and sent it to him as a gift in summer 1633. It was delivered personally to Philip in Madrid by the artist's son Francesco. In October that year Arthur Hopton (English ambassador to Spain) wrote that the painting had been hung in the Salón Nuevo in the Royal Alcázar of Madrid.Pleased with the picture, Philip authorised the payment of 900 ducats to the artist.: p.238 The Madrid version is slightly smaller and the nudity has been softened. | [
"Prado",
"Royal Alcázar of Madrid",
"Francesco",
"Arthur Hopton",
"London",
"Philip IV of Spain",
"Madrid"
] |
|
15127_T | Noli Me Tangere (Bernini) | In Noli Me Tangere (Bernini), how is the abstract discussed? | Noli Me Tangere is a large sculptural arrangement that forms part of the Alaleona Chapel in the church of Santi Domenico e Sisto, in Rome.
The architecutal outline of the chapel was designed by the Italian artist Gianlorenzo Bernini. The sculpture, which shows Jesus responding to Mary Magdalene with the words 'Do not touch me' upon her recognition of him following the Resurrection, was also designed by Bernini and carried out by his pupil Antonio Raggi, probably from 1649 to 1652. | [
"Mary Magdalene",
"Santi Domenico e Sisto",
"Jesus",
"Gianlorenzo Bernini",
"Antonio Raggi"
] |
|
15127_NT | Noli Me Tangere (Bernini) | In this artwork, how is the abstract discussed? | Noli Me Tangere is a large sculptural arrangement that forms part of the Alaleona Chapel in the church of Santi Domenico e Sisto, in Rome.
The architecutal outline of the chapel was designed by the Italian artist Gianlorenzo Bernini. The sculpture, which shows Jesus responding to Mary Magdalene with the words 'Do not touch me' upon her recognition of him following the Resurrection, was also designed by Bernini and carried out by his pupil Antonio Raggi, probably from 1649 to 1652. | [
"Mary Magdalene",
"Santi Domenico e Sisto",
"Jesus",
"Gianlorenzo Bernini",
"Antonio Raggi"
] |
|
15128_T | Noli Me Tangere (Bernini) | Focus on Noli Me Tangere (Bernini) and explore the Preparatory Work. | A wash drawing exists in the Uffizi Gallery, Florence, that shows the overall design, although it appears that Raggi made some changes to the sculptural group. | [
"wash drawing"
] |
|
15128_NT | Noli Me Tangere (Bernini) | Focus on this artwork and explore the Preparatory Work. | A wash drawing exists in the Uffizi Gallery, Florence, that shows the overall design, although it appears that Raggi made some changes to the sculptural group. | [
"wash drawing"
] |
|
15129_T | Noli Me Tangere (Bernini) | Focus on Noli Me Tangere (Bernini) and explain the Patronage. | The chapel was commissioned by Sister Maria Eleonora Alaleona. It is suspected that it was commissioned as an act of penitence for the behaviour of an unnamed relative of hers in 1636 - a nun who had tried to smuggle a lover into her convent only for the lover to suffocate to death in the chest he was hiding in. The donation made was 3,000 Roman scudi (around US$120,000 in contemporary costs.) | [] |
|
15129_NT | Noli Me Tangere (Bernini) | Focus on this artwork and explain the Patronage. | The chapel was commissioned by Sister Maria Eleonora Alaleona. It is suspected that it was commissioned as an act of penitence for the behaviour of an unnamed relative of hers in 1636 - a nun who had tried to smuggle a lover into her convent only for the lover to suffocate to death in the chest he was hiding in. The donation made was 3,000 Roman scudi (around US$120,000 in contemporary costs.) | [] |
|
15130_T | Armistead Monument | Explore the abstract of this artwork, Armistead Monument. | The Armistead Monument is a bronze statue of Col. George Armistead, by Edward Berge.
It is located at Fort McHenry, Baltimore.
It was dedicated on September 12, 1914.The inscription reads:
(Sculpture, rear of bronze base, proper right:)
CAST BY ROMAN BRONZE WORKS NY
(Sculpture, rear of bronze base, proper left:)
BERGE
(Base, front:) (Base, left side:) (Base, right side:)(Base, rear: list of names of the commission)
signed founder's mark appears. | [
"Edward Berge",
"proper right",
"George Armistead",
"Armistead Monument",
"Baltimore",
"Fort McHenry"
] |
|
15130_NT | Armistead Monument | Explore the abstract of this artwork. | The Armistead Monument is a bronze statue of Col. George Armistead, by Edward Berge.
It is located at Fort McHenry, Baltimore.
It was dedicated on September 12, 1914.The inscription reads:
(Sculpture, rear of bronze base, proper right:)
CAST BY ROMAN BRONZE WORKS NY
(Sculpture, rear of bronze base, proper left:)
BERGE
(Base, front:) (Base, left side:) (Base, right side:)(Base, rear: list of names of the commission)
signed founder's mark appears. | [
"Edward Berge",
"proper right",
"George Armistead",
"Armistead Monument",
"Baltimore",
"Fort McHenry"
] |
|
15131_T | Sutphin Fountain | Focus on Sutphin Fountain and discuss the abstract. | The Sutphin Fountain is a fountain located at the Newfields campus, directly adjacent to the Indianapolis Museum of Art (IMA), which is near downtown Indianapolis, Indiana. The granite and concrete fountain was designed by Stuart O. Dawson of Sasaki, Dawson, DeMay Associates, Inc. (now Sasaki Associates) in 1972. | [
"Indianapolis",
"granite",
"Indianapolis Museum of Art",
"Indiana",
"Stuart O. Dawson"
] |
|
15131_NT | Sutphin Fountain | Focus on this artwork and discuss the abstract. | The Sutphin Fountain is a fountain located at the Newfields campus, directly adjacent to the Indianapolis Museum of Art (IMA), which is near downtown Indianapolis, Indiana. The granite and concrete fountain was designed by Stuart O. Dawson of Sasaki, Dawson, DeMay Associates, Inc. (now Sasaki Associates) in 1972. | [
"Indianapolis",
"granite",
"Indianapolis Museum of Art",
"Indiana",
"Stuart O. Dawson"
] |
|
15132_T | Sutphin Fountain | How does Sutphin Fountain elucidate its Description? | The Sutphin Fountain is a year-round fountain located just north of the IMA's main entrance, heading off the stretch of landscaping called the Sutphin Mall.
Its large circular basin contains a poured concrete platform upon which sit 352 blocks of handcrafted, white granite of varying sizes, some weighing over a ton. Each block is flat on top and narrow, vertical ridges have been carved into the sides. The platform is raised slightly higher than ground level, and slopes slightly upward towards the center. A drainage basin surrounds the platform and serves as a barrier for the garden.In the center of the platform 27 high-powered jets of water are fed from a central pipe and spray straight up into the air at a height anywhere between eight and 15 feet. Approximately 10,000 gallons of water are pumped through the jets every minute.Color-shifting LED lights illuminate the column of water at night, and colorful lights are also installed underneath the ledge of the platform. | [
"LED",
"granite"
] |
|
15132_NT | Sutphin Fountain | How does this artwork elucidate its Description? | The Sutphin Fountain is a year-round fountain located just north of the IMA's main entrance, heading off the stretch of landscaping called the Sutphin Mall.
Its large circular basin contains a poured concrete platform upon which sit 352 blocks of handcrafted, white granite of varying sizes, some weighing over a ton. Each block is flat on top and narrow, vertical ridges have been carved into the sides. The platform is raised slightly higher than ground level, and slopes slightly upward towards the center. A drainage basin surrounds the platform and serves as a barrier for the garden.In the center of the platform 27 high-powered jets of water are fed from a central pipe and spray straight up into the air at a height anywhere between eight and 15 feet. Approximately 10,000 gallons of water are pumped through the jets every minute.Color-shifting LED lights illuminate the column of water at night, and colorful lights are also installed underneath the ledge of the platform. | [
"LED",
"granite"
] |
|
15133_T | Sutphin Fountain | Focus on Sutphin Fountain and analyze the Historical information. | The Sutphin Fountain was made following the IMA's move from 16th to 38th Street. It was completed in 1972 in celebration of the IMA's second birthday at its new location. The museum held an open dedication ceremony in October 1972, complete with a brass band, fireworks, and ballerinas who danced across the fountain itself. At the moment of unveiling, the fountain sent one narrow jet of water 50 feet into the air.The original incarnation of the fountain had 448 blocks of Indiana limestone, a limestone rim surrounding the central platform, and 22 floodlights which lit the fountain from within the column of water at night.First located at the bottom of the steps leading up to the IMA's main entrance, the Sutphin Fountain was the visual focal point of the front view of the museum complex. Its design was intended to recall the age-old sunburst design and also suggest the layout of Indianapolis, sometimes called the “circle city.” The IMA's logo for its first few decades was a simplified version of an aerial view of the fountain.When the IMA reopened in 2005 following its major renovation, the role of the Sutphin Fountain was altered. Where it used to be a stark gateway to the museum, it now was nestled in a more landscaped setting – although still prominently visible from the main entrance. It is now comfortably situated between the museum café's outdoor seating and the Sutphin Mall, an allée-style sculpture yard which contains some of the IMA's most well-known outdoor artworks.In 2009 the floodlights within the fountain were replaced with LED lighting. Seventeen different hues can be seen as the colors rotate at night, and specific color cycle requests may be displayed during special events. | [
"LED",
"Indianapolis",
"“circle city.”",
"LED lighting",
"Indiana",
"limestone",
"sunburst",
"outdoor artworks"
] |
|
15133_NT | Sutphin Fountain | Focus on this artwork and analyze the Historical information. | The Sutphin Fountain was made following the IMA's move from 16th to 38th Street. It was completed in 1972 in celebration of the IMA's second birthday at its new location. The museum held an open dedication ceremony in October 1972, complete with a brass band, fireworks, and ballerinas who danced across the fountain itself. At the moment of unveiling, the fountain sent one narrow jet of water 50 feet into the air.The original incarnation of the fountain had 448 blocks of Indiana limestone, a limestone rim surrounding the central platform, and 22 floodlights which lit the fountain from within the column of water at night.First located at the bottom of the steps leading up to the IMA's main entrance, the Sutphin Fountain was the visual focal point of the front view of the museum complex. Its design was intended to recall the age-old sunburst design and also suggest the layout of Indianapolis, sometimes called the “circle city.” The IMA's logo for its first few decades was a simplified version of an aerial view of the fountain.When the IMA reopened in 2005 following its major renovation, the role of the Sutphin Fountain was altered. Where it used to be a stark gateway to the museum, it now was nestled in a more landscaped setting – although still prominently visible from the main entrance. It is now comfortably situated between the museum café's outdoor seating and the Sutphin Mall, an allée-style sculpture yard which contains some of the IMA's most well-known outdoor artworks.In 2009 the floodlights within the fountain were replaced with LED lighting. Seventeen different hues can be seen as the colors rotate at night, and specific color cycle requests may be displayed during special events. | [
"LED",
"Indianapolis",
"“circle city.”",
"LED lighting",
"Indiana",
"limestone",
"sunburst",
"outdoor artworks"
] |
|
15134_T | Sutphin Fountain | Describe the characteristics of the Acquisition in Sutphin Fountain's Historical information. | The Sutphin Fountain is dedicated in memory of Samuel Brady Sutphin.The fountain was officially accessioned into the IMA's non-art collection in 2003. | [] |
|
15134_NT | Sutphin Fountain | Describe the characteristics of the Acquisition in this artwork's Historical information. | The Sutphin Fountain is dedicated in memory of Samuel Brady Sutphin.The fountain was officially accessioned into the IMA's non-art collection in 2003. | [] |
|
15135_T | Sutphin Fountain | Focus on Sutphin Fountain and explore the Designer. | Stuart O. Dawson is a prominent landscape architect and urban designer with Sasaki Associates, formerly Sasaki, Dawson, DeMay Associates, Inc. He has contributed to numerous local and international design projects and has won multiple awards for his work. | [
"urban designer",
"landscape architect",
"Stuart O. Dawson"
] |
|
15135_NT | Sutphin Fountain | Focus on this artwork and explore the Designer. | Stuart O. Dawson is a prominent landscape architect and urban designer with Sasaki Associates, formerly Sasaki, Dawson, DeMay Associates, Inc. He has contributed to numerous local and international design projects and has won multiple awards for his work. | [
"urban designer",
"landscape architect",
"Stuart O. Dawson"
] |
|
15136_T | Sutphin Fountain | Focus on Sutphin Fountain and explain the Condition. | Because of the soft nature of limestone, the fountain eventually had to be renovated to replace the existing blocks which by 1998 had worn away to the point of being at risk of sliding. A limestone-colored type of granite from China was chosen as the replacement material, being a much more durable stone. Granite is also much heavier than limestone, so the foundation was recast to withstand the additional pressure. The rim of worn limestone which edged the platform was removed. With these improvements, the lifespan of the fountain was expected to gain several decades. A rededication took place following the renovation in December 1998. | [
"granite",
"China",
"Granite",
"limestone"
] |
|
15136_NT | Sutphin Fountain | Focus on this artwork and explain the Condition. | Because of the soft nature of limestone, the fountain eventually had to be renovated to replace the existing blocks which by 1998 had worn away to the point of being at risk of sliding. A limestone-colored type of granite from China was chosen as the replacement material, being a much more durable stone. Granite is also much heavier than limestone, so the foundation was recast to withstand the additional pressure. The rim of worn limestone which edged the platform was removed. With these improvements, the lifespan of the fountain was expected to gain several decades. A rededication took place following the renovation in December 1998. | [
"granite",
"China",
"Granite",
"limestone"
] |
|
15137_T | She Who Must Be Obeyed (sculpture) | Explore the abstract of this artwork, She Who Must Be Obeyed (sculpture). | She Who Must Be Obeyed is a minimalist sculpture 33 feet (10 m) wide and 16 feet (4.9 m) deep made by Tony Smith in 1975. It is located at the Frances Perkins Building, in downtown Washington, D.C. The piece consists of nine geometric rhomboid units, bolted and welded together and painted blue.
Tony Smith's career encompassed architecture, painting, and sculpture. The General Services Administration commissioned the 21 foot (6.4 m) high steel construction that is painted blue in 1974 for its Art in Public Places program. Smith said that he was willing to forgo the standard honorarium for the sculpture. "I felt very honored to do something in the national capital...As far as I was concerned, I would be perfectly willing to supply it at cost….it’s right near the Capitol, and it’s a very nice place to be."
The $98,000 fee he was awarded was consumed by the production of the imposing work. | [
"Frances Perkins Building",
"downtown Washington, D.C.",
"Tony Smith",
"rhomboid",
"minimalist",
"General Services Administration"
] |
|
15137_NT | She Who Must Be Obeyed (sculpture) | Explore the abstract of this artwork. | She Who Must Be Obeyed is a minimalist sculpture 33 feet (10 m) wide and 16 feet (4.9 m) deep made by Tony Smith in 1975. It is located at the Frances Perkins Building, in downtown Washington, D.C. The piece consists of nine geometric rhomboid units, bolted and welded together and painted blue.
Tony Smith's career encompassed architecture, painting, and sculpture. The General Services Administration commissioned the 21 foot (6.4 m) high steel construction that is painted blue in 1974 for its Art in Public Places program. Smith said that he was willing to forgo the standard honorarium for the sculpture. "I felt very honored to do something in the national capital...As far as I was concerned, I would be perfectly willing to supply it at cost….it’s right near the Capitol, and it’s a very nice place to be."
The $98,000 fee he was awarded was consumed by the production of the imposing work. | [
"Frances Perkins Building",
"downtown Washington, D.C.",
"Tony Smith",
"rhomboid",
"minimalist",
"General Services Administration"
] |
|
15138_T | She Who Must Be Obeyed (sculpture) | Focus on She Who Must Be Obeyed (sculpture) and discuss the Description. | During the spring of 1976 She Who Must Be Obeyed was installed on the east plaza of the newly constructed Department of Labor building—subsequently named the Frances Perkins Building—in Washington, D.C., not far from the east wing of the National Gallery of Art.
Using the jargon of a master builder, which he had been, Smith explained that his sculpture “is the cross-section of a space frame made up of tetrahedral and octahedral. It’s called simply a rhombus.”For various reasons She never became one of the artist's better-known sculptures. One possible reason: until 2009 it was not easy to see She. The work was placed in an outdoor corner of the t-shaped Frances Perkins Building near Second Street NW, set back—and difficult to see—from the street. Access to the work was made easier after it was restored in 2008–2009, and reinstalled on the other side of the Perkins Building, on a grassy plaza close to the intersection of Third and C Streets NW.
The construction is also an anomaly in the artist's career: instead of being painted black like most of Smith's other works, or even yellow, like a select few, it is bright blue. Initially, the artist had wanted She to be the color of pool cue chalk. In comparison to the artworks published in the pages of the Museum of Modern Art catalogue that accompanied the retrospective curated by Robert Storr in 1998, it is reproduced in black and white, not color.Because Tony Smith's early structures, works like Die and The Elevens Are Up, were monochromatic, smooth-surfaced, and straight-edged, the older artist was referred to, during this phase of his career, as a Minimalist. His closest friends and colleagues, however, included Abstract Expressionists Jackson Pollock and Barnett Newman. His work straddles both genres. | [
"Barnett Newman",
"Frances Perkins Building",
"National Gallery of Art",
"Tony Smith",
"Jackson Pollock",
"pool cue",
"master builder",
"Museum of Modern Art"
] |
|
15138_NT | She Who Must Be Obeyed (sculpture) | Focus on this artwork and discuss the Description. | During the spring of 1976 She Who Must Be Obeyed was installed on the east plaza of the newly constructed Department of Labor building—subsequently named the Frances Perkins Building—in Washington, D.C., not far from the east wing of the National Gallery of Art.
Using the jargon of a master builder, which he had been, Smith explained that his sculpture “is the cross-section of a space frame made up of tetrahedral and octahedral. It’s called simply a rhombus.”For various reasons She never became one of the artist's better-known sculptures. One possible reason: until 2009 it was not easy to see She. The work was placed in an outdoor corner of the t-shaped Frances Perkins Building near Second Street NW, set back—and difficult to see—from the street. Access to the work was made easier after it was restored in 2008–2009, and reinstalled on the other side of the Perkins Building, on a grassy plaza close to the intersection of Third and C Streets NW.
The construction is also an anomaly in the artist's career: instead of being painted black like most of Smith's other works, or even yellow, like a select few, it is bright blue. Initially, the artist had wanted She to be the color of pool cue chalk. In comparison to the artworks published in the pages of the Museum of Modern Art catalogue that accompanied the retrospective curated by Robert Storr in 1998, it is reproduced in black and white, not color.Because Tony Smith's early structures, works like Die and The Elevens Are Up, were monochromatic, smooth-surfaced, and straight-edged, the older artist was referred to, during this phase of his career, as a Minimalist. His closest friends and colleagues, however, included Abstract Expressionists Jackson Pollock and Barnett Newman. His work straddles both genres. | [
"Barnett Newman",
"Frances Perkins Building",
"National Gallery of Art",
"Tony Smith",
"Jackson Pollock",
"pool cue",
"master builder",
"Museum of Modern Art"
] |
|
15139_T | She Who Must Be Obeyed (sculpture) | How does She Who Must Be Obeyed (sculpture) elucidate its Title? | Smith had an open-ended approach to titling his works. Some shapes reminded him of specific objects; others carry the names and initials of dear friends. With its horn-like appendages, Moses refers to Michelangelo's portrayal of that patriarch. Because he was well read, and even had run a secondhand bookstore during the Great Depression, a number of the artist's sculptures have literary monikers. Gracehoper, for example, is a word that appears in Finnegans Wake, James Joyce's Modernist classic. She Who Must Be Obeyed derives from a more populist source, the 1886–87 novel She: A History of Adventure by H. Rider Haggard, a tale of a lost kingdom. | [
"James Joyce",
"She: A History of Adventure",
"Great Depression",
"Michelangelo's portrayal of that patriarch",
"Gracehoper",
"H. Rider Haggard",
"Finnegans Wake"
] |
|
15139_NT | She Who Must Be Obeyed (sculpture) | How does this artwork elucidate its Title? | Smith had an open-ended approach to titling his works. Some shapes reminded him of specific objects; others carry the names and initials of dear friends. With its horn-like appendages, Moses refers to Michelangelo's portrayal of that patriarch. Because he was well read, and even had run a secondhand bookstore during the Great Depression, a number of the artist's sculptures have literary monikers. Gracehoper, for example, is a word that appears in Finnegans Wake, James Joyce's Modernist classic. She Who Must Be Obeyed derives from a more populist source, the 1886–87 novel She: A History of Adventure by H. Rider Haggard, a tale of a lost kingdom. | [
"James Joyce",
"She: A History of Adventure",
"Great Depression",
"Michelangelo's portrayal of that patriarch",
"Gracehoper",
"H. Rider Haggard",
"Finnegans Wake"
] |
|
15140_T | Statue of John Fane Charles Hamilton | Focus on Statue of John Fane Charles Hamilton and analyze the abstract. | A bronze statue of Captain John Fane Charles Hamilton was installed for seven years, in Hamilton, New Zealand, from in 2013 until removal in June 2020.The settlement of Hamilton (now a city) was named after Captain Hamilton, a British naval officer who was killed in action during colonial invasion of Maori land at the Battle of Gate Pā. | [
"bronze",
"John Fane Charles Hamilton",
"Battle of Gate Pā",
"Hamilton, New Zealand"
] |
|
15140_NT | Statue of John Fane Charles Hamilton | Focus on this artwork and analyze the abstract. | A bronze statue of Captain John Fane Charles Hamilton was installed for seven years, in Hamilton, New Zealand, from in 2013 until removal in June 2020.The settlement of Hamilton (now a city) was named after Captain Hamilton, a British naval officer who was killed in action during colonial invasion of Maori land at the Battle of Gate Pā. | [
"bronze",
"John Fane Charles Hamilton",
"Battle of Gate Pā",
"Hamilton, New Zealand"
] |
|
15141_T | Statue of John Fane Charles Hamilton | In Statue of John Fane Charles Hamilton, how is the History discussed? | The life-size statue by Margriet Windhausen was gifted to Hamilton City by the Gallagher Group in 2013 "to celebrate 75 years in business". | [
"Gallagher Group",
"Margriet Windhausen"
] |
|
15141_NT | Statue of John Fane Charles Hamilton | In this artwork, how is the History discussed? | The life-size statue by Margriet Windhausen was gifted to Hamilton City by the Gallagher Group in 2013 "to celebrate 75 years in business". | [
"Gallagher Group",
"Margriet Windhausen"
] |
|
15142_T | Statue of John Fane Charles Hamilton | In the context of Statue of John Fane Charles Hamilton, explore the Removal of the History. | In 2017, the donor's CEO, Sir William Gallagher, gave an Institute of Directors speech describing the Treaty of Waitangi as a fraud and denied it involved a partnership between Māori and the Crown. About a dozen directors walked out of the speech in protest.The statue was defaced with red paint in August 2018 by the activist Taitumu Maipi.In June 2020, ahead of a George Floyd protest in the US, the Hamilton City Council discussed the statue with Sir William's brother and fellow director, John Gallagher, then slated it for removal, after a request by Māori tribal confederation Waikato Tainui.On 12 June 2020, the Hamilton City Council removed the statue of Captain Hamilton. | [
"Treaty of Waitangi",
"George Floyd protest",
"Institute of Directors",
"Waikato Tainui",
"Māori",
"the Crown"
] |
|
15142_NT | Statue of John Fane Charles Hamilton | In the context of this artwork, explore the Removal of the History. | In 2017, the donor's CEO, Sir William Gallagher, gave an Institute of Directors speech describing the Treaty of Waitangi as a fraud and denied it involved a partnership between Māori and the Crown. About a dozen directors walked out of the speech in protest.The statue was defaced with red paint in August 2018 by the activist Taitumu Maipi.In June 2020, ahead of a George Floyd protest in the US, the Hamilton City Council discussed the statue with Sir William's brother and fellow director, John Gallagher, then slated it for removal, after a request by Māori tribal confederation Waikato Tainui.On 12 June 2020, the Hamilton City Council removed the statue of Captain Hamilton. | [
"Treaty of Waitangi",
"George Floyd protest",
"Institute of Directors",
"Waikato Tainui",
"Māori",
"the Crown"
] |
|
15143_T | Richard Morris Hunt Memorial | Focus on Richard Morris Hunt Memorial and explain the abstract. | The Richard Morris Hunt Memorial is an exedra of granite and marble, dedicated to the memory of the architect Richard Morris Hunt, designed by Bruce Price with three sculptures by Daniel Chester French, a bust of Hunt, and two flanking statues representing (to the left) painting and sculpture (to the right) architecture. The memorial is located at the Central Park perimeter wall, at Fifth Avenue and 70th Street in Manhattan, New York. The bronze sculptures were cast by the Henry-Bonnard Bronze Company of New York.
The monument was commissioned by the Art Societies of New York, a coalition of a number of municipal cultural institutions associated with Hunt: the Century Association, the Municipal Art Society (whose first president, in 1892, was Hunt), the Metropolitan Museum of Art (whose main building was designed by Hunt), the Artist Artisans of New York, the Architectural League, the National Sculpture Society, the National Academy of Design, the Society of American Artists, the American Institute of Architects (co-founded by Hunt in 1857), the American Watercolor Society, and the Society of Beaux-Arts Architects. It was unveiled on October 31, 1898, but not completed until 1901 when the two statutes were installed. | [
"Society of Beaux-Arts Architects",
"Daniel Chester French",
"Century Association",
"American Institute of Architects",
"National Sculpture Society",
"New York",
"Manhattan",
"Architectural League",
"Bruce Price",
"American Watercolor Society",
"National Academy of Design",
"Central Park",
"Fifth Avenue",
"Society of American Artists",
"Richard Morris Hunt",
"Metropolitan Museum of Art",
"Municipal Art Society"
] |
|
15143_NT | Richard Morris Hunt Memorial | Focus on this artwork and explain the abstract. | The Richard Morris Hunt Memorial is an exedra of granite and marble, dedicated to the memory of the architect Richard Morris Hunt, designed by Bruce Price with three sculptures by Daniel Chester French, a bust of Hunt, and two flanking statues representing (to the left) painting and sculpture (to the right) architecture. The memorial is located at the Central Park perimeter wall, at Fifth Avenue and 70th Street in Manhattan, New York. The bronze sculptures were cast by the Henry-Bonnard Bronze Company of New York.
The monument was commissioned by the Art Societies of New York, a coalition of a number of municipal cultural institutions associated with Hunt: the Century Association, the Municipal Art Society (whose first president, in 1892, was Hunt), the Metropolitan Museum of Art (whose main building was designed by Hunt), the Artist Artisans of New York, the Architectural League, the National Sculpture Society, the National Academy of Design, the Society of American Artists, the American Institute of Architects (co-founded by Hunt in 1857), the American Watercolor Society, and the Society of Beaux-Arts Architects. It was unveiled on October 31, 1898, but not completed until 1901 when the two statutes were installed. | [
"Society of Beaux-Arts Architects",
"Daniel Chester French",
"Century Association",
"American Institute of Architects",
"National Sculpture Society",
"New York",
"Manhattan",
"Architectural League",
"Bruce Price",
"American Watercolor Society",
"National Academy of Design",
"Central Park",
"Fifth Avenue",
"Society of American Artists",
"Richard Morris Hunt",
"Metropolitan Museum of Art",
"Municipal Art Society"
] |
|
15144_T | The Lady in White (Bracquemond) | Explore the abstract of this artwork, The Lady in White (Bracquemond). | The Lady in White (French: Le Dame en blanc), also known as The Woman in White, is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. It depicts the artist's half-sister Louise Quivoron, who often served as a model for her paintings. It was one of three paintings by Bracquemond shown at the fifth Impressionist exhibition in April 1880. A previous painting, Woman in the Garden (1877), may have been a study for The Lady in White. Like the other Impressionists of the time, Bracquemond worked outside en plein air, mostly in her garden at Sèvres. | [
"Impressionists",
"Sèvres",
"Marie Bracquemond",
"en plein air"
] |
|
15144_NT | The Lady in White (Bracquemond) | Explore the abstract of this artwork. | The Lady in White (French: Le Dame en blanc), also known as The Woman in White, is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. It depicts the artist's half-sister Louise Quivoron, who often served as a model for her paintings. It was one of three paintings by Bracquemond shown at the fifth Impressionist exhibition in April 1880. A previous painting, Woman in the Garden (1877), may have been a study for The Lady in White. Like the other Impressionists of the time, Bracquemond worked outside en plein air, mostly in her garden at Sèvres. | [
"Impressionists",
"Sèvres",
"Marie Bracquemond",
"en plein air"
] |
|
15145_T | The Lady in White (Bracquemond) | Focus on The Lady in White (Bracquemond) and discuss the Background. | Marie Bracquemond (1840–1916) was a French artist who began painting in the 1850s. Unlike many of her contemporaries, she came from a working-class background and was mostly self-taught. She was initially influenced by Romanticism which was in vogue at the time, and began by painting little medieval scenes, such as people reading (Reading) and portraits (Cervantes in Prison). Her interest in medieval art was likely influenced by her childhood near Ussel in proximity of the ancient abbey Notre-Dame de Bonnaigue. Her style changed as she received training from Jean-Auguste-Dominique Ingres (1780–1867); his personality and harsh limits for women artists drove her away, but the influence of formalism from Ingres and his students would remain, showing up in her early works like Portrait of the Mother, Aline Pasquiou-Quivoron (1860), which reveals her study of Rembrandt (1606–1669). The lasting influence of Ingres would later spread to her personal life.While painting at the Louvre in 1866, Marie met her husband Félix Bracquemond, later marrying him in 1869. Félix had studied under Joseph Guichard (1806–1880), a student of Ingres. By the 1870s, Marie's work had hints of Realism (The Backgammon Players) reflecting her appreciation of painters like Alfred Stevens (1823–1906). Félix would later exhibit with the first Impressionist exhibition in 1874, with the two of them both submitting works to the fourth exhibition in 1879. During the late 1870s, the influence of the then nascent Impressionists began to make its mark on Marie, as artists like Edgar Degas (1834–1917), Claude Monet (1840–1926), and Pierre-Auguste Renoir (1841–1919) came into her orbit of influence, respect, and admiration.Marie submitted three paintings to the fifth Impressionist exhibition from April 1–30, 1880, at 10 rue des Pyramides, one of which was believed to have been The Lady in White submitted under the title Portrait, cat. no. 85. At that exhibition, her paintings were shown alongside works by her husband as well as Gustave Caillebotte (1848–1894), Degas, Jean-Louis Forain (1852–1931), Paul Gauguin (1848–1903), Armand Guillaumin (1842–1927), Albert Lebourg (1849–1928), Léopold Levert (1819–1882), Camille Pissarro (1830–1903), Jean-François Raffaëlli (1850–1924), Henri Rouart (1833-1912), Charles Tillot (1825–1895), Eugène Vincent Vidal (1850–1908), Victor Vignon (1847–1909), and Federico Zandomeneghi (1841–1917). | [
"Jean-François Raffaëlli",
"Impressionists",
"Félix Bracquemond",
"Federico Zandomeneghi",
"Jean-Auguste-Dominique Ingres",
"Edgar Degas",
"Joseph Guichard",
"Marie Bracquemond",
"Gustave Caillebotte",
"Victor Vignon",
"Paul Gauguin",
"Armand Guillaumin",
"Léopold Levert",
"medieval art",
"Rembrandt",
"Ussel",
"Camille Pissarro",
"Charles Tillot",
"Realism",
"Pierre-Auguste Renoir",
"Jean-Louis Forain",
"Eugène Vincent Vidal",
"Claude Monet",
"Romanticism",
"Albert Lebourg",
"Henri Rouart",
"Alfred Stevens"
] |
|
15145_NT | The Lady in White (Bracquemond) | Focus on this artwork and discuss the Background. | Marie Bracquemond (1840–1916) was a French artist who began painting in the 1850s. Unlike many of her contemporaries, she came from a working-class background and was mostly self-taught. She was initially influenced by Romanticism which was in vogue at the time, and began by painting little medieval scenes, such as people reading (Reading) and portraits (Cervantes in Prison). Her interest in medieval art was likely influenced by her childhood near Ussel in proximity of the ancient abbey Notre-Dame de Bonnaigue. Her style changed as she received training from Jean-Auguste-Dominique Ingres (1780–1867); his personality and harsh limits for women artists drove her away, but the influence of formalism from Ingres and his students would remain, showing up in her early works like Portrait of the Mother, Aline Pasquiou-Quivoron (1860), which reveals her study of Rembrandt (1606–1669). The lasting influence of Ingres would later spread to her personal life.While painting at the Louvre in 1866, Marie met her husband Félix Bracquemond, later marrying him in 1869. Félix had studied under Joseph Guichard (1806–1880), a student of Ingres. By the 1870s, Marie's work had hints of Realism (The Backgammon Players) reflecting her appreciation of painters like Alfred Stevens (1823–1906). Félix would later exhibit with the first Impressionist exhibition in 1874, with the two of them both submitting works to the fourth exhibition in 1879. During the late 1870s, the influence of the then nascent Impressionists began to make its mark on Marie, as artists like Edgar Degas (1834–1917), Claude Monet (1840–1926), and Pierre-Auguste Renoir (1841–1919) came into her orbit of influence, respect, and admiration.Marie submitted three paintings to the fifth Impressionist exhibition from April 1–30, 1880, at 10 rue des Pyramides, one of which was believed to have been The Lady in White submitted under the title Portrait, cat. no. 85. At that exhibition, her paintings were shown alongside works by her husband as well as Gustave Caillebotte (1848–1894), Degas, Jean-Louis Forain (1852–1931), Paul Gauguin (1848–1903), Armand Guillaumin (1842–1927), Albert Lebourg (1849–1928), Léopold Levert (1819–1882), Camille Pissarro (1830–1903), Jean-François Raffaëlli (1850–1924), Henri Rouart (1833-1912), Charles Tillot (1825–1895), Eugène Vincent Vidal (1850–1908), Victor Vignon (1847–1909), and Federico Zandomeneghi (1841–1917). | [
"Jean-François Raffaëlli",
"Impressionists",
"Félix Bracquemond",
"Federico Zandomeneghi",
"Jean-Auguste-Dominique Ingres",
"Edgar Degas",
"Joseph Guichard",
"Marie Bracquemond",
"Gustave Caillebotte",
"Victor Vignon",
"Paul Gauguin",
"Armand Guillaumin",
"Léopold Levert",
"medieval art",
"Rembrandt",
"Ussel",
"Camille Pissarro",
"Charles Tillot",
"Realism",
"Pierre-Auguste Renoir",
"Jean-Louis Forain",
"Eugène Vincent Vidal",
"Claude Monet",
"Romanticism",
"Albert Lebourg",
"Henri Rouart",
"Alfred Stevens"
] |
|
15146_T | The Lady in White (Bracquemond) | How does The Lady in White (Bracquemond) elucidate its Reception? | French art critics praised the work during its initial viewing at the fifth Impressionist exhibition. Arthur d'Echerac called it a "masterful debut", while Gustave Goetschy said that Bracquemond "paints ravishingly". Philippe Burty noted that the work was the culmination of "serious study", while Paul Armand Silvestre observed the influence of landscapes like those found in the work of François Boucher (1703–1770), with Bracquemond achieving, according to Silvestre, "very harmonious effects in which there are tapestry backgrounds that seem to shine from the light of an apotheosis." | [
"Paul Armand Silvestre",
"Arthur d'Echerac",
"Gustave Goetschy",
"François Boucher",
"Philippe Burty"
] |
|
15146_NT | The Lady in White (Bracquemond) | How does this artwork elucidate its Reception? | French art critics praised the work during its initial viewing at the fifth Impressionist exhibition. Arthur d'Echerac called it a "masterful debut", while Gustave Goetschy said that Bracquemond "paints ravishingly". Philippe Burty noted that the work was the culmination of "serious study", while Paul Armand Silvestre observed the influence of landscapes like those found in the work of François Boucher (1703–1770), with Bracquemond achieving, according to Silvestre, "very harmonious effects in which there are tapestry backgrounds that seem to shine from the light of an apotheosis." | [
"Paul Armand Silvestre",
"Arthur d'Echerac",
"Gustave Goetschy",
"François Boucher",
"Philippe Burty"
] |
|
15147_T | The Lady in White (Bracquemond) | Focus on The Lady in White (Bracquemond) and analyze the Provenance. | French art critic Gustave Geffroy originally bought the painting and gave it to the city of Paris. The painting was displayed at the Palais du Luxembourg until the gallery closed. It was then displayed from 1929 to 2019 at the Musée des Beaux-Arts de Cambrai. The painting underwent restoration in the 1980s. The Musée d'Orsay acquired the painting in 2019. | [
"Musée des Beaux-Arts de Cambrai",
"Musée d'Orsay",
"Gustave Geffroy",
"Paris"
] |
|
15147_NT | The Lady in White (Bracquemond) | Focus on this artwork and analyze the Provenance. | French art critic Gustave Geffroy originally bought the painting and gave it to the city of Paris. The painting was displayed at the Palais du Luxembourg until the gallery closed. It was then displayed from 1929 to 2019 at the Musée des Beaux-Arts de Cambrai. The painting underwent restoration in the 1980s. The Musée d'Orsay acquired the painting in 2019. | [
"Musée des Beaux-Arts de Cambrai",
"Musée d'Orsay",
"Gustave Geffroy",
"Paris"
] |
|
15148_T | Pomegranate carved in the round | Focus on Pomegranate carved in the round and explore the abstract. | Pomegranate carved in the round is an ivory bead shaped like a pomegranate. It is dated to the 8th century B.C. and is attributed to the Assyrian Empire. The ivory bead is currently held by the Metropolitan Museum of Art in its collection. | [
"Pomegranate",
"Metropolitan Museum of Art",
"Assyrian Empire",
"pomegranate",
"Assyria"
] |
|
15148_NT | Pomegranate carved in the round | Focus on this artwork and explore the abstract. | Pomegranate carved in the round is an ivory bead shaped like a pomegranate. It is dated to the 8th century B.C. and is attributed to the Assyrian Empire. The ivory bead is currently held by the Metropolitan Museum of Art in its collection. | [
"Pomegranate",
"Metropolitan Museum of Art",
"Assyrian Empire",
"pomegranate",
"Assyria"
] |
|
15149_T | Pomegranate carved in the round | Focus on Pomegranate carved in the round and explain the Description. | The ivory bead is shaped like a pomegranate, an object commonly depicted in Assyrian art. The reddish color of the bead was not intended; rather, the object is stained as a result of being buried in the ruins of Kalhu. A product of the trade routes of the Bronze Age Civilizations, the ivory used in the making of the piece was likely imported from Egypt. | [
"Bronze Age",
"pomegranate",
"Bronze Age Civilizations",
"Assyria",
"Kalhu"
] |
|
15149_NT | Pomegranate carved in the round | Focus on this artwork and explain the Description. | The ivory bead is shaped like a pomegranate, an object commonly depicted in Assyrian art. The reddish color of the bead was not intended; rather, the object is stained as a result of being buried in the ruins of Kalhu. A product of the trade routes of the Bronze Age Civilizations, the ivory used in the making of the piece was likely imported from Egypt. | [
"Bronze Age",
"pomegranate",
"Bronze Age Civilizations",
"Assyria",
"Kalhu"
] |
|
15150_T | Klingende Blume | Explore the abstract of this artwork, Klingende Blume. | Klingende Blume is an outdoor sculpture by Achim Kühn, installed at Treptower Park in Berlin, Germany. | [
"Achim Kühn",
"Treptower Park",
"Berlin"
] |
|
15150_NT | Klingende Blume | Explore the abstract of this artwork. | Klingende Blume is an outdoor sculpture by Achim Kühn, installed at Treptower Park in Berlin, Germany. | [
"Achim Kühn",
"Treptower Park",
"Berlin"
] |
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