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15201_T | The Highland Family | Focus on The Highland Family and explore the abstract. | The Highland Family is an early 19th century painting by British artist David Wilkie. Done in oil on wood, the painting is in the collection of the Metropolitan Museum of Art. | [
"Metropolitan Museum of Art",
"David Wilkie"
] |
|
15201_NT | The Highland Family | Focus on this artwork and explore the abstract. | The Highland Family is an early 19th century painting by British artist David Wilkie. Done in oil on wood, the painting is in the collection of the Metropolitan Museum of Art. | [
"Metropolitan Museum of Art",
"David Wilkie"
] |
|
15202_T | Slave Market with the Disappearing Bust of Voltaire | Focus on Slave Market with the Disappearing Bust of Voltaire and explain the abstract. | Slave Market with the Disappearing Bust of Voltaire (1940) is a painting by Spanish Surrealist Salvador Dalí. The painting depicts a slave market, while a woman at a booth watches the people. A variety of people seem to make up the face of Voltaire, while the face seems to be positioned on an object to form a bust of Voltaire. Voltaire was a French writer and philosopher known for his opposition to slavery.
The painting was completed in 1940 in oil on canvas. Dalí describes his work on the painting "to make the abnormal look normal and the normal look abnormal." He uses the technique so called "Double Image", when one form contains two or more images. | [
"painting",
"Surrealist",
"Voltaire",
"Spanish",
"Salvador Dalí"
] |
|
15202_NT | Slave Market with the Disappearing Bust of Voltaire | Focus on this artwork and explain the abstract. | Slave Market with the Disappearing Bust of Voltaire (1940) is a painting by Spanish Surrealist Salvador Dalí. The painting depicts a slave market, while a woman at a booth watches the people. A variety of people seem to make up the face of Voltaire, while the face seems to be positioned on an object to form a bust of Voltaire. Voltaire was a French writer and philosopher known for his opposition to slavery.
The painting was completed in 1940 in oil on canvas. Dalí describes his work on the painting "to make the abnormal look normal and the normal look abnormal." He uses the technique so called "Double Image", when one form contains two or more images. | [
"painting",
"Surrealist",
"Voltaire",
"Spanish",
"Salvador Dalí"
] |
|
15203_T | Auswandererdenkmal | Explore the abstract of this artwork, Auswandererdenkmal. | The Auswandererdenkmal (German for Emigrant Memorial) is a statue in the port of Bremerhaven, Germany, that depicts an emigrant family. Cast in bronze, it shows an emigrant family with the father looking forward toward the New World and the mother looking back as she leaves the old country. The statue stands by one of the city's main dikes, the Weserdeich, on the site of one of the original docks from which early emigrants departed.
The statue is one of the most acclaimed works of sculptor Frank Varga. At more than 6 meters (20 ft) tall, the statue faces towards the United States. | [
"New World",
"Bremerhaven",
"emigrant",
"Frank Varga",
"United States",
"German",
"Germany"
] |
|
15203_NT | Auswandererdenkmal | Explore the abstract of this artwork. | The Auswandererdenkmal (German for Emigrant Memorial) is a statue in the port of Bremerhaven, Germany, that depicts an emigrant family. Cast in bronze, it shows an emigrant family with the father looking forward toward the New World and the mother looking back as she leaves the old country. The statue stands by one of the city's main dikes, the Weserdeich, on the site of one of the original docks from which early emigrants departed.
The statue is one of the most acclaimed works of sculptor Frank Varga. At more than 6 meters (20 ft) tall, the statue faces towards the United States. | [
"New World",
"Bremerhaven",
"emigrant",
"Frank Varga",
"United States",
"German",
"Germany"
] |
|
15204_T | Aldobrandini Madonna (Titian) | Focus on Aldobrandini Madonna (Titian) and discuss the abstract. | The Aldobrandini Madonna (also known as The Virgin and Child with the Infant Saint John and a Female Saint or Donor or The Virgin and Child with the Infant Saint John and Saint Catherine) is an oil painting on canvas by Titian, dating to around 1530 and now in the National Gallery, London. There are studio copies in the Galleria Palatina in Florence and in the Kunsthistorisches Museum in Vienna.
Frizzoni proposed identifying this Madonna with the one mentioned in 1532 by Marcantonio Michiel in the Venetian house of Andrea Odoni (subject of a portrait by Lotto), while Tietze thought it was one of three paintings commissioned from Titian by Federico Gonzaga in 1530. It was in the sacristy of the Escorial Monastery before coming to Paris in the 19th century. It then passed through the Beaucousin and Coesvelt collections before being purchased by its present owner in 1860. | [
"Titian",
"National Gallery",
"Escorial Monastery",
"Galleria Palatina",
"London",
"portrait by Lotto",
"Kunsthistorisches Museum",
"National Gallery, London",
"Federico Gonzaga",
"Marcantonio Michiel"
] |
|
15204_NT | Aldobrandini Madonna (Titian) | Focus on this artwork and discuss the abstract. | The Aldobrandini Madonna (also known as The Virgin and Child with the Infant Saint John and a Female Saint or Donor or The Virgin and Child with the Infant Saint John and Saint Catherine) is an oil painting on canvas by Titian, dating to around 1530 and now in the National Gallery, London. There are studio copies in the Galleria Palatina in Florence and in the Kunsthistorisches Museum in Vienna.
Frizzoni proposed identifying this Madonna with the one mentioned in 1532 by Marcantonio Michiel in the Venetian house of Andrea Odoni (subject of a portrait by Lotto), while Tietze thought it was one of three paintings commissioned from Titian by Federico Gonzaga in 1530. It was in the sacristy of the Escorial Monastery before coming to Paris in the 19th century. It then passed through the Beaucousin and Coesvelt collections before being purchased by its present owner in 1860. | [
"Titian",
"National Gallery",
"Escorial Monastery",
"Galleria Palatina",
"London",
"portrait by Lotto",
"Kunsthistorisches Museum",
"National Gallery, London",
"Federico Gonzaga",
"Marcantonio Michiel"
] |
|
15205_T | Civic Virtue | How does Civic Virtue elucidate its abstract? | Civic Virtue Triumphant Over Unrighteousness (1909–1922) is a sculpture group and fountain in New York City, created by sculptor Frederick William MacMonnies and architect Thomas Hastings, and carved by the Piccirilli Brothers. The fountain was originally placed in front of New York City Hall in Manhattan, spent almost 72 years beside Queens Borough Hall in Queens, and the sculpture group is now located in Green-Wood Cemetery in Brooklyn. | [
"New York City",
"Queens",
"Brooklyn",
"Queens Borough Hall",
"Frederick William MacMonnies",
"Piccirilli Brothers",
"Manhattan",
"New York City Hall",
"Thomas Hastings",
"Green-Wood Cemetery"
] |
|
15205_NT | Civic Virtue | How does this artwork elucidate its abstract? | Civic Virtue Triumphant Over Unrighteousness (1909–1922) is a sculpture group and fountain in New York City, created by sculptor Frederick William MacMonnies and architect Thomas Hastings, and carved by the Piccirilli Brothers. The fountain was originally placed in front of New York City Hall in Manhattan, spent almost 72 years beside Queens Borough Hall in Queens, and the sculpture group is now located in Green-Wood Cemetery in Brooklyn. | [
"New York City",
"Queens",
"Brooklyn",
"Queens Borough Hall",
"Frederick William MacMonnies",
"Piccirilli Brothers",
"Manhattan",
"New York City Hall",
"Thomas Hastings",
"Green-Wood Cemetery"
] |
|
15206_T | Civic Virtue | Focus on Civic Virtue and analyze the Manhattan. | The Angelina Crane Fountain was installed in front of New York City Hall, and unveiled on April 20, 1922.MacMonnies later answered the critics of his sculpture:
"What do I care if all the ignoramuses and quack politicians in New York, together with all the damn-fool women get together to talk about my statue? Let'em cackle. Let 'em babble. You can't change the eternal verities that way.""Can it be, that the women are angry because some man finally found the strength to resist temptation? In most instances of romantic sculpture, we have the man succumbing to the temptress. I think women should be pleased when strength is found to withstand their wonderful wiles. Antiquity is all the other way."
"From Paris to Patagonia — universal allegory pictures sirens, temptresses, as woman. If you suppress allegory you suppress all intellectual effort. I gather that allegory has long been extinct in City Hall." | [
"New York City",
"Manhattan",
"New York City Hall",
"sirens"
] |
|
15206_NT | Civic Virtue | Focus on this artwork and analyze the Manhattan. | The Angelina Crane Fountain was installed in front of New York City Hall, and unveiled on April 20, 1922.MacMonnies later answered the critics of his sculpture:
"What do I care if all the ignoramuses and quack politicians in New York, together with all the damn-fool women get together to talk about my statue? Let'em cackle. Let 'em babble. You can't change the eternal verities that way.""Can it be, that the women are angry because some man finally found the strength to resist temptation? In most instances of romantic sculpture, we have the man succumbing to the temptress. I think women should be pleased when strength is found to withstand their wonderful wiles. Antiquity is all the other way."
"From Paris to Patagonia — universal allegory pictures sirens, temptresses, as woman. If you suppress allegory you suppress all intellectual effort. I gather that allegory has long been extinct in City Hall." | [
"New York City",
"Manhattan",
"New York City Hall",
"sirens"
] |
|
15207_T | Civic Virtue | In Civic Virtue, how is the Exile discussed? | Mayor Fiorello H. La Guardia, who was mayor from 1934 to 1945, hated the sculpture. He called it "Fat Boy", and resented being confronted with the male figure's naked buttocks each day as he left City Hall. When Queens erected a new Borough Hall in 1940, LaGuardia seized the opportunity and gave the fountain to Queens where it was removed to in February 1941.The fountain was installed in Kew Gardens, at Queens Boulevard and Union Turnpike, beside the new Borough Hall. It was unveiled on May 29, 1941.
The fountain was the site of a 1972 feminist movement demonstration. In 1987, Queens's first woman president, Claire Shulman, proposed that the statue be moved: "A municipal building is not an appropriate place for a statue that portrays women as evil and treacherous."The marble sculpture and fountain deteriorated markedly, but Queens did not have the money to restore it.Former Congressman Anthony Weiner, in the first public event of his unsuccessful campaign for mayor of New York City, held a press conference at the fountain on February 25, 2011. He decried its depiction of women and demanded its removal, even its sale on Craigslist. Green-Wood Cemetery agreed to accept it. The sculpture group, without the pedestal and pool of the Angelina Crane Fountain, was removed from Queens Borough Hall on December 15, 2012, and relocated to the cemetery grounds in Brooklyn. | [
"feminist movement",
"New York City",
"Craigslist",
"Queens",
"Queens Boulevard",
"Brooklyn",
"Queens Borough Hall",
"Fiorello H. La Guardia",
"left",
"Green-Wood Cemetery",
"Union Turnpike",
"Kew Gardens",
"Anthony Weiner"
] |
|
15207_NT | Civic Virtue | In this artwork, how is the Exile discussed? | Mayor Fiorello H. La Guardia, who was mayor from 1934 to 1945, hated the sculpture. He called it "Fat Boy", and resented being confronted with the male figure's naked buttocks each day as he left City Hall. When Queens erected a new Borough Hall in 1940, LaGuardia seized the opportunity and gave the fountain to Queens where it was removed to in February 1941.The fountain was installed in Kew Gardens, at Queens Boulevard and Union Turnpike, beside the new Borough Hall. It was unveiled on May 29, 1941.
The fountain was the site of a 1972 feminist movement demonstration. In 1987, Queens's first woman president, Claire Shulman, proposed that the statue be moved: "A municipal building is not an appropriate place for a statue that portrays women as evil and treacherous."The marble sculpture and fountain deteriorated markedly, but Queens did not have the money to restore it.Former Congressman Anthony Weiner, in the first public event of his unsuccessful campaign for mayor of New York City, held a press conference at the fountain on February 25, 2011. He decried its depiction of women and demanded its removal, even its sale on Craigslist. Green-Wood Cemetery agreed to accept it. The sculpture group, without the pedestal and pool of the Angelina Crane Fountain, was removed from Queens Borough Hall on December 15, 2012, and relocated to the cemetery grounds in Brooklyn. | [
"feminist movement",
"New York City",
"Craigslist",
"Queens",
"Queens Boulevard",
"Brooklyn",
"Queens Borough Hall",
"Fiorello H. La Guardia",
"left",
"Green-Wood Cemetery",
"Union Turnpike",
"Kew Gardens",
"Anthony Weiner"
] |
|
15208_T | Monument to the Bandeiras | Focus on Monument to the Bandeiras and explore the abstract. | Monument to the Bandeiras is a large-scale granite sculpture by the Italian-Brazilian sculptor Victor Brecheret (1894-1955) at the entrance of Ibirapuera Park in São Paulo, Brazil. It was commissioned by the government of São Paulo in 1921 and completed in 1954. It commemorates the 17th-century bandeiras, or settling expeditions into the interior of Brazil, and the bandeirantes that participated in them. The monument is huge and in a prominent location, making it an easily identifiable part of the landscape of São Paulo.The monument was erected in the south-central area of the city in the Praça Armando de Salles Oliveira (Armando de Salles Oliveira Square), opposite the Palácio 9 de Julho, headquarters of the Legislative Assembly of São Paulo. | [
"bandeiras",
"Brazil",
"São Paulo",
"Victor Brecheret",
"Legislative Assembly of São Paulo",
"Italian-Brazilian",
"Ibirapuera Park"
] |
|
15208_NT | Monument to the Bandeiras | Focus on this artwork and explore the abstract. | Monument to the Bandeiras is a large-scale granite sculpture by the Italian-Brazilian sculptor Victor Brecheret (1894-1955) at the entrance of Ibirapuera Park in São Paulo, Brazil. It was commissioned by the government of São Paulo in 1921 and completed in 1954. It commemorates the 17th-century bandeiras, or settling expeditions into the interior of Brazil, and the bandeirantes that participated in them. The monument is huge and in a prominent location, making it an easily identifiable part of the landscape of São Paulo.The monument was erected in the south-central area of the city in the Praça Armando de Salles Oliveira (Armando de Salles Oliveira Square), opposite the Palácio 9 de Julho, headquarters of the Legislative Assembly of São Paulo. | [
"bandeiras",
"Brazil",
"São Paulo",
"Victor Brecheret",
"Legislative Assembly of São Paulo",
"Italian-Brazilian",
"Ibirapuera Park"
] |
|
15209_T | Monument to the Bandeiras | Focus on Monument to the Bandeiras and explain the Controversy. | The monument has been the subject of criticism for neglecting the darker side of the bandeirantes, who killed and enslaved members of the indigenous peoples of Brazil. The monument regularly attracts vandalism, such as red paint symbolizing blood. Others have noted the high cost of a day to maintain and clean the monument of graffiti. In the wake of the global protests which erupted after the murder of George Floyd, the monument has come under renewed criticism for its celebration of slavers and demands for its removal. | [
"global protests",
"murder",
"indigenous peoples of Brazil",
"Brazil",
"George Floyd"
] |
|
15209_NT | Monument to the Bandeiras | Focus on this artwork and explain the Controversy. | The monument has been the subject of criticism for neglecting the darker side of the bandeirantes, who killed and enslaved members of the indigenous peoples of Brazil. The monument regularly attracts vandalism, such as red paint symbolizing blood. Others have noted the high cost of a day to maintain and clean the monument of graffiti. In the wake of the global protests which erupted after the murder of George Floyd, the monument has come under renewed criticism for its celebration of slavers and demands for its removal. | [
"global protests",
"murder",
"indigenous peoples of Brazil",
"Brazil",
"George Floyd"
] |
|
15210_T | The Rainbow (painting) | Explore the abstract of this artwork, The Rainbow (painting). | The Rainbow is an 1878 oil painting by American artist George Inness, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts a rainbow arcing across the sky after a storm. | [
"American",
"George Inness",
"Indianapolis",
"rainbow",
"Indianapolis Museum of Art",
"Indiana",
"oil painting",
"Rainbow"
] |
|
15210_NT | The Rainbow (painting) | Explore the abstract of this artwork. | The Rainbow is an 1878 oil painting by American artist George Inness, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts a rainbow arcing across the sky after a storm. | [
"American",
"George Inness",
"Indianapolis",
"rainbow",
"Indianapolis Museum of Art",
"Indiana",
"oil painting",
"Rainbow"
] |
|
15211_T | The Rainbow (painting) | Focus on The Rainbow (painting) and discuss the Description. | In The Rainbow, Inness rearranged nature to imbue it with a sense of divine presence. He created stark atmospheric contrast moving from the storm on the left to the happy harbinger of the rainbow on the right. At the same time, the bucolic pasture in the foreground is juxtaposed against an unnamed city in the background. These contrasts fill the image with a heightened emotional charge. Starting in 1875, Inness began to include a strip of grey along the horizon that blurred the convergence of sky and plain. He used that trick here, and would continue to use it into the 1880s, although the blending of earth and sky failed to unify the halves of the composition. | [
"rainbow",
"Rainbow"
] |
|
15211_NT | The Rainbow (painting) | Focus on this artwork and discuss the Description. | In The Rainbow, Inness rearranged nature to imbue it with a sense of divine presence. He created stark atmospheric contrast moving from the storm on the left to the happy harbinger of the rainbow on the right. At the same time, the bucolic pasture in the foreground is juxtaposed against an unnamed city in the background. These contrasts fill the image with a heightened emotional charge. Starting in 1875, Inness began to include a strip of grey along the horizon that blurred the convergence of sky and plain. He used that trick here, and would continue to use it into the 1880s, although the blending of earth and sky failed to unify the halves of the composition. | [
"rainbow",
"Rainbow"
] |
|
15212_T | The Rainbow (painting) | How does The Rainbow (painting) elucidate its Historical information? | Inness created a series of dramatic storm scenes in the late 1870s. He drew on a number of sources to shape and inform this series, including the Hudson River School and the mystic Emanuel Swedenborg. Swedenborg believed that there was a correspondence between objects in the physical realm and the parallel world of the spirit, while the artists of the Hudson River School believed the landscape represented God. Thus, a landscape painting could bring viewers closer to righteousness. Inness devoted himself to landscape painting, capturing the divinity he saw in nature. He often painted rainbows because, for Inness, they epitomized spirituality. | [
"landscape",
"rainbow",
"Emanuel Swedenborg",
"Hudson River School"
] |
|
15212_NT | The Rainbow (painting) | How does this artwork elucidate its Historical information? | Inness created a series of dramatic storm scenes in the late 1870s. He drew on a number of sources to shape and inform this series, including the Hudson River School and the mystic Emanuel Swedenborg. Swedenborg believed that there was a correspondence between objects in the physical realm and the parallel world of the spirit, while the artists of the Hudson River School believed the landscape represented God. Thus, a landscape painting could bring viewers closer to righteousness. Inness devoted himself to landscape painting, capturing the divinity he saw in nature. He often painted rainbows because, for Inness, they epitomized spirituality. | [
"landscape",
"rainbow",
"Emanuel Swedenborg",
"Hudson River School"
] |
|
15213_T | The Rainbow (painting) | In the context of The Rainbow (painting), analyze the Acquisition of the Historical information. | The IMA acquired The Rainbow in 1944, a gift from George E. Hume to the Herron School of Art. It currently hangs in the Paine Early American Painting Gallery and has the accession number 44.137. | [
"American",
"Herron School of Art",
"Rainbow"
] |
|
15213_NT | The Rainbow (painting) | In the context of this artwork, analyze the Acquisition of the Historical information. | The IMA acquired The Rainbow in 1944, a gift from George E. Hume to the Herron School of Art. It currently hangs in the Paine Early American Painting Gallery and has the accession number 44.137. | [
"American",
"Herron School of Art",
"Rainbow"
] |
|
15214_T | Gonohotta 1971 | In Gonohotta 1971, how is the abstract discussed? | Gonohotta 1971 (Bengali: গণহত্যা ১৯৭১) is a sculpture by Hashem Khan collaborating with Mahmudul Hasan Shohag in Bharat-Bangladesh Maitri Udyan on 2017.It is 15 feet (4.6 m) long by 9 feet (2.7 m) wide and is 5 feet (1.5 m) high and is located in Bharat-Bangladesh Maitri Udyan, India. | [
" ",
"Mahmudul Hasan Shohag",
"Bharat-Bangladesh Maitri Udyan",
"Hashem Khan",
"Bengali"
] |
|
15214_NT | Gonohotta 1971 | In this artwork, how is the abstract discussed? | Gonohotta 1971 (Bengali: গণহত্যা ১৯৭১) is a sculpture by Hashem Khan collaborating with Mahmudul Hasan Shohag in Bharat-Bangladesh Maitri Udyan on 2017.It is 15 feet (4.6 m) long by 9 feet (2.7 m) wide and is 5 feet (1.5 m) high and is located in Bharat-Bangladesh Maitri Udyan, India. | [
" ",
"Mahmudul Hasan Shohag",
"Bharat-Bangladesh Maitri Udyan",
"Hashem Khan",
"Bengali"
] |
|
15215_T | Jasper Schade van Westrum | Focus on Jasper Schade van Westrum and explore the abstract. | Jasper Schade (1623–1692), was a Dutch representative to the States-General who is best known today for his portrait by Frans Hals.He was also known for his buitenplaats Zandbergen on the Amersfoortseweg that was built by Jacob van Campen. His portrait by Hals hung there for centuries, though it was in the possession of National Gallery in Prague by 1890.
This portrait is admirable for the loose brushwork used to depict the gold brocade of his jacket. Research has revealed that it was painted alla prima or wet-in-wet. Measuring only 31.5 × 26.6 inches, this portrait could have easily been completed while Schade was on a day trip to Haarlem, taking it with him, still wet. The painting was documented by Cornelis Hofstede de Groot in 1910 who wrote:
"221. JASPER SCHADE VAN WESTRUM (died October 25, 1692), President of the Court at Utrecht. B. 124 ; M. 68. Half-length ;
life size. A youth, turned three-quarters right, looks at the spectator. On his long curls, he wears a black felt hat with two bows. He wears a shot-silk costume with a plain close-fitting linen collar. The sleeves are slashed with white, and the coat opens to show the white shirt. The prevailing tone is olive green. At the top of the picture are the arms of Schade van Westrum ; sable, a fess or, with two realistic lions as supporters. [Compare 168.] Dated 1645 ; canvas, 29 1/2 inches by 26 inches. See Moes, Iconographia Batava, No. 6803, i. Engraved by C. Waltner. Sale. John W. Wilson of Brussels, Paris, March 14, 1881. [See 1873 catalogue, p. 83.] In the Rudolphinum, Prague ; given by Prince Liechtenstein."Schade planned the road his home was built on and planted the trees there that later became a large forest. He later went on to serve as deacon of the chapter of Oud-Munster at Utrecht, and representative to the States-General of the Netherlands from Utrecht. His wedding portrait was painted nine years later in 1654, along with that of his wife Cornelia Strick van Linschoten, by Cornelis Jonson van Ceulen, a Dutch painter who had himself just returned from London. | [
"buitenplaats",
"Cornelis Hofstede de Groot",
"C. Waltner",
"wet-in-wet",
"John W. Wilson",
"Jacob van Campen",
"States-General of the Netherlands",
"Frans Hals",
"National Gallery in Prague",
"Prague",
"Cornelis Jonson van Ceulen"
] |
|
15215_NT | Jasper Schade van Westrum | Focus on this artwork and explore the abstract. | Jasper Schade (1623–1692), was a Dutch representative to the States-General who is best known today for his portrait by Frans Hals.He was also known for his buitenplaats Zandbergen on the Amersfoortseweg that was built by Jacob van Campen. His portrait by Hals hung there for centuries, though it was in the possession of National Gallery in Prague by 1890.
This portrait is admirable for the loose brushwork used to depict the gold brocade of his jacket. Research has revealed that it was painted alla prima or wet-in-wet. Measuring only 31.5 × 26.6 inches, this portrait could have easily been completed while Schade was on a day trip to Haarlem, taking it with him, still wet. The painting was documented by Cornelis Hofstede de Groot in 1910 who wrote:
"221. JASPER SCHADE VAN WESTRUM (died October 25, 1692), President of the Court at Utrecht. B. 124 ; M. 68. Half-length ;
life size. A youth, turned three-quarters right, looks at the spectator. On his long curls, he wears a black felt hat with two bows. He wears a shot-silk costume with a plain close-fitting linen collar. The sleeves are slashed with white, and the coat opens to show the white shirt. The prevailing tone is olive green. At the top of the picture are the arms of Schade van Westrum ; sable, a fess or, with two realistic lions as supporters. [Compare 168.] Dated 1645 ; canvas, 29 1/2 inches by 26 inches. See Moes, Iconographia Batava, No. 6803, i. Engraved by C. Waltner. Sale. John W. Wilson of Brussels, Paris, March 14, 1881. [See 1873 catalogue, p. 83.] In the Rudolphinum, Prague ; given by Prince Liechtenstein."Schade planned the road his home was built on and planted the trees there that later became a large forest. He later went on to serve as deacon of the chapter of Oud-Munster at Utrecht, and representative to the States-General of the Netherlands from Utrecht. His wedding portrait was painted nine years later in 1654, along with that of his wife Cornelia Strick van Linschoten, by Cornelis Jonson van Ceulen, a Dutch painter who had himself just returned from London. | [
"buitenplaats",
"Cornelis Hofstede de Groot",
"C. Waltner",
"wet-in-wet",
"John W. Wilson",
"Jacob van Campen",
"States-General of the Netherlands",
"Frans Hals",
"National Gallery in Prague",
"Prague",
"Cornelis Jonson van Ceulen"
] |
|
15216_T | Young Abe Lincoln | Explore the Description of this artwork, Young Abe Lincoln. | Young Abe Lincoln is an oversized, rough style bronze sculpture of an adolescent Abraham Lincoln. He wears a shirt, pants raised above the ankle and is barefoot. His left hand holds a book with the index finger holding his place. The sculpture sits outside of the Indiana Government Center in Indianapolis, which is adjacent to the Indiana Statehouse. The sculpture measures 108 inches in height by 30 inches in width by 38 1/2 in depth and sits upon a red granite tripartite pedestal that measures 74 inches in height by 82 inches in width by 92 inches in depth. It weighs over 1,500 pounds. A foundry mark can be seen on the front of the pedestal MODERN/ART/FDRY/N.Y. The artist signature (D.K. Rubins) and copyright date (1962) can be seen on the rear, proper right side base of the sculpture.Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood. The surface layer of this framework was coated with a layer of oil-base non-hardening clay called plastelene and then the detail work of the sculpture was done by hand.A plaster mold was placed over the finished clay framework and allowed to dry. The mold was then removed, creating a positive plaster cast of the framework. This cast is a replica of the clay covered framework.The lost-wax casting method was then used to create the actual bronze sculpture. This process took over five months to complete.
The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years. In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame.
In the simple but rough-surfaced pedestal, and in the quiet shadowed, thoughtful head, I wanted to suggest the very simple, classic character of his mind - as well as the loneliness and tragedy of his life.
In the hair, I tried for boyishness and humor. I felt it unimportant to invent a purely imaginary portrait of how Lincoln might have looked at twenty-one years. Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer.
The true look of Lincoln during his Indiana years is as unimportant as the historical accuracy of his clothing. In favor of representing his character and his contemporary significance to the best advantage, I have subordinated every literal element except the book. In the light of Lincoln's whole life, the axe is unimportant as the book.The placement of the figure was chosen for two reasons: I felt that Lincoln should be placed back among the trees on the plaza, since the forest was his Indiana experience; and it would be difficult to compete in scale with the open plaza and building were the figure to be placed in the open. Too large a figure in sculpture produces an inhuman and unreal effect.
In 1992, Save Outdoor Sculpture! surveyed this piece and found it to be well maintained. | [
"proper right",
"Indianapolis",
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"pantograph",
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"pedestal",
"Abraham Lincoln",
"Save Outdoor Sculpture!",
"granite",
"clay",
"Indiana Statehouse",
"Indiana Government Center"
] |
|
15216_NT | Young Abe Lincoln | Explore the Description of this artwork. | Young Abe Lincoln is an oversized, rough style bronze sculpture of an adolescent Abraham Lincoln. He wears a shirt, pants raised above the ankle and is barefoot. His left hand holds a book with the index finger holding his place. The sculpture sits outside of the Indiana Government Center in Indianapolis, which is adjacent to the Indiana Statehouse. The sculpture measures 108 inches in height by 30 inches in width by 38 1/2 in depth and sits upon a red granite tripartite pedestal that measures 74 inches in height by 82 inches in width by 92 inches in depth. It weighs over 1,500 pounds. A foundry mark can be seen on the front of the pedestal MODERN/ART/FDRY/N.Y. The artist signature (D.K. Rubins) and copyright date (1962) can be seen on the rear, proper right side base of the sculpture.Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood. The surface layer of this framework was coated with a layer of oil-base non-hardening clay called plastelene and then the detail work of the sculpture was done by hand.A plaster mold was placed over the finished clay framework and allowed to dry. The mold was then removed, creating a positive plaster cast of the framework. This cast is a replica of the clay covered framework.The lost-wax casting method was then used to create the actual bronze sculpture. This process took over five months to complete.
The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years. In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame.
In the simple but rough-surfaced pedestal, and in the quiet shadowed, thoughtful head, I wanted to suggest the very simple, classic character of his mind - as well as the loneliness and tragedy of his life.
In the hair, I tried for boyishness and humor. I felt it unimportant to invent a purely imaginary portrait of how Lincoln might have looked at twenty-one years. Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer.
The true look of Lincoln during his Indiana years is as unimportant as the historical accuracy of his clothing. In favor of representing his character and his contemporary significance to the best advantage, I have subordinated every literal element except the book. In the light of Lincoln's whole life, the axe is unimportant as the book.The placement of the figure was chosen for two reasons: I felt that Lincoln should be placed back among the trees on the plaza, since the forest was his Indiana experience; and it would be difficult to compete in scale with the open plaza and building were the figure to be placed in the open. Too large a figure in sculpture produces an inhuman and unreal effect.
In 1992, Save Outdoor Sculpture! surveyed this piece and found it to be well maintained. | [
"proper right",
"Indianapolis",
"scale",
"plaster",
"pantograph",
"right",
"wood",
"bronze",
"plaster cast",
"lost-wax casting",
"Indiana",
"pedestal",
"Abraham Lincoln",
"Save Outdoor Sculpture!",
"granite",
"clay",
"Indiana Statehouse",
"Indiana Government Center"
] |
|
15217_T | Young Abe Lincoln | Focus on Young Abe Lincoln and discuss the Artist. | David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris. Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York. His awards include the Paris Prize in Sculpture (1924), the Prix de Rome (1928), Fellow in Sculpture Award from the American Academy in Rome and the Grant and Sculpture Award from the National Institute of Arts and Letters.Rubins moved to Indianapolis, Indiana in 1935 to join the faculty at the John Herron Art Institute where he taught until 1967 and then an additional three years after the Herron Art Institute merged with Indiana University. He held the chairmanship of the sculpture department from 1935 to 1968. In 1970, Rubins retired and became an artist-in-residence at Herron. In 1954, Rubins book, The Human Figure, an Anatomy for Artists, was published. Other Indianapolis works of art Rubins is known for is the bust of late Indiana Governor Henry Schricker, the Eli Lilly monument in Crown Hill Cemetery, and a bust of Evans Wollens Sr.Rubins' work has been exhibited at the Minneapolis Institute of Art, National Academy of Design, Indianapolis Museum of Art, Architectural League of New York, and the "American Sculpture Today" show at the Metropolitan Museum of Art in New York.Rubins' inspiration for Young Abe Lincoln came after reading several books on Lincoln and his life, as well as looking at other sculptures of Lincoln. Some of these others sculptures included the Abraham Lincoln statue at the Lincoln Memorial in Washington, D.C., the Mount Rushmore depiction by Gutzon Borglum, and the Lincoln sculpture by Henry Hering in Indianapolis' University Park. | [
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"Indianapolis",
"Indiana University",
"École nationale supérieure des Beaux-Arts",
"David K. Rubins",
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"New York",
"James Earle Fraser",
"Crown Hill Cemetery",
"End of the Trail",
"Architectural League of New York",
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"Abraham Lincoln",
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"Eli Lilly",
"Henry Hering",
"National Institute of Arts and Letters",
"Lincoln Memorial",
"Metropolitan Museum of Art"
] |
|
15217_NT | Young Abe Lincoln | Focus on this artwork and discuss the Artist. | David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris. Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York. His awards include the Paris Prize in Sculpture (1924), the Prix de Rome (1928), Fellow in Sculpture Award from the American Academy in Rome and the Grant and Sculpture Award from the National Institute of Arts and Letters.Rubins moved to Indianapolis, Indiana in 1935 to join the faculty at the John Herron Art Institute where he taught until 1967 and then an additional three years after the Herron Art Institute merged with Indiana University. He held the chairmanship of the sculpture department from 1935 to 1968. In 1970, Rubins retired and became an artist-in-residence at Herron. In 1954, Rubins book, The Human Figure, an Anatomy for Artists, was published. Other Indianapolis works of art Rubins is known for is the bust of late Indiana Governor Henry Schricker, the Eli Lilly monument in Crown Hill Cemetery, and a bust of Evans Wollens Sr.Rubins' work has been exhibited at the Minneapolis Institute of Art, National Academy of Design, Indianapolis Museum of Art, Architectural League of New York, and the "American Sculpture Today" show at the Metropolitan Museum of Art in New York.Rubins' inspiration for Young Abe Lincoln came after reading several books on Lincoln and his life, as well as looking at other sculptures of Lincoln. Some of these others sculptures included the Abraham Lincoln statue at the Lincoln Memorial in Washington, D.C., the Mount Rushmore depiction by Gutzon Borglum, and the Lincoln sculpture by Henry Hering in Indianapolis' University Park. | [
"Henry Schricker",
"Beaux Arts Institute of Design",
"Indianapolis",
"Indiana University",
"École nationale supérieure des Beaux-Arts",
"David K. Rubins",
"Prix de Rome",
"New York",
"James Earle Fraser",
"Crown Hill Cemetery",
"End of the Trail",
"Architectural League of New York",
"chairmanship",
"Indianapolis Museum of Art",
"American Academy in Rome",
"Gutzon Borglum",
"artist-in-residence",
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"Buffalo nickel",
"Académie Julian",
"National Academy of Design",
"Abraham Lincoln",
"Mount Rushmore",
"Eli Lilly",
"Henry Hering",
"National Institute of Arts and Letters",
"Lincoln Memorial",
"Metropolitan Museum of Art"
] |
|
15218_T | Nathan Bedford Forrest Monument (Memphis, Tennessee) | How does Nathan Bedford Forrest Monument (Memphis, Tennessee) elucidate its abstract? | The Nathan Bedford Forrest Monument is a bronze sculpture by Charles Henry Niehaus, Niehaus, one of the most preeminent sculptors in U.S. history was paid $25,000 in 1901 to create it, the equivalent of $676,000 in today’s money and all of it raised from private donations, depicts Confederate States of America Lt. General and first-era Ku Klux Klan Grand Wizard Nathan Bedford Forrest mounted atop a horse, wearing a uniform of the Confederate States Army. It was formerly installed in Forrest Park (changed to Health Sciences Park in 2013) in Memphis, Tennessee. The statue was cast in Paris. Forrest and his wife are buried in front of the monument, after being moved there from Elmwood Cemetery in a ceremony on November 11, 1904. The cornerstone for the monument was laid on May 30, 1901 and the monument was dedicated on May 16, 1905. It was removed on December 20, 2017 and is currently in the possession of the Sons of Confederate Veterans. Plans are for the statue to be re-erected on the grounds of the SCV National Headquarters in Columbia, Tennessee. | [
"Memphis, Tennessee",
"bronze sculpture",
"Confederate States Army",
"Charles Henry Niehaus",
"Confederate States of America",
"Elmwood Cemetery",
"Nathan Bedford Forrest",
"Sons of Confederate Veterans",
"Paris",
"Ku Klux Klan"
] |
|
15218_NT | Nathan Bedford Forrest Monument (Memphis, Tennessee) | How does this artwork elucidate its abstract? | The Nathan Bedford Forrest Monument is a bronze sculpture by Charles Henry Niehaus, Niehaus, one of the most preeminent sculptors in U.S. history was paid $25,000 in 1901 to create it, the equivalent of $676,000 in today’s money and all of it raised from private donations, depicts Confederate States of America Lt. General and first-era Ku Klux Klan Grand Wizard Nathan Bedford Forrest mounted atop a horse, wearing a uniform of the Confederate States Army. It was formerly installed in Forrest Park (changed to Health Sciences Park in 2013) in Memphis, Tennessee. The statue was cast in Paris. Forrest and his wife are buried in front of the monument, after being moved there from Elmwood Cemetery in a ceremony on November 11, 1904. The cornerstone for the monument was laid on May 30, 1901 and the monument was dedicated on May 16, 1905. It was removed on December 20, 2017 and is currently in the possession of the Sons of Confederate Veterans. Plans are for the statue to be re-erected on the grounds of the SCV National Headquarters in Columbia, Tennessee. | [
"Memphis, Tennessee",
"bronze sculpture",
"Confederate States Army",
"Charles Henry Niehaus",
"Confederate States of America",
"Elmwood Cemetery",
"Nathan Bedford Forrest",
"Sons of Confederate Veterans",
"Paris",
"Ku Klux Klan"
] |
|
15219_T | Nathan Bedford Forrest Monument (Memphis, Tennessee) | Focus on Nathan Bedford Forrest Monument (Memphis, Tennessee) and analyze the The monument. | Sculptor Lorado Taft said of the statue, "the rider and steed alike have been highly praised for their truth and vigor. A photograph of the model gives promise of one of the best equestrian statues in the country." For himself, Taft labels it "adequate".The monument was installed thanks in part to Judge Thomas J. Latham's wife Mary, who was a member of the United Daughters of the Confederacy. | [
"United Daughters of the Confederacy",
"Thomas J. Latham",
"Lorado Taft"
] |
|
15219_NT | Nathan Bedford Forrest Monument (Memphis, Tennessee) | Focus on this artwork and analyze the The monument. | Sculptor Lorado Taft said of the statue, "the rider and steed alike have been highly praised for their truth and vigor. A photograph of the model gives promise of one of the best equestrian statues in the country." For himself, Taft labels it "adequate".The monument was installed thanks in part to Judge Thomas J. Latham's wife Mary, who was a member of the United Daughters of the Confederacy. | [
"United Daughters of the Confederacy",
"Thomas J. Latham",
"Lorado Taft"
] |
|
15220_T | Nathan Bedford Forrest Monument (Memphis, Tennessee) | In Nathan Bedford Forrest Monument (Memphis, Tennessee), how is the Relocation discussed? | A 2015 attempt by the Memphis City Council to remove the statue was blocked by the Tennessee Historical Commission in 2016. In September 2017, the Memphis City Council passed an ordinance to remove Confederate statues from public parks, including the Nathan Bedford Forrest Monument and the Jefferson Davis Monument, after October 13, 2017, due in part to increased police expenditure, to control protesters and anti-protesters, since the Unite the Right rally of August.On December 20, 2017, the Memphis City Council unanimously approved the sale of Health Sciences Park to Memphis Greenspace for US$1,000 (equivalent to $1,194 in 2022), allowing Memphis Greenspace to remove the monument. The monument, along with a statue of Jefferson Davis, were removed that evening. In May 2018, the Memphis Flyer reported that Memphis Greenspace plans to sell the Nathan Bedford Forrest Monument and the statue of Davis. Potential buyers must be nonprofit organizations who will agree to maintain the statues and display them in public somewhere outside of Shelby County, Tennessee. The following month, The Daily News revealed that Memphis Greenspace had received numerous offers to take the Forrest and Davis statues, including from Tennessee legislators, sites associated with the American Civil War, the Jefferson Davis Presidential Library and Museum, and the city of Savannah, Georgia. | [
"Jefferson Davis",
"Shelby County, Tennessee",
"Jefferson Davis Presidential Library and Museum",
"Unite the Right rally",
"Tennessee legislators",
"Memphis Flyer",
"Tennessee Historical Commission",
"Savannah, Georgia",
"American Civil War",
"The Daily News",
"Nathan Bedford Forrest",
"Memphis Greenspace"
] |
|
15220_NT | Nathan Bedford Forrest Monument (Memphis, Tennessee) | In this artwork, how is the Relocation discussed? | A 2015 attempt by the Memphis City Council to remove the statue was blocked by the Tennessee Historical Commission in 2016. In September 2017, the Memphis City Council passed an ordinance to remove Confederate statues from public parks, including the Nathan Bedford Forrest Monument and the Jefferson Davis Monument, after October 13, 2017, due in part to increased police expenditure, to control protesters and anti-protesters, since the Unite the Right rally of August.On December 20, 2017, the Memphis City Council unanimously approved the sale of Health Sciences Park to Memphis Greenspace for US$1,000 (equivalent to $1,194 in 2022), allowing Memphis Greenspace to remove the monument. The monument, along with a statue of Jefferson Davis, were removed that evening. In May 2018, the Memphis Flyer reported that Memphis Greenspace plans to sell the Nathan Bedford Forrest Monument and the statue of Davis. Potential buyers must be nonprofit organizations who will agree to maintain the statues and display them in public somewhere outside of Shelby County, Tennessee. The following month, The Daily News revealed that Memphis Greenspace had received numerous offers to take the Forrest and Davis statues, including from Tennessee legislators, sites associated with the American Civil War, the Jefferson Davis Presidential Library and Museum, and the city of Savannah, Georgia. | [
"Jefferson Davis",
"Shelby County, Tennessee",
"Jefferson Davis Presidential Library and Museum",
"Unite the Right rally",
"Tennessee legislators",
"Memphis Flyer",
"Tennessee Historical Commission",
"Savannah, Georgia",
"American Civil War",
"The Daily News",
"Nathan Bedford Forrest",
"Memphis Greenspace"
] |
|
15221_T | Hedwig Fountain | Focus on Hedwig Fountain and explore the abstract. | The Hedwig Fountain (German: Hedwigbrunnen) or Lindenhof Fountain is a fountain in the Lindenhof hill in Zürich, Switzerland, which was built in 1912. The helmeted statue of a woman beside the fountain was made by Gustav Siber. It was built to honor the Zürich women, allegedly led by Hedwig ab Burghalden, who defended the city by duping the army of Duke Albert I of Germany during the siege of Zürich in 1292. They dressed in full battle gear in order to trick the Habsburg army into thinking that the city was well protected while their men were busy campaigning at Winterthur.
The source of its water comes from the Limmat river. | [
"Winterthur",
"Gustav Siber",
"Lindenhof hill",
"Albert I of Germany",
"Habsburg",
"Zürich",
"Limmat",
"Lindenhof",
"Switzerland",
"fountain",
"Fountain"
] |
|
15221_NT | Hedwig Fountain | Focus on this artwork and explore the abstract. | The Hedwig Fountain (German: Hedwigbrunnen) or Lindenhof Fountain is a fountain in the Lindenhof hill in Zürich, Switzerland, which was built in 1912. The helmeted statue of a woman beside the fountain was made by Gustav Siber. It was built to honor the Zürich women, allegedly led by Hedwig ab Burghalden, who defended the city by duping the army of Duke Albert I of Germany during the siege of Zürich in 1292. They dressed in full battle gear in order to trick the Habsburg army into thinking that the city was well protected while their men were busy campaigning at Winterthur.
The source of its water comes from the Limmat river. | [
"Winterthur",
"Gustav Siber",
"Lindenhof hill",
"Albert I of Germany",
"Habsburg",
"Zürich",
"Limmat",
"Lindenhof",
"Switzerland",
"fountain",
"Fountain"
] |
|
15222_T | The Holy Family with Saint John the Baptist | Focus on The Holy Family with Saint John the Baptist and explain the abstract. | The Holy Family with Saint John the Baptist is an oil painting by Italian artist Giovanni Francesco Bezzi, also known as Nosadella, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Painted roughly 1550-1560, it depicts Jesus, Mary, Joseph, and John in a powerful, Mannerist style. | [
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"Jesus",
"Indianapolis",
"Bezzi",
"Mary",
"John the Baptist",
"Nosadella",
"Indianapolis Museum of Art",
"Mannerist",
"John",
"Italian",
"Indiana",
"oil painting",
"Holy Family"
] |
|
15222_NT | The Holy Family with Saint John the Baptist | Focus on this artwork and explain the abstract. | The Holy Family with Saint John the Baptist is an oil painting by Italian artist Giovanni Francesco Bezzi, also known as Nosadella, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Painted roughly 1550-1560, it depicts Jesus, Mary, Joseph, and John in a powerful, Mannerist style. | [
"Joseph",
"Jesus",
"Indianapolis",
"Bezzi",
"Mary",
"John the Baptist",
"Nosadella",
"Indianapolis Museum of Art",
"Mannerist",
"John",
"Italian",
"Indiana",
"oil painting",
"Holy Family"
] |
|
15223_T | The Holy Family with Saint John the Baptist | Explore the Description of this artwork, The Holy Family with Saint John the Baptist. | This depiction of the Holy Family plus St. John has many Mannerist traits: vibrant colors, exaggerated monumentality, formal complexity, and awkward composition. The figures are all massive and muscular (particularly evident in St. John's arm), then crammed together for a composition which is highly expressive, if somewhat uncomfortable. Nosadella's Mannerist disregard for the sweetness and naturalism of earlier painters is particularly evident in the figures of Mary and Jesus. In a departure from the usual handling of this scene, Mary turns her back on the viewer rather than presenting the infant, who restlessly reaches back. This posture displays the torturous knot and bright colors on her dress, very Mannerist details. In comparison, Joseph and John have very contemplative, introverted postures considering their muscularity. | [
"Joseph",
"Jesus",
"Mary",
"Nosadella",
"Mannerist",
"John",
"Holy Family"
] |
|
15223_NT | The Holy Family with Saint John the Baptist | Explore the Description of this artwork. | This depiction of the Holy Family plus St. John has many Mannerist traits: vibrant colors, exaggerated monumentality, formal complexity, and awkward composition. The figures are all massive and muscular (particularly evident in St. John's arm), then crammed together for a composition which is highly expressive, if somewhat uncomfortable. Nosadella's Mannerist disregard for the sweetness and naturalism of earlier painters is particularly evident in the figures of Mary and Jesus. In a departure from the usual handling of this scene, Mary turns her back on the viewer rather than presenting the infant, who restlessly reaches back. This posture displays the torturous knot and bright colors on her dress, very Mannerist details. In comparison, Joseph and John have very contemplative, introverted postures considering their muscularity. | [
"Joseph",
"Jesus",
"Mary",
"Nosadella",
"Mannerist",
"John",
"Holy Family"
] |
|
15224_T | The Holy Family with Saint John the Baptist | Focus on The Holy Family with Saint John the Baptist and discuss the Historical information. | For years, the attribution of this painting shifted between Nosadella and his master Pellegrino Tibaldi, as is the case with many of their works. However, while Pellegrino's works are more fluid, Nosadella gave his figures a great deal of energy and a certain tortured physicality. Thus, this work is now confidently attributed to the student, not the teacher. | [
"Pellegrino Tibaldi",
"Nosadella"
] |
|
15224_NT | The Holy Family with Saint John the Baptist | Focus on this artwork and discuss the Historical information. | For years, the attribution of this painting shifted between Nosadella and his master Pellegrino Tibaldi, as is the case with many of their works. However, while Pellegrino's works are more fluid, Nosadella gave his figures a great deal of energy and a certain tortured physicality. Thus, this work is now confidently attributed to the student, not the teacher. | [
"Pellegrino Tibaldi",
"Nosadella"
] |
|
15225_T | The Holy Family with Saint John the Baptist | In The Holy Family with Saint John the Baptist, how is the Acquisition of the Historical information elucidated? | The IMA acquired The Holy Family with Saint John the Baptist in 1966, courtesy of the Martha Delzell Memorial Fund. It currently hangs in the Medieval Renaissance gallery and has the accession number 66.233. | [
"John the Baptist",
"John",
"Holy Family"
] |
|
15225_NT | The Holy Family with Saint John the Baptist | In this artwork, how is the Acquisition of the Historical information elucidated? | The IMA acquired The Holy Family with Saint John the Baptist in 1966, courtesy of the Martha Delzell Memorial Fund. It currently hangs in the Medieval Renaissance gallery and has the accession number 66.233. | [
"John the Baptist",
"John",
"Holy Family"
] |
|
15226_T | Danaë (Tintoretto) | Focus on Danaë (Tintoretto) and analyze the abstract. | Danaë is a c. 1570 oil painting by the Italian artist Tintoretto which was acquired by the Museum of Fine Arts of Lyon in 1811 and still hangs there. The canvas depicts a scene from the legend of Zeus and Danaë. According to the legend King Acrisius of Argos was warned by an oracle that he would be killed by his own grandson. To frustrate the prediction he locked up his beautiful only daughter Danaë in a specially constructed bronze chamber. However, Zeus, king of the gods, desired her so much that he managed to enter the chamber as a shower of golden rain and impregnated her. A child was born which she named Perseus, who would later, with the help of his father and other gods, kill the Gorgon Medusa. Later the oracle's phrophesy came true when Perseus accidentally killed his grandfather during a throwing event at the Larissa athletic games.
The scene portrays Danaë instructing her maidservant to collect golden leaves from her nether regions, whose very presence there suggested that Zeus' tactic had been successful. | [
"Zeus",
"Acrisius",
"Perseus",
"Tintoretto",
"Lyon",
"Museum of Fine Arts of Lyon"
] |
|
15226_NT | Danaë (Tintoretto) | Focus on this artwork and analyze the abstract. | Danaë is a c. 1570 oil painting by the Italian artist Tintoretto which was acquired by the Museum of Fine Arts of Lyon in 1811 and still hangs there. The canvas depicts a scene from the legend of Zeus and Danaë. According to the legend King Acrisius of Argos was warned by an oracle that he would be killed by his own grandson. To frustrate the prediction he locked up his beautiful only daughter Danaë in a specially constructed bronze chamber. However, Zeus, king of the gods, desired her so much that he managed to enter the chamber as a shower of golden rain and impregnated her. A child was born which she named Perseus, who would later, with the help of his father and other gods, kill the Gorgon Medusa. Later the oracle's phrophesy came true when Perseus accidentally killed his grandfather during a throwing event at the Larissa athletic games.
The scene portrays Danaë instructing her maidservant to collect golden leaves from her nether regions, whose very presence there suggested that Zeus' tactic had been successful. | [
"Zeus",
"Acrisius",
"Perseus",
"Tintoretto",
"Lyon",
"Museum of Fine Arts of Lyon"
] |
|
15227_T | Still Life (Claesz) | In Still Life (Claesz), how is the abstract discussed? | Still Life is a 1657 oil painting by Pieter Claesz. | [
"Pieter Claesz"
] |
|
15227_NT | Still Life (Claesz) | In this artwork, how is the abstract discussed? | Still Life is a 1657 oil painting by Pieter Claesz. | [
"Pieter Claesz"
] |
|
15228_T | Alien (sculpture) | Focus on Alien (sculpture) and explore the abstract. | Alien is a 2012 sculpture by the British artist David Breuer-Weil. It depicts a giant humanoid figure five times as large as a person, embedded head-first in grass. The sculpture was first installed in Grosvenor Gardens in the City of Westminster in April 2013, as part of the City of Sculpture initiative. In September 2015 it was moved to the National Trust property of Mottisfont in Hampshire.The work is executed in glass reinforced plastic with a bronze powder coat. It was scaled up from a much smaller maquette and incorporates hugely enlarged versions of the artist's fingerprints as well as his own graffiti. It was inspired in part by Breuer-Weil's grandfather Ernst, who fled to England after the Nazi takeover of Austria in 1938 but subsequently found himself labelled an "enemy alien". In acknowledgement of the link, the name "Ernst" is written in large letters on the surface of the sculpture. The sculpture also incorporates a portrait of the fictional Kaiser of Nerac, a character who rules an imaginary world conceived of by Breuer-Weil as a source of inspiration for his artworks.According to Breuer-Weil, Alien is intended to evoke "the shock of an alien landing in the heart of London and taking everybody by surprise"; he comments that "every new work of art should be like an alien landing, something sudden and unexpected." The sculpture is meant to be more about "our sense of belonging than any sci-fi theme", but Breuer-Weil suggests that "extra-terrestrials are completely human, maybe just different in scale, as is the case with my sculpture, which is five times the size of an ordinary person, but very human otherwise." He notes that to a certain degree, being Jewish is like "landing on an alien planet ... We belong in this culture, but our forebears crash-landed into it."The work was well received by the public and critics, being named as one of Time Out's "Top 10 Public Sculptures" in July 2013. Permission was initially granted for the piece to be on display at Grosvenor Gardens for a period of six months and a subsequent application was made to extend its appearance for a further 18 months. This was approved by Westminster City Council and the statue remained there until 13 April 2015. It was then moved to the grounds of Mottisfont in Hampshire, where it was unveiled on 7 September 2015. | [
"David Breuer-Weil",
"Mottisfont",
"Time Out",
"Hampshire",
"maquette",
"Nazi takeover of Austria",
"Grosvenor Gardens",
"England",
"enemy alien",
"City of Westminster"
] |
|
15228_NT | Alien (sculpture) | Focus on this artwork and explore the abstract. | Alien is a 2012 sculpture by the British artist David Breuer-Weil. It depicts a giant humanoid figure five times as large as a person, embedded head-first in grass. The sculpture was first installed in Grosvenor Gardens in the City of Westminster in April 2013, as part of the City of Sculpture initiative. In September 2015 it was moved to the National Trust property of Mottisfont in Hampshire.The work is executed in glass reinforced plastic with a bronze powder coat. It was scaled up from a much smaller maquette and incorporates hugely enlarged versions of the artist's fingerprints as well as his own graffiti. It was inspired in part by Breuer-Weil's grandfather Ernst, who fled to England after the Nazi takeover of Austria in 1938 but subsequently found himself labelled an "enemy alien". In acknowledgement of the link, the name "Ernst" is written in large letters on the surface of the sculpture. The sculpture also incorporates a portrait of the fictional Kaiser of Nerac, a character who rules an imaginary world conceived of by Breuer-Weil as a source of inspiration for his artworks.According to Breuer-Weil, Alien is intended to evoke "the shock of an alien landing in the heart of London and taking everybody by surprise"; he comments that "every new work of art should be like an alien landing, something sudden and unexpected." The sculpture is meant to be more about "our sense of belonging than any sci-fi theme", but Breuer-Weil suggests that "extra-terrestrials are completely human, maybe just different in scale, as is the case with my sculpture, which is five times the size of an ordinary person, but very human otherwise." He notes that to a certain degree, being Jewish is like "landing on an alien planet ... We belong in this culture, but our forebears crash-landed into it."The work was well received by the public and critics, being named as one of Time Out's "Top 10 Public Sculptures" in July 2013. Permission was initially granted for the piece to be on display at Grosvenor Gardens for a period of six months and a subsequent application was made to extend its appearance for a further 18 months. This was approved by Westminster City Council and the statue remained there until 13 April 2015. It was then moved to the grounds of Mottisfont in Hampshire, where it was unveiled on 7 September 2015. | [
"David Breuer-Weil",
"Mottisfont",
"Time Out",
"Hampshire",
"maquette",
"Nazi takeover of Austria",
"Grosvenor Gardens",
"England",
"enemy alien",
"City of Westminster"
] |
|
15229_T | The Raising of Lazarus (Lievens) | Focus on The Raising of Lazarus (Lievens) and explain the History. | Lievens painted The Raising of Lazarus in 1631. Over 1630-1632 he had a contest with Rembrandt to produce the best composition depicting "The Raising of Lazarus". The Lievens' painting is done primarily in shades of gray, and it is a night scene. Lievens also produced an etching based on the painting.In 1871 the painting was included in the Old Masters Exhibition at the Royal Academy of Arts. In 1884, the painting and an etching were sold for 12 guineas. In 1903, Henry Willett donated the painting to the Brighton Museum & Art Gallery. | [
"Royal Academy of Arts",
"Brighton Museum & Art Gallery",
"Henry Willett",
"Rembrandt",
"etching",
"guineas"
] |
|
15229_NT | The Raising of Lazarus (Lievens) | Focus on this artwork and explain the History. | Lievens painted The Raising of Lazarus in 1631. Over 1630-1632 he had a contest with Rembrandt to produce the best composition depicting "The Raising of Lazarus". The Lievens' painting is done primarily in shades of gray, and it is a night scene. Lievens also produced an etching based on the painting.In 1871 the painting was included in the Old Masters Exhibition at the Royal Academy of Arts. In 1884, the painting and an etching were sold for 12 guineas. In 1903, Henry Willett donated the painting to the Brighton Museum & Art Gallery. | [
"Royal Academy of Arts",
"Brighton Museum & Art Gallery",
"Henry Willett",
"Rembrandt",
"etching",
"guineas"
] |
|
15230_T | The Raising of Lazarus (Lievens) | Explore the Description of this artwork, The Raising of Lazarus (Lievens). | In the painting, Lievens portrays the fabrics as shimmering with gold and brown hues. The subject matter of the painting is Lazarus rising from his tomb like a ghost figure. Jesus Christ stands on a raised surface with his hands clasped. He looks skyward into a beam of light. In the grave beneath Jesus, the two hands of Lazarus reach out of the grave. A woman resembling a nun at the grave's edge has a stunned look on her face. Other people are observing the scene, including a black woman holding a large white shroud. | [
"Jesus",
"Jesus Christ",
"nun"
] |
|
15230_NT | The Raising of Lazarus (Lievens) | Explore the Description of this artwork. | In the painting, Lievens portrays the fabrics as shimmering with gold and brown hues. The subject matter of the painting is Lazarus rising from his tomb like a ghost figure. Jesus Christ stands on a raised surface with his hands clasped. He looks skyward into a beam of light. In the grave beneath Jesus, the two hands of Lazarus reach out of the grave. A woman resembling a nun at the grave's edge has a stunned look on her face. Other people are observing the scene, including a black woman holding a large white shroud. | [
"Jesus",
"Jesus Christ",
"nun"
] |
|
15231_T | The Raising of Lazarus (Lievens) | Focus on The Raising of Lazarus (Lievens) and discuss the Reception. | Writing for The New York Times in 2008, art critic Ken Johnson said the painting was "An unusually austere composition, it has a simplicity and openness that enhance its mystery." He also stated that Rembrandt enjoyed the painting so much that he acquired it and hung it in his home. When Rembrandt fell on hard times later in his life, he sold Jan Lievens' version of The Raising of Lazarus.Writing for Smithsonian magazine, Matthew Gurewitsch describes the painting as "a gothic scene in a somber palette and with the utmost restraint". He goes on to say that Lievens does not portray Jesus with grand gestures and he portrays Lazarus only as two hands reaching out of a tomb. He uses pale light to permeate the darkness and express "intimations of spirituality".An image of the painting appears in the 2022 Michael Grandage film My Policeman, starring Harry Styles, David Dawson, and Emma Corrin. The three main characters, Tom, Patrick, and Marion, who are in a complex love triangle, visit the Brighton Museum & Art Gallery and admire the painting. The character of Marion, who is Tom's girlfriend, calls the painting "astonishing" and Patrick, who is secretly Tom's lover, agrees. | [
"Smithsonian",
"Brighton Museum & Art Gallery",
"Harry Styles",
"The New York Times",
"Jesus",
"Jan Lievens",
"Rembrandt",
"David Dawson",
"My Policeman",
"Ken Johnson",
"Michael Grandage",
"Emma Corrin"
] |
|
15231_NT | The Raising of Lazarus (Lievens) | Focus on this artwork and discuss the Reception. | Writing for The New York Times in 2008, art critic Ken Johnson said the painting was "An unusually austere composition, it has a simplicity and openness that enhance its mystery." He also stated that Rembrandt enjoyed the painting so much that he acquired it and hung it in his home. When Rembrandt fell on hard times later in his life, he sold Jan Lievens' version of The Raising of Lazarus.Writing for Smithsonian magazine, Matthew Gurewitsch describes the painting as "a gothic scene in a somber palette and with the utmost restraint". He goes on to say that Lievens does not portray Jesus with grand gestures and he portrays Lazarus only as two hands reaching out of a tomb. He uses pale light to permeate the darkness and express "intimations of spirituality".An image of the painting appears in the 2022 Michael Grandage film My Policeman, starring Harry Styles, David Dawson, and Emma Corrin. The three main characters, Tom, Patrick, and Marion, who are in a complex love triangle, visit the Brighton Museum & Art Gallery and admire the painting. The character of Marion, who is Tom's girlfriend, calls the painting "astonishing" and Patrick, who is secretly Tom's lover, agrees. | [
"Smithsonian",
"Brighton Museum & Art Gallery",
"Harry Styles",
"The New York Times",
"Jesus",
"Jan Lievens",
"Rembrandt",
"David Dawson",
"My Policeman",
"Ken Johnson",
"Michael Grandage",
"Emma Corrin"
] |
|
15232_T | Statue of Juan Ponce de León | How does Statue of Juan Ponce de León elucidate its abstract? | A statue of Juan Ponce de León was erected in the Plaza de San José in San Juan, Puerto Rico, in 1882. In 2022, the statue was vandalized and knocked down by protestors but was quickly reinstalled. | [
"San Juan, Puerto Rico",
"Juan Ponce de León",
"Puerto Rico",
"San Juan"
] |
|
15232_NT | Statue of Juan Ponce de León | How does this artwork elucidate its abstract? | A statue of Juan Ponce de León was erected in the Plaza de San José in San Juan, Puerto Rico, in 1882. In 2022, the statue was vandalized and knocked down by protestors but was quickly reinstalled. | [
"San Juan, Puerto Rico",
"Juan Ponce de León",
"Puerto Rico",
"San Juan"
] |
|
15233_T | Statue of Juan Ponce de León | Focus on Statue of Juan Ponce de León and analyze the History. | The statue was made from cannon captured from the British in 1797 following the Battle of San Juan, a failed attack on Puerto Rico. It was made in 1882 in New York, in the United States. The King of Spain, Alfonso XII, contributed funds toward the erection of the statue.
A copy was erected in 1923 in St. Augustine, Florida, in the United States. | [
"Alfonso XII",
"King of Spain",
"Battle of San Juan",
"St. Augustine, Florida",
"Puerto Rico",
"San Juan"
] |
|
15233_NT | Statue of Juan Ponce de León | Focus on this artwork and analyze the History. | The statue was made from cannon captured from the British in 1797 following the Battle of San Juan, a failed attack on Puerto Rico. It was made in 1882 in New York, in the United States. The King of Spain, Alfonso XII, contributed funds toward the erection of the statue.
A copy was erected in 1923 in St. Augustine, Florida, in the United States. | [
"Alfonso XII",
"King of Spain",
"Battle of San Juan",
"St. Augustine, Florida",
"Puerto Rico",
"San Juan"
] |
|
15234_T | Statue of Juan Ponce de León | Describe the characteristics of the Toppling and restoration in Statue of Juan Ponce de León's History. | The statue was toppled in 2022. This occurred a day before the visit of the Spanish king, Felipe VI, to commemorate the 500th anniversary of the foundation of San Juan.It was reported that the Boriken Libertarian Forces claimed responsibility for the damage to the statue. The group said in a statement that "Faced with the visit of the King of Spain, Felipe VI, to Puerto Rico and the escalation of 'gringo' invaders taking over our lands, we want to send a clear message: neither kings nor 'gringo' invaders".The statue was repaired and reinstalled less than 24 hours after its toppling. Miguel Romero, the mayor of San Juan, defended the reinstallation of the statue. "Freedom of expression is protected, but what cannot be protected is vandalism. I believe vandalism is the most cowardly form of expression," he said. | [
"King of Spain",
"Felipe VI",
"gringo",
"Miguel Romero",
"Puerto Rico",
"San Juan"
] |
|
15234_NT | Statue of Juan Ponce de León | Describe the characteristics of the Toppling and restoration in this artwork's History. | The statue was toppled in 2022. This occurred a day before the visit of the Spanish king, Felipe VI, to commemorate the 500th anniversary of the foundation of San Juan.It was reported that the Boriken Libertarian Forces claimed responsibility for the damage to the statue. The group said in a statement that "Faced with the visit of the King of Spain, Felipe VI, to Puerto Rico and the escalation of 'gringo' invaders taking over our lands, we want to send a clear message: neither kings nor 'gringo' invaders".The statue was repaired and reinstalled less than 24 hours after its toppling. Miguel Romero, the mayor of San Juan, defended the reinstallation of the statue. "Freedom of expression is protected, but what cannot be protected is vandalism. I believe vandalism is the most cowardly form of expression," he said. | [
"King of Spain",
"Felipe VI",
"gringo",
"Miguel Romero",
"Puerto Rico",
"San Juan"
] |
|
15235_T | Sharks! | Focus on Sharks! and explore the abstract. | Sharks! is an art installation in London, England by architect Jaimie Shorten. The art was built following its concept winning the 2020 Antepavilion, an annual art contest. | [
"Jaimie Shorten",
"Shark",
"Antepavilion",
"London",
"England"
] |
|
15235_NT | Sharks! | Focus on this artwork and explore the abstract. | Sharks! is an art installation in London, England by architect Jaimie Shorten. The art was built following its concept winning the 2020 Antepavilion, an annual art contest. | [
"Jaimie Shorten",
"Shark",
"Antepavilion",
"London",
"England"
] |
|
15236_T | Sharks! | Focus on Sharks! and explain the Art. | Sharks! consists of five life-sized fibreglass model sharks. The project was inspired by The Headington Shark in Oxford. The installation cost £25,000. It was selected and built as the 2020 Antepavilion, fitting the year's theme of "tension of authoritarian governance of the built environment and aesthetic libertarianism". Shorten said that he thinks of the sharks as ingénues, that have surfaced in the "centre of hipster maelstrom" and as "dumb recipients of the horrible world" that are redeemed through being in Hoxton and "being together". | [
"shark",
"Oxford",
"Art",
"Shark",
"Hoxton",
"fibreglass",
"Antepavilion",
"Headington Shark",
"The Headington Shark"
] |
|
15236_NT | Sharks! | Focus on this artwork and explain the Art. | Sharks! consists of five life-sized fibreglass model sharks. The project was inspired by The Headington Shark in Oxford. The installation cost £25,000. It was selected and built as the 2020 Antepavilion, fitting the year's theme of "tension of authoritarian governance of the built environment and aesthetic libertarianism". Shorten said that he thinks of the sharks as ingénues, that have surfaced in the "centre of hipster maelstrom" and as "dumb recipients of the horrible world" that are redeemed through being in Hoxton and "being together". | [
"shark",
"Oxford",
"Art",
"Shark",
"Hoxton",
"fibreglass",
"Antepavilion",
"Headington Shark",
"The Headington Shark"
] |
|
15237_T | Sharks! | Explore the Dispute of this artwork, Sharks!. | In August 2020, Hackney London Borough Council obtained an interim injunction order to prohibit the Sharks! from being installed at the Regent's Canal in Hoxton. As stated in the interim injunction order, the Order was made at a hearing without notice to the Defendants.
In October 2020, Hackney London Borough Council obtained a varied interim High Court injunction order to remove Sharks! from Regent's Canal in Hoxton after a reconsideration hearing.In April 2021, Sharks! was relocated to Islington Boat Club.In June 2021, the sharks were removed from their home in the Islington Boat Club and returned to Antepavilion where they were stored on a river barge.
In July 2021, the Court of Appeal granted permission to appeal the injunction order. | [
"shark",
"Shark",
"Hoxton",
"Hackney London Borough Council",
"Islington",
"Antepavilion",
"London",
"High Court",
"Regent's Canal"
] |
|
15237_NT | Sharks! | Explore the Dispute of this artwork. | In August 2020, Hackney London Borough Council obtained an interim injunction order to prohibit the Sharks! from being installed at the Regent's Canal in Hoxton. As stated in the interim injunction order, the Order was made at a hearing without notice to the Defendants.
In October 2020, Hackney London Borough Council obtained a varied interim High Court injunction order to remove Sharks! from Regent's Canal in Hoxton after a reconsideration hearing.In April 2021, Sharks! was relocated to Islington Boat Club.In June 2021, the sharks were removed from their home in the Islington Boat Club and returned to Antepavilion where they were stored on a river barge.
In July 2021, the Court of Appeal granted permission to appeal the injunction order. | [
"shark",
"Shark",
"Hoxton",
"Hackney London Borough Council",
"Islington",
"Antepavilion",
"London",
"High Court",
"Regent's Canal"
] |
|
15238_T | Adoration of the Trinity | Focus on Adoration of the Trinity and discuss the abstract. | Adoration of the Trinity (also known as the Landauer Altarpiece; German: Allerheiligenbild or Landauer Altar) is an oil painting on panel by the German Renaissance artist Albrecht Dürer, executed in 1511 and now in the Kunsthistorisches Museum, Vienna, Austria. | [
"panel",
"Kunsthistorisches Museum",
"Trinity",
"oil painting",
"Vienna",
"Albrecht Dürer"
] |
|
15238_NT | Adoration of the Trinity | Focus on this artwork and discuss the abstract. | Adoration of the Trinity (also known as the Landauer Altarpiece; German: Allerheiligenbild or Landauer Altar) is an oil painting on panel by the German Renaissance artist Albrecht Dürer, executed in 1511 and now in the Kunsthistorisches Museum, Vienna, Austria. | [
"panel",
"Kunsthistorisches Museum",
"Trinity",
"oil painting",
"Vienna",
"Albrecht Dürer"
] |
|
15239_T | Adoration of the Trinity | How does Adoration of the Trinity elucidate its Description? | The altar had no movable panels, as in numerous previous similar installations, and was included in a rich frame, also designed by Dürer. There is a carved depiction of the Last Judgement at the top of the frame, and it also displays the donors' coats of arms.
The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.
The artist paints a host of male and female saints of Heaven, inspired by Augustine, who are led by John the Baptist and the Virgin Mary, respectively. Below, the human multitudes are divided between religious men and women (left, led by the pope), and laymen, led by the Holy Roman Emperor—a division similar to that already adopted by Dürer in the Feast of the Rosary (1506). At left, near a cardinal who is perhaps interceding for him, is the aged Matthäus Landauer, wearing rich garments and putting down his hat. A peasant, with one of his tools, represents the poor classes. On the right is an enigmatic queen whose face is entirely hidden by a veil, which leaves only the eyes visible.
The lower section is occupied by a large landscape with the dawn above a lake, among hills, inspired by landscapes by Albrecht Altdorfer and Joachim Patinir. There is also a self-portrait of Dürer holding a cartouche with the signature and date inscription:ALBERTUS DURER NORICUS FACIEBAT ANNO A VIRIGINIS PARTU 1511 | [
"Holy Roman Emperor",
"Albrecht Altdorfer",
"Holy Spirit",
"panel",
"John the Baptist",
"cherubim",
"Last Judgement",
"Trinity",
"Augustine",
"Feast of the Rosary",
"God the Father",
"Virgin Mary",
"Joachim Patinir"
] |
|
15239_NT | Adoration of the Trinity | How does this artwork elucidate its Description? | The altar had no movable panels, as in numerous previous similar installations, and was included in a rich frame, also designed by Dürer. There is a carved depiction of the Last Judgement at the top of the frame, and it also displays the donors' coats of arms.
The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.
The artist paints a host of male and female saints of Heaven, inspired by Augustine, who are led by John the Baptist and the Virgin Mary, respectively. Below, the human multitudes are divided between religious men and women (left, led by the pope), and laymen, led by the Holy Roman Emperor—a division similar to that already adopted by Dürer in the Feast of the Rosary (1506). At left, near a cardinal who is perhaps interceding for him, is the aged Matthäus Landauer, wearing rich garments and putting down his hat. A peasant, with one of his tools, represents the poor classes. On the right is an enigmatic queen whose face is entirely hidden by a veil, which leaves only the eyes visible.
The lower section is occupied by a large landscape with the dawn above a lake, among hills, inspired by landscapes by Albrecht Altdorfer and Joachim Patinir. There is also a self-portrait of Dürer holding a cartouche with the signature and date inscription:ALBERTUS DURER NORICUS FACIEBAT ANNO A VIRIGINIS PARTU 1511 | [
"Holy Roman Emperor",
"Albrecht Altdorfer",
"Holy Spirit",
"panel",
"John the Baptist",
"cherubim",
"Last Judgement",
"Trinity",
"Augustine",
"Feast of the Rosary",
"God the Father",
"Virgin Mary",
"Joachim Patinir"
] |
|
15240_T | Statue of Nathanael Greene (U.S. Capitol) | Focus on Statue of Nathanael Greene (U.S. Capitol) and analyze the abstract. | Nathaniel Greene is an 1870 marble statue of Nathanael Greene by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection. It is one of two statues donated by the state of Rhode Island. The statue portrays Greene dressed in the uniform of a Revolutionary War general, holding a sword in his left hand.
Brown later (1877) created an equestrian statue of Greene, also located in Washington, D.C. | [
"National Statuary Hall Collection",
"Washington, D.C.",
"National Statuary Hall",
"Revolutionary War",
"Rhode Island",
"Nathanael Greene",
"United States Capitol",
"equestrian statue of Greene",
"Henry Kirke Brown"
] |
|
15240_NT | Statue of Nathanael Greene (U.S. Capitol) | Focus on this artwork and analyze the abstract. | Nathaniel Greene is an 1870 marble statue of Nathanael Greene by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection. It is one of two statues donated by the state of Rhode Island. The statue portrays Greene dressed in the uniform of a Revolutionary War general, holding a sword in his left hand.
Brown later (1877) created an equestrian statue of Greene, also located in Washington, D.C. | [
"National Statuary Hall Collection",
"Washington, D.C.",
"National Statuary Hall",
"Revolutionary War",
"Rhode Island",
"Nathanael Greene",
"United States Capitol",
"equestrian statue of Greene",
"Henry Kirke Brown"
] |
|
15241_T | Portrait of a Man (Hals) | In Portrait of a Man (Hals), how is the abstract discussed? | Portrait of a Man is an oil an oak panel painting by Dutch artist Frans Hals, created in 1634. It is held at the Timken Museum of Art, in San Diego. It depicts an unidentified man of the upper classes, like it can be deduced by his clothing, with his right hand on his chest, and helding his thumb high. | [
"San Diego",
"Timken Museum of Art",
"Frans Hals"
] |
|
15241_NT | Portrait of a Man (Hals) | In this artwork, how is the abstract discussed? | Portrait of a Man is an oil an oak panel painting by Dutch artist Frans Hals, created in 1634. It is held at the Timken Museum of Art, in San Diego. It depicts an unidentified man of the upper classes, like it can be deduced by his clothing, with his right hand on his chest, and helding his thumb high. | [
"San Diego",
"Timken Museum of Art",
"Frans Hals"
] |
|
15242_T | America Today | Focus on America Today and explore the abstract. | America Today is a mural comprising ten canvas panels, painted with egg tempera in 1930–1931 by the American painter Thomas Hart Benton. It provides a panorama of American life throughout the 1920s, based on Benton's extensive travels in the country. Originally commissioned for The New School for Social Research, it has belonged to the Metropolitan Museum of Art, in New York, since 2012. | [
"The New School for Social Research",
"tempera",
"New York",
"Thomas Hart Benton",
"Metropolitan Museum of Art"
] |
|
15242_NT | America Today | Focus on this artwork and explore the abstract. | America Today is a mural comprising ten canvas panels, painted with egg tempera in 1930–1931 by the American painter Thomas Hart Benton. It provides a panorama of American life throughout the 1920s, based on Benton's extensive travels in the country. Originally commissioned for The New School for Social Research, it has belonged to the Metropolitan Museum of Art, in New York, since 2012. | [
"The New School for Social Research",
"tempera",
"New York",
"Thomas Hart Benton",
"Metropolitan Museum of Art"
] |
|
15243_T | America Today | Explore the Creation of this artwork, America Today. | The mural was commissioned in 1929 by Alvin Saunders Johnson, director of The New School for Social Research in New York City, for the school's boardroom. Benton was not offered any payment beyond material costs. Instead, he saw the work as an opportunity to make a name for himself and thereby get more commissions in the future. The subjects were based on Benton's extensive travels in the United States. Benton said about the work: "Every detail of every picture is a thing I myself have seen and known. Every head is a real person drawn from life." The mural was painted with egg tempera on linen canvases. | [
"New York City",
"The New School for Social Research",
"tempera",
"New York",
"Alvin Saunders Johnson"
] |
|
15243_NT | America Today | Explore the Creation of this artwork. | The mural was commissioned in 1929 by Alvin Saunders Johnson, director of The New School for Social Research in New York City, for the school's boardroom. Benton was not offered any payment beyond material costs. Instead, he saw the work as an opportunity to make a name for himself and thereby get more commissions in the future. The subjects were based on Benton's extensive travels in the United States. Benton said about the work: "Every detail of every picture is a thing I myself have seen and known. Every head is a real person drawn from life." The mural was painted with egg tempera on linen canvases. | [
"New York City",
"The New School for Social Research",
"tempera",
"New York",
"Alvin Saunders Johnson"
] |
|
15244_T | America Today | Focus on America Today and discuss the Provenance. | The mural was acquired by AXA Equitable Life Insurance Company in 1984. After two years of renovation it was installed at AXA's headquarters at 787 Seventh Avenue in New York City. In 1996 AXA moved to 1290 Avenue of the Americas and installed the mural in the building's lobby. In January 2012 the mural was renovated again, and in December 2012 it was donated to the Metropolitan Museum of Art. | [
"New York City",
"787 Seventh Avenue",
"AXA Equitable Life Insurance Company",
"New York",
"Metropolitan Museum of Art"
] |
|
15244_NT | America Today | Focus on this artwork and discuss the Provenance. | The mural was acquired by AXA Equitable Life Insurance Company in 1984. After two years of renovation it was installed at AXA's headquarters at 787 Seventh Avenue in New York City. In 1996 AXA moved to 1290 Avenue of the Americas and installed the mural in the building's lobby. In January 2012 the mural was renovated again, and in December 2012 it was donated to the Metropolitan Museum of Art. | [
"New York City",
"787 Seventh Avenue",
"AXA Equitable Life Insurance Company",
"New York",
"Metropolitan Museum of Art"
] |
|
15245_T | House I | How does House I elucidate its abstract? | House I is a sculpture by Roy Lichtenstein. It has an illusion, which makes it appear inside out, or normally, depending on which way the viewer sees it.
It is located at the National Gallery of Art Sculpture Garden.It was constructed of painted aluminum, modeled in 1996 and constructed in 1999.
Among his last works, it was a part of the House series (Lichtenstein). House II was shown at the Venice Biennale in 1997, and House III was shown at the Metropolitan Museum of Art. | [
"Venice Biennale",
"Roy Lichtenstein",
"National Gallery of Art Sculpture Garden",
"illusion",
"Metropolitan Museum of Art",
"House series (Lichtenstein)"
] |
|
15245_NT | House I | How does this artwork elucidate its abstract? | House I is a sculpture by Roy Lichtenstein. It has an illusion, which makes it appear inside out, or normally, depending on which way the viewer sees it.
It is located at the National Gallery of Art Sculpture Garden.It was constructed of painted aluminum, modeled in 1996 and constructed in 1999.
Among his last works, it was a part of the House series (Lichtenstein). House II was shown at the Venice Biennale in 1997, and House III was shown at the Metropolitan Museum of Art. | [
"Venice Biennale",
"Roy Lichtenstein",
"National Gallery of Art Sculpture Garden",
"illusion",
"Metropolitan Museum of Art",
"House series (Lichtenstein)"
] |
|
15246_T | House I | Focus on House I and analyze the Illusion. | The house uses optical illusion to play with perspective. To appreciate the full effect, walk at a steady rate along the arc of the sidewalk that runs in front of and nearly perpendicular to the sculpture, with your head turned to one side, facing the sculpture. The house will appear to be spinning in space. | [
"Illusion",
"illusion"
] |
|
15246_NT | House I | Focus on this artwork and analyze the Illusion. | The house uses optical illusion to play with perspective. To appreciate the full effect, walk at a steady rate along the arc of the sidewalk that runs in front of and nearly perpendicular to the sculpture, with your head turned to one side, facing the sculpture. The house will appear to be spinning in space. | [
"Illusion",
"illusion"
] |
|
15247_T | Madonna of the Book | In Madonna of the Book, how is the Description discussed? | The Madonna of the Book is a soft and elegant work, in which Mary and the Child are seated by a window in the corner of a room. She holds a Book of Hours, the Horae Beatae Mariae Virginis, prayer books for laymen common in the thirteenth to sixteenth centuries. The infant is gazing at his mother whilst she is absorbed in reading the book. The hands of both mother and son are positioned similarly, with the right hands open as in a gesture of blessing, and left hands closed.Symbolizing the Passion of Christ, the Christ Child is holding the three nails of the cross, and the crown of thorns. These are probably later additions, added to make the message more explicit. This is the conventional representation in the Christian iconography. In addition, the fruit in the bowl has an emblematic meaning. The cherries represent the blood of Christ or are an allusion to Paradise, plums indicate the tenderness between Mary and the Child, and the figs are characteristic of the Resurrection.Mary's blue robe, a color she is often depicted wearing, has the symbolic meanings of purity, heaven, and royalty. In this painting, as in Botticelli's other large series, the Madonna is portrayed as being serious, thoughtful and focused.Botticelli interprets the scene with a sensitivity and love for small details: the set of boxes and the maiolica bowl of lush fruits are depicted as a still life; the pages of the book, the garments, and the transparent veils exhibit a realistic tactile quality. The composition is refined with a good balance. Botticelli painted with subtle differences in colour, and he was able to put colours together so that they complement each other admirably. The painting is adorned with gold filigree decorating the clothes and objects. The use of gold was the result of the contractual agreement he made with the commissioner, and was included in the price of the painting. Dating from about 1480, the painting shows all the elements of Botticelli's mature poetic style: a delicate, elegant linearity, a style which is still far from the intense pathos of his late work. The identity of his patron is unknown.The interrelationship of light, shapes and voids confers an ethereal quality to the work. Indeed, the painting might be considered as newly rediscovered, as a recent restoration revealed a luminescent sky and bright morning aura, which had been obscured by layers of centuries-old varnish.
One is reminded of other Marian images made prior to the year 1470. Botticelli might have been influenced by Filippo Lippi's Madonna and Child with an Angel from the Hospital of the Innocents in Florence.Botticelli and the Madonna of the Book were the subject of renewed interest in the 19th century. In its "extraordinary beauty" it appealed to Italians in particular who saw in it a source of national identity, during Italian unification ("Risorgimento"). Among Botticelli's admirers was Gian Giacomo Poldi Pezzoli, who bequeathed his private collection and his apartment to the public. Dr Annalisa Zanni, the Poldi Pezzoli Museum director, recently discovered more about Botticelli's technique and use of materials, as exemplified in the Madonna of the Book. For example, she discovered that Botticelli's top layer of blue was lapis lazuli, a "very precious and very expensive ingredient, indicating it was commissioned by a highly prestigious patron".It is housed in the Museo Poldi Pezzoli in Milan, Italy. | [
"still life",
"Passion of Christ",
"figs",
"iconography",
"Mary",
"filigree",
"Child",
"blood of Christ",
"Museo Poldi Pezzoli",
"Italy",
"Italian",
"nails",
"Hospital of the Innocents",
"Gian Giacomo Poldi Pezzoli",
"Poldi Pezzoli Museum",
"plum",
"cherries",
"maiolica",
"cross",
"Book of Hours",
"crown of thorns",
"Risorgimento",
"lapis lazuli",
"Filippo Lippi"
] |
|
15247_NT | Madonna of the Book | In this artwork, how is the Description discussed? | The Madonna of the Book is a soft and elegant work, in which Mary and the Child are seated by a window in the corner of a room. She holds a Book of Hours, the Horae Beatae Mariae Virginis, prayer books for laymen common in the thirteenth to sixteenth centuries. The infant is gazing at his mother whilst she is absorbed in reading the book. The hands of both mother and son are positioned similarly, with the right hands open as in a gesture of blessing, and left hands closed.Symbolizing the Passion of Christ, the Christ Child is holding the three nails of the cross, and the crown of thorns. These are probably later additions, added to make the message more explicit. This is the conventional representation in the Christian iconography. In addition, the fruit in the bowl has an emblematic meaning. The cherries represent the blood of Christ or are an allusion to Paradise, plums indicate the tenderness between Mary and the Child, and the figs are characteristic of the Resurrection.Mary's blue robe, a color she is often depicted wearing, has the symbolic meanings of purity, heaven, and royalty. In this painting, as in Botticelli's other large series, the Madonna is portrayed as being serious, thoughtful and focused.Botticelli interprets the scene with a sensitivity and love for small details: the set of boxes and the maiolica bowl of lush fruits are depicted as a still life; the pages of the book, the garments, and the transparent veils exhibit a realistic tactile quality. The composition is refined with a good balance. Botticelli painted with subtle differences in colour, and he was able to put colours together so that they complement each other admirably. The painting is adorned with gold filigree decorating the clothes and objects. The use of gold was the result of the contractual agreement he made with the commissioner, and was included in the price of the painting. Dating from about 1480, the painting shows all the elements of Botticelli's mature poetic style: a delicate, elegant linearity, a style which is still far from the intense pathos of his late work. The identity of his patron is unknown.The interrelationship of light, shapes and voids confers an ethereal quality to the work. Indeed, the painting might be considered as newly rediscovered, as a recent restoration revealed a luminescent sky and bright morning aura, which had been obscured by layers of centuries-old varnish.
One is reminded of other Marian images made prior to the year 1470. Botticelli might have been influenced by Filippo Lippi's Madonna and Child with an Angel from the Hospital of the Innocents in Florence.Botticelli and the Madonna of the Book were the subject of renewed interest in the 19th century. In its "extraordinary beauty" it appealed to Italians in particular who saw in it a source of national identity, during Italian unification ("Risorgimento"). Among Botticelli's admirers was Gian Giacomo Poldi Pezzoli, who bequeathed his private collection and his apartment to the public. Dr Annalisa Zanni, the Poldi Pezzoli Museum director, recently discovered more about Botticelli's technique and use of materials, as exemplified in the Madonna of the Book. For example, she discovered that Botticelli's top layer of blue was lapis lazuli, a "very precious and very expensive ingredient, indicating it was commissioned by a highly prestigious patron".It is housed in the Museo Poldi Pezzoli in Milan, Italy. | [
"still life",
"Passion of Christ",
"figs",
"iconography",
"Mary",
"filigree",
"Child",
"blood of Christ",
"Museo Poldi Pezzoli",
"Italy",
"Italian",
"nails",
"Hospital of the Innocents",
"Gian Giacomo Poldi Pezzoli",
"Poldi Pezzoli Museum",
"plum",
"cherries",
"maiolica",
"cross",
"Book of Hours",
"crown of thorns",
"Risorgimento",
"lapis lazuli",
"Filippo Lippi"
] |
|
15248_T | Baseball Manager | Focus on Baseball Manager and explore the abstract. | Baseball Manager is a 1963 pop art painting by Roy Lichtenstein. The magna on canvas measures 68 x 56 inches. The painting is visible at Marlins Park (Promenade Level, Section 19), located in Miami, Florida. | [
"Roy Lichtenstein",
"magna",
"Marlins Park",
"pop art"
] |
|
15248_NT | Baseball Manager | Focus on this artwork and explore the abstract. | Baseball Manager is a 1963 pop art painting by Roy Lichtenstein. The magna on canvas measures 68 x 56 inches. The painting is visible at Marlins Park (Promenade Level, Section 19), located in Miami, Florida. | [
"Roy Lichtenstein",
"magna",
"Marlins Park",
"pop art"
] |
|
15249_T | No. 10 (Rothko) | Focus on No. 10 (Rothko) and explain the abstract. | No. 10 is a 1958 painting by the Jewish-American Abstract expressionist artist Mark Rothko. It was painted in 1958.
In common with Rothko's other works from this period, No 10 consists of expanses of colour with dark shades.No. 10 was bought for $82 million by an anonymous buyer, at Christie's. | [
"Christie's",
"Mark Rothko",
"Jewish-American",
"Abstract expressionist"
] |
|
15249_NT | No. 10 (Rothko) | Focus on this artwork and explain the abstract. | No. 10 is a 1958 painting by the Jewish-American Abstract expressionist artist Mark Rothko. It was painted in 1958.
In common with Rothko's other works from this period, No 10 consists of expanses of colour with dark shades.No. 10 was bought for $82 million by an anonymous buyer, at Christie's. | [
"Christie's",
"Mark Rothko",
"Jewish-American",
"Abstract expressionist"
] |
|
15250_T | Prague astronomical clock | Explore the abstract of this artwork, Prague astronomical clock. | The Prague astronomical clock or Prague Orloj (Czech: Pražský orloj [praʃskiː orloj]) is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.
The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation. | [
"Old Town Hall",
"Czech Republic",
"medieval",
"Prague",
"astronomical clock"
] |
|
15250_NT | Prague astronomical clock | Explore the abstract of this artwork. | The Prague astronomical clock or Prague Orloj (Czech: Pražský orloj [praʃskiː orloj]) is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.
The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation. | [
"Old Town Hall",
"Czech Republic",
"medieval",
"Prague",
"astronomical clock"
] |
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