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15251_T | Prague astronomical clock | Focus on Prague astronomical clock and discuss the History. | The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. Later, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.
Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže (also called Hanuš); this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.
In 1552 it was repaired by Jan Táborský (1500–1572), master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.
In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.
The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.
The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s. | [
"Jan Šindel",
"Old Town Hall",
"Charles University",
"Josef Mánes",
"astronomy",
"Old Town Square",
"Mikuláš of Kadaň",
"Apostles",
"armoured vehicles",
"Vojtěch Sucharda",
"Alois Jirásek",
"Prague uprising",
"Prague",
"astronomical clock",
"gothic"
] |
|
15251_NT | Prague astronomical clock | Focus on this artwork and discuss the History. | The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. Later, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.
Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže (also called Hanuš); this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.
In 1552 it was repaired by Jan Táborský (1500–1572), master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.
In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.
The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.
The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s. | [
"Jan Šindel",
"Old Town Hall",
"Charles University",
"Josef Mánes",
"astronomy",
"Old Town Square",
"Mikuláš of Kadaň",
"Apostles",
"armoured vehicles",
"Vojtěch Sucharda",
"Alois Jirásek",
"Prague uprising",
"Prague",
"astronomical clock",
"gothic"
] |
|
15252_T | Prague astronomical clock | In Prague astronomical clock, how is the 600th anniversary of the History elucidated? | On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows. | [] |
|
15252_NT | Prague astronomical clock | In this artwork, how is the 600th anniversary of the History elucidated? | On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows. | [] |
|
15253_T | Prague astronomical clock | In the context of Prague astronomical clock, analyze the 605th anniversary of the History. | On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle. | [
"Google Doodle"
] |
|
15253_NT | Prague astronomical clock | In the context of this artwork, analyze the 605th anniversary of the History. | On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle. | [
"Google Doodle"
] |
|
15254_T | Prague astronomical clock | Describe the characteristics of the 2018 reconstruction in Prague astronomical clock's History. | The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018. | [
"LED screen",
"anniversary of Czechoslovakia"
] |
|
15254_NT | Prague astronomical clock | Describe the characteristics of the 2018 reconstruction in this artwork's History. | The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018. | [
"LED screen",
"anniversary of Czechoslovakia"
] |
|
15255_T | Prague astronomical clock | In the context of Prague astronomical clock, explore the 2022 reconstruction controversy of the History. | The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had "radically changed the appearance, ages, skin tone, dress and even genders of the figures" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the "spirit and detail" of the original. The National Heritage Inspectorate began investigations into the allegations.
The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, "possibly as a joke." Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as "banal and done by an amateur" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018. | [
"Prague",
"lust"
] |
|
15255_NT | Prague astronomical clock | In the context of this artwork, explore the 2022 reconstruction controversy of the History. | The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had "radically changed the appearance, ages, skin tone, dress and even genders of the figures" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the "spirit and detail" of the original. The National Heritage Inspectorate began investigations into the allegations.
The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, "possibly as a joke." Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as "banal and done by an amateur" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018. | [
"Prague",
"lust"
] |
|
15256_T | Prague astronomical clock | Focus on Prague astronomical clock and explain the Astronomical dial. | The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.
The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon. | [
"zodiac",
"astronomy",
"astrolabe",
"planetarium",
"medieval",
"Sun",
"Astronomical dial",
"Moon"
] |
|
15256_NT | Prague astronomical clock | Focus on this artwork and explain the Astronomical dial. | The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.
The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon. | [
"zodiac",
"astronomy",
"astrolabe",
"planetarium",
"medieval",
"Sun",
"Astronomical dial",
"Moon"
] |
|
15257_T | Prague astronomical clock | Explore the Stationary background about the Astronomical dial of this artwork, Prague astronomical clock. | The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.
Written on the eastern (left) part of the horizon is aurora (dawn in Latin) and ortus (rising). On the western (right) part is occasus (sunset), and crepusculum (twilight).
Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal "hours". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year. | [
"Latin",
"Central European Time",
"right",
"horizon",
"hour",
"Roman numerals",
"Prague",
"Sun",
"left"
] |
|
15257_NT | Prague astronomical clock | Explore the Stationary background about the Astronomical dial of this artwork. | The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.
Written on the eastern (left) part of the horizon is aurora (dawn in Latin) and ortus (rising). On the western (right) part is occasus (sunset), and crepusculum (twilight).
Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal "hours". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year. | [
"Latin",
"Central European Time",
"right",
"horizon",
"hour",
"Roman numerals",
"Prague",
"Sun",
"left"
] |
|
15258_T | Prague astronomical clock | In the context of Prague astronomical clock, discuss the Zodiacal ring of the Astronomical dial. | Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.
The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.
The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear. | [
"zodiac",
"sidereal time",
"Leo",
"Cancer",
"Zodiac",
"Roman numerals",
"vernal equinox",
"stereographic projection",
"Sun",
"astronomical clock",
"Moon",
"ecliptic"
] |
|
15258_NT | Prague astronomical clock | In the context of this artwork, discuss the Zodiacal ring of the Astronomical dial. | Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.
The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.
The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear. | [
"zodiac",
"sidereal time",
"Leo",
"Cancer",
"Zodiac",
"Roman numerals",
"vernal equinox",
"stereographic projection",
"Sun",
"astronomical clock",
"Moon",
"ecliptic"
] |
|
15259_T | Prague astronomical clock | In Prague astronomical clock, how is the Old Czech time scale of the Astronomical dial elucidated? | At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time (or Italian hours), with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm (9.8ft). | [
"Schwabacher",
"hour",
"Italian hours",
"Old Czech Time"
] |
|
15259_NT | Prague astronomical clock | In this artwork, how is the Old Czech time scale of the Astronomical dial elucidated? | At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time (or Italian hours), with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm (9.8ft). | [
"Schwabacher",
"hour",
"Italian hours",
"Old Czech Time"
] |
|
15260_T | Prague astronomical clock | In the context of Prague astronomical clock, analyze the Sun of the Astronomical dial. | The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.
The position of the Sun over the curved golden lines indicates the time in unequal hours.
The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine. | [
"zodiac",
"hour",
"Roman numerals",
"unequal hours",
"Prague",
"Sun",
"ecliptic",
"Old Czech Time"
] |
|
15260_NT | Prague astronomical clock | In the context of this artwork, analyze the Sun of the Astronomical dial. | The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.
The position of the Sun over the curved golden lines indicates the time in unequal hours.
The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine. | [
"zodiac",
"hour",
"Roman numerals",
"unequal hours",
"Prague",
"Sun",
"ecliptic",
"Old Czech Time"
] |
|
15261_T | Prague astronomical clock | Describe the characteristics of the Moon in Prague astronomical clock's Astronomical dial. | The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years. | [
"Lunar phase",
"Sun",
"gravity",
"astronomical clock",
"Moon",
"ecliptic"
] |
|
15261_NT | Prague astronomical clock | Describe the characteristics of the Moon in this artwork's Astronomical dial. | The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years. | [
"Lunar phase",
"Sun",
"gravity",
"astronomical clock",
"Moon",
"ecliptic"
] |
|
15262_T | Prague astronomical clock | Focus on Prague astronomical clock and explore the Animated figures. | The four figures flanking the clock are set in motion on the hour, and represent four things that were despised at the time of the clock's making. From left to right in the photographs, the first is Vanity, represented by a figure admiring himself in a mirror. Next, the miser holding a bag of gold represents greed or usury. Across the clock stands Death, a skeleton that strikes the time upon the hour. Finally, there is a Turkish figure representing lust and earthly pleasures. On the hour, the skeleton rings the bell and immediately all other figures shake their heads side to side, signifying their unreadiness "to go".
Every hour of the day, statues of the Twelve Apostles with their attributes appear at the doorways above the clock. The left and right windows above the astronomical clock slide aside to reveal the Apostles as viewed from the square in this order: James the Less and Peter, Andrew and Matthias, Thaddeus and Philip, Thomas and Paul, John and Simon, Barnabas and Bartholomew. Unlike the list of the Twelve Apostles mentioned in the canonical gospels, James the Great and Matthew are missing, replaced by Paul and Barnabas. | [
"Matthias",
"Bartholomew",
"Twelve Apostles",
"right",
"Death",
"John",
"Vanity",
"Thaddeus",
"Apostles",
"miser",
"James the Great",
"hour",
"Simon",
"Andrew",
"Matthew",
"Philip",
"Paul",
"Thomas",
"usury",
"greed",
"Barnabas",
"astronomical clock",
"left",
"Peter",
"bag of gold",
"James the Less",
"lust"
] |
|
15262_NT | Prague astronomical clock | Focus on this artwork and explore the Animated figures. | The four figures flanking the clock are set in motion on the hour, and represent four things that were despised at the time of the clock's making. From left to right in the photographs, the first is Vanity, represented by a figure admiring himself in a mirror. Next, the miser holding a bag of gold represents greed or usury. Across the clock stands Death, a skeleton that strikes the time upon the hour. Finally, there is a Turkish figure representing lust and earthly pleasures. On the hour, the skeleton rings the bell and immediately all other figures shake their heads side to side, signifying their unreadiness "to go".
Every hour of the day, statues of the Twelve Apostles with their attributes appear at the doorways above the clock. The left and right windows above the astronomical clock slide aside to reveal the Apostles as viewed from the square in this order: James the Less and Peter, Andrew and Matthias, Thaddeus and Philip, Thomas and Paul, John and Simon, Barnabas and Bartholomew. Unlike the list of the Twelve Apostles mentioned in the canonical gospels, James the Great and Matthew are missing, replaced by Paul and Barnabas. | [
"Matthias",
"Bartholomew",
"Twelve Apostles",
"right",
"Death",
"John",
"Vanity",
"Thaddeus",
"Apostles",
"miser",
"James the Great",
"hour",
"Simon",
"Andrew",
"Matthew",
"Philip",
"Paul",
"Thomas",
"usury",
"greed",
"Barnabas",
"astronomical clock",
"left",
"Peter",
"bag of gold",
"James the Less",
"lust"
] |
|
15263_T | Prague astronomical clock | Focus on Prague astronomical clock and explain the Calendar. | The calendar plate below the clock was replaced by a copy in 1880. The original made by Josef Mánes is stored in the Prague City Museum. On the edge of the circle is a church calendar with fixed holidays and the names of 365 saints. The board displays allegories of the months. Smaller images represent zodiac signs.
Next to the calendar stands a philosopher, archangel Michael pointing at the top of the dial, an astronomer and a chronicler. | [
"zodiac",
"zodiac signs",
"astronomer",
"month",
"Josef Mánes",
"chronicle",
"philosopher",
"Prague",
"holiday",
"archangel Michael"
] |
|
15263_NT | Prague astronomical clock | Focus on this artwork and explain the Calendar. | The calendar plate below the clock was replaced by a copy in 1880. The original made by Josef Mánes is stored in the Prague City Museum. On the edge of the circle is a church calendar with fixed holidays and the names of 365 saints. The board displays allegories of the months. Smaller images represent zodiac signs.
Next to the calendar stands a philosopher, archangel Michael pointing at the top of the dial, an astronomer and a chronicler. | [
"zodiac",
"zodiac signs",
"astronomer",
"month",
"Josef Mánes",
"chronicle",
"philosopher",
"Prague",
"holiday",
"archangel Michael"
] |
|
15264_T | Dr Barnardo's Memorial | Explore the abstract of this artwork, Dr Barnardo's Memorial. | The Memorial to Dr Barnardo by George Frampton, at Barkingside in the London Borough of Redbridge, commemorates the founder of the Barnardo's children's charity. Born in Dublin into a Sephardic Jewish family, Thomas John Barnardo moved to the East End of London in 1866 where he established a chain of orphanages that developed into the Barnardo's charity. He died in 1905 and, in a move unusual for the time, was cremated; his ashes were interred in front of Cairn's House, the original building of his Barkingside children's village. In 1908, a memorial was raised on the site, the sculpture being undertaken by George Frampton, who worked without a fee. The memorial was designated a Grade II listed structure in 1979 and upgraded to II* in 2010. | [
"Grade II listed structure",
"George Frampton",
"London Borough of Redbridge",
"Thomas John Barnardo",
"Barkingside",
"orphanages",
"East End of London",
"Sephardic Jewish",
"Dublin",
"Barnardo's",
"London"
] |
|
15264_NT | Dr Barnardo's Memorial | Explore the abstract of this artwork. | The Memorial to Dr Barnardo by George Frampton, at Barkingside in the London Borough of Redbridge, commemorates the founder of the Barnardo's children's charity. Born in Dublin into a Sephardic Jewish family, Thomas John Barnardo moved to the East End of London in 1866 where he established a chain of orphanages that developed into the Barnardo's charity. He died in 1905 and, in a move unusual for the time, was cremated; his ashes were interred in front of Cairn's House, the original building of his Barkingside children's village. In 1908, a memorial was raised on the site, the sculpture being undertaken by George Frampton, who worked without a fee. The memorial was designated a Grade II listed structure in 1979 and upgraded to II* in 2010. | [
"Grade II listed structure",
"George Frampton",
"London Borough of Redbridge",
"Thomas John Barnardo",
"Barkingside",
"orphanages",
"East End of London",
"Sephardic Jewish",
"Dublin",
"Barnardo's",
"London"
] |
|
15265_T | Dr Barnardo's Memorial | Focus on Dr Barnardo's Memorial and discuss the Dr Barnado. | Thomas John Barnado was born in Dublin in 1845. Moving to London in 1866 to train as a doctor, he was profoundly affected by the child poverty he witnessed in the East End of London and, in 1867, opened his first ragged school. By the late 1870s, Barnado, working with his wife Syrie, had established over 50 orphanages and schools for poor children in London, including his Girls' Village at Barkingside, in what is now the London Borough of Redbridge. The Barkingside development followed the concept of a 'village' environment, rather than an institutional approach, first established at children's homes at Farningham, Kent, in 1865, and at Princess Mary's Village Home for Little Girls at Addlestone, Surrey, in 1870. The Barkingside village was also originally the Barnados' home, which they received as a wedding present. Barnado died in 1905 at his home in Surbiton and, following a funeral attended by very large crowds and a subsequent cremation, his ashes were interred at Barkingside. | [
"child poverty",
"Addlestone",
"Surbiton",
"London Borough of Redbridge",
"ragged school",
"Surrey",
"Barkingside",
"orphanages",
"East End of London",
"Kent",
"Farningham",
"Dublin",
"London"
] |
|
15265_NT | Dr Barnardo's Memorial | Focus on this artwork and discuss the Dr Barnado. | Thomas John Barnado was born in Dublin in 1845. Moving to London in 1866 to train as a doctor, he was profoundly affected by the child poverty he witnessed in the East End of London and, in 1867, opened his first ragged school. By the late 1870s, Barnado, working with his wife Syrie, had established over 50 orphanages and schools for poor children in London, including his Girls' Village at Barkingside, in what is now the London Borough of Redbridge. The Barkingside development followed the concept of a 'village' environment, rather than an institutional approach, first established at children's homes at Farningham, Kent, in 1865, and at Princess Mary's Village Home for Little Girls at Addlestone, Surrey, in 1870. The Barkingside village was also originally the Barnados' home, which they received as a wedding present. Barnado died in 1905 at his home in Surbiton and, following a funeral attended by very large crowds and a subsequent cremation, his ashes were interred at Barkingside. | [
"child poverty",
"Addlestone",
"Surbiton",
"London Borough of Redbridge",
"ragged school",
"Surrey",
"Barkingside",
"orphanages",
"East End of London",
"Kent",
"Farningham",
"Dublin",
"London"
] |
|
15266_T | Dr Barnardo's Memorial | How does Dr Barnardo's Memorial elucidate its Architecture and description? | The sculpture was undertaken by George Frampton, later famous for his statue of Peter Pan in Kensington Gardens and his memorial to W. S. Gilbert on the Victoria Embankment. Frampton donated his design without charge. The memorial forms an exedra, with a large, semi-circular, stone seat flanking the central plinth. The base has figures in bronze of three children, with a bust of Barnado above that, and culminates in a figure of a woman, representing Charity, embracing two further children. The base is inscribed with a quotation from Barnado's will: 'I HOPE TO DIE AS I HAVE LIVED/ IN THE HUMBLE BUT ASSURED FAITH OF/ JESUS CHRIST/ AS/ MY SAVIOUR, MY MASTER AND MY KING'. The walls that form the seat are also inscribed, to the left: 'SUFFER LITTLE CHILDREN TO COME UNTO ME/ FOR OF SUCH IS THE KINGDOM OF HEAVEN'; and to the right: 'IN AS MUCH AS YE DID IT UNTO ONE OF THE LEAST/ OF THESE MY BRETHREN YE DID IT UNTO ME'. A small memorial set into the base commemorates Syrie Barnado, who died in 1944.The memorial, described in Pevsner as "outstanding", was unveiled in 1908 by the Duchess of Albany. It was listed at Grade II in 1979, and upgraded to Grade II* in 2010. | [
"George Frampton",
"W. S. Gilbert",
"Kensington Gardens",
"Victoria Embankment",
"Duchess of Albany",
"listed at Grade II",
"statue of Peter Pan",
"Pevsner",
"exedra"
] |
|
15266_NT | Dr Barnardo's Memorial | How does this artwork elucidate its Architecture and description? | The sculpture was undertaken by George Frampton, later famous for his statue of Peter Pan in Kensington Gardens and his memorial to W. S. Gilbert on the Victoria Embankment. Frampton donated his design without charge. The memorial forms an exedra, with a large, semi-circular, stone seat flanking the central plinth. The base has figures in bronze of three children, with a bust of Barnado above that, and culminates in a figure of a woman, representing Charity, embracing two further children. The base is inscribed with a quotation from Barnado's will: 'I HOPE TO DIE AS I HAVE LIVED/ IN THE HUMBLE BUT ASSURED FAITH OF/ JESUS CHRIST/ AS/ MY SAVIOUR, MY MASTER AND MY KING'. The walls that form the seat are also inscribed, to the left: 'SUFFER LITTLE CHILDREN TO COME UNTO ME/ FOR OF SUCH IS THE KINGDOM OF HEAVEN'; and to the right: 'IN AS MUCH AS YE DID IT UNTO ONE OF THE LEAST/ OF THESE MY BRETHREN YE DID IT UNTO ME'. A small memorial set into the base commemorates Syrie Barnado, who died in 1944.The memorial, described in Pevsner as "outstanding", was unveiled in 1908 by the Duchess of Albany. It was listed at Grade II in 1979, and upgraded to Grade II* in 2010. | [
"George Frampton",
"W. S. Gilbert",
"Kensington Gardens",
"Victoria Embankment",
"Duchess of Albany",
"listed at Grade II",
"statue of Peter Pan",
"Pevsner",
"exedra"
] |
|
15267_T | Portrait of Alvise Cornaro | Focus on Portrait of Alvise Cornaro and analyze the abstract. | The Portrait of Alvise Cornaro is a portrait by the Venetian painter Tintoretto, showing the man of letters Alvise 'Luigi' Cornaro. Datable to around 1560–1565, it was acquired by Leopoldo de' Medici and is now in the Galleria Palatina in Florence. For the time between the 1698 and 1829 inventories, it was mis-attributed to Titian. | [
"Alvise 'Luigi' Cornaro",
"Florence",
"Alvise Cornaro",
"Leopoldo de' Medici",
"Tintoretto",
"Titian",
"Galleria Palatina"
] |
|
15267_NT | Portrait of Alvise Cornaro | Focus on this artwork and analyze the abstract. | The Portrait of Alvise Cornaro is a portrait by the Venetian painter Tintoretto, showing the man of letters Alvise 'Luigi' Cornaro. Datable to around 1560–1565, it was acquired by Leopoldo de' Medici and is now in the Galleria Palatina in Florence. For the time between the 1698 and 1829 inventories, it was mis-attributed to Titian. | [
"Alvise 'Luigi' Cornaro",
"Florence",
"Alvise Cornaro",
"Leopoldo de' Medici",
"Tintoretto",
"Titian",
"Galleria Palatina"
] |
|
15268_T | Portrait of Alvise Cornaro | In Portrait of Alvise Cornaro, how is the History discussed? | The earliest record of the work is its purchase by Leopoldo de' Medici. Between 1698 and 1829, it was thought that the painting was made by Titian. In the Palazzo Pitti, it is possible to track the placement of paintings in varies rooms of the ducal apartments. During one of these moves, the painting's original frame was lost. The inventories recorded it as adorned and carved. The painting's frame today, also old, originally belonged to a bigger canvas. | [
"Leopoldo de' Medici",
"Titian",
"Palazzo Pitti"
] |
|
15268_NT | Portrait of Alvise Cornaro | In this artwork, how is the History discussed? | The earliest record of the work is its purchase by Leopoldo de' Medici. Between 1698 and 1829, it was thought that the painting was made by Titian. In the Palazzo Pitti, it is possible to track the placement of paintings in varies rooms of the ducal apartments. During one of these moves, the painting's original frame was lost. The inventories recorded it as adorned and carved. The painting's frame today, also old, originally belonged to a bigger canvas. | [
"Leopoldo de' Medici",
"Titian",
"Palazzo Pitti"
] |
|
15269_T | Portrait of Alvise Cornaro | Focus on Portrait of Alvise Cornaro and explore the Description and style. | Alvise Cornaro, a scholar of a noble family that lived most of his life in Padua, wrote treatises and patroned a small court of scientists and scholars. In one of his works, he praised the "sober life." In fact, Tintoretto, in portraying him, emphasized the range of his cultural interests and underlined by his more human aspects through a measured agreement of greys and blacks (the darkness of the background and his clothes) that make his face and hands stand out.
The portrait subject is seated, at half figure, and facing to the right. The right hand, resting on the armrest, displays a sign of nobility—a ring with a stone. He gazes absently out of the canvas, while his face displays his age, accentuated by the deep black shadows dug out of his cheeks and temples. | [
"Alvise Cornaro",
"Tintoretto",
"Padua"
] |
|
15269_NT | Portrait of Alvise Cornaro | Focus on this artwork and explore the Description and style. | Alvise Cornaro, a scholar of a noble family that lived most of his life in Padua, wrote treatises and patroned a small court of scientists and scholars. In one of his works, he praised the "sober life." In fact, Tintoretto, in portraying him, emphasized the range of his cultural interests and underlined by his more human aspects through a measured agreement of greys and blacks (the darkness of the background and his clothes) that make his face and hands stand out.
The portrait subject is seated, at half figure, and facing to the right. The right hand, resting on the armrest, displays a sign of nobility—a ring with a stone. He gazes absently out of the canvas, while his face displays his age, accentuated by the deep black shadows dug out of his cheeks and temples. | [
"Alvise Cornaro",
"Tintoretto",
"Padua"
] |
|
15270_T | The Caress of a Bird | Focus on The Caress of a Bird and explain the abstract. | The Caress of a Bird (correctly La Caresse d'un oiseau) is a 1967 sculpture by Joan Miró made at his studio in Palma de Mallorca. It is part of the permanent collection of the Miró Foundation in Barcelona. | [
"Palma de Mallorca",
"Barcelona",
"Joan Miró",
"Miró Foundation"
] |
|
15270_NT | The Caress of a Bird | Focus on this artwork and explain the abstract. | The Caress of a Bird (correctly La Caresse d'un oiseau) is a 1967 sculpture by Joan Miró made at his studio in Palma de Mallorca. It is part of the permanent collection of the Miró Foundation in Barcelona. | [
"Palma de Mallorca",
"Barcelona",
"Joan Miró",
"Miró Foundation"
] |
|
15271_T | The Caress of a Bird | Explore the History of this artwork, The Caress of a Bird. | The origins of this sculpture are in the early object-sculptures the artist made in Mont-roig del Camp with found objects. The objects found were gathered at his workshop and then shaped into the artist's new world. At first, the objects were not placed in the right place; once the creation started there was a rigorous evaluation of their position by the artist. During the Second World War, Miró was alone in his ancestral home and landscape in Mont-roig del Camp. He was excluded from his artistic peers and the influence of art galleries, museums and exhibitions. He extracted natural forms and elements into a new artistic language of found object art. Joan Prats, Miró's lifelong friend and collaborator said: "When I take a stone, it is just a stone. When Miró grabs a stone, it is a Miró." In the mid 60s it was realised that the original sculpture was deteriorating and it was re-created in bronze by founders in Paris. Miró himself supervised the texture and controlled patina which he considered to be very important. | [
"Joan Prats",
"Mont-roig del Camp",
"Second World War",
"Paris",
"found object"
] |
|
15271_NT | The Caress of a Bird | Explore the History of this artwork. | The origins of this sculpture are in the early object-sculptures the artist made in Mont-roig del Camp with found objects. The objects found were gathered at his workshop and then shaped into the artist's new world. At first, the objects were not placed in the right place; once the creation started there was a rigorous evaluation of their position by the artist. During the Second World War, Miró was alone in his ancestral home and landscape in Mont-roig del Camp. He was excluded from his artistic peers and the influence of art galleries, museums and exhibitions. He extracted natural forms and elements into a new artistic language of found object art. Joan Prats, Miró's lifelong friend and collaborator said: "When I take a stone, it is just a stone. When Miró grabs a stone, it is a Miró." In the mid 60s it was realised that the original sculpture was deteriorating and it was re-created in bronze by founders in Paris. Miró himself supervised the texture and controlled patina which he considered to be very important. | [
"Joan Prats",
"Mont-roig del Camp",
"Second World War",
"Paris",
"found object"
] |
|
15272_T | The Caress of a Bird | Focus on The Caress of a Bird and discuss the Description. | In this humorous sculpture Joan Miró uses easy to identify objects that serve as the basis of the design. The sculpture is over 3 metres (9.8 ft) tall and over 1 metre (3 ft 3 in) wide, but is only 38 cm (15 in) deep. It is constructed from bronze, disguised by the use of bright paint.
The found objects now cast in bronze include an outhouse seat and an ironing board for the body and legs with a pair of miniature soccer balls at the back that represent the female buttocks. The head is a donkey's straw hat whilst the turtle shell represents the female genitals. The sculpture has been compared to a "totem of female sexuality". | [
"Joan Miró",
"found object"
] |
|
15272_NT | The Caress of a Bird | Focus on this artwork and discuss the Description. | In this humorous sculpture Joan Miró uses easy to identify objects that serve as the basis of the design. The sculpture is over 3 metres (9.8 ft) tall and over 1 metre (3 ft 3 in) wide, but is only 38 cm (15 in) deep. It is constructed from bronze, disguised by the use of bright paint.
The found objects now cast in bronze include an outhouse seat and an ironing board for the body and legs with a pair of miniature soccer balls at the back that represent the female buttocks. The head is a donkey's straw hat whilst the turtle shell represents the female genitals. The sculpture has been compared to a "totem of female sexuality". | [
"Joan Miró",
"found object"
] |
|
15273_T | Portrait of Philip IV in Fraga | How does Portrait of Philip IV in Fraga elucidate its abstract? | The Portrait of Philip IV in Fraga is a mid-length portrait of Philip IV of Spain by Velázquez. It was painted over the course of three sessions in June 1644 in Fraga, where Philip IV had moved the royal court as part of the "Jornada de Aragón" which resulted in the recovery of Lérida from France, which had occupied the city earlier during the Reapers' War. The portrait was gifted by Philip V to his son, the future Philip, Duke of Parma, and the painting left Spain along with him in 1748. In 1911 it was acquired by the Frick Collection, where it is currently on display.
This is almost certainly the same painting which Antonio Palomino said Velázquez painted of the king in a natural manner "in the way he entered Lérida, wielding a military staff, and dressed in crimson plush, with such a beautiful air, so much grace, and majesty, that the painting looked like another living Philip".Much is known of the circumstances surrounding the painting of the portrait due to extant expense accounts, including masonry costs related to the creation of two windows in the throne room where the king was to pose, as well as expenses related to the renovation of the facilities that Velázquez used as a studio, which had been in a ruinous state. At the same time he worked on this painting, he worked on another painting, one of the court dwarf Diego de Acedo, known as El Primo, which was sent to Madrid in June. The painting appears to have been different than the painting of the dwarf which is currently at the Prado.
The painting was finished before the end of June, and was sent to Philip IV's wife Elisabeth, who ordered its public exhibition. José Pellicer in his Avisos históricos noted that on August 16, 1644 that a painting of the king portrayed "in the same way that he is in the field", dressed in red and silver, had been exhibited in the church of San Martín, "under a canopy embroidered with gold, where many people came to see it and copies are being made of it".Jonathan Brown suggests that Velázquez's composition might have been inspired by Anthony van Dyck's, Cardinal-Infante Ferdinand of Austria, which had been in Madrid since 1636.
Among the known copies, the most esteemed is held in the Dulwich College of London, which had previously mistakenly been considered Velasquez's original, before it was attributed to Juan Bautista Martínez del Mazo in 1911 by Aureliano de Beruete, leading to the copy in New York being identified as the original. | [
"Antonio Palomino",
"Cardinal-Infante Ferdinand of Austria",
"José Pellicer",
"Fraga",
"Anthony van Dyck",
"painting of the dwarf which is currently at the Prado.",
"Lérida",
"Philip, Duke of Parma",
"Reapers' War",
"Juan Bautista Martínez del Mazo",
"Velázquez",
"Philip V",
"Elisabeth",
"Philip",
"London",
"Aureliano de Beruete",
"Frick Collection",
"Philip IV of Spain",
"Dulwich College"
] |
|
15273_NT | Portrait of Philip IV in Fraga | How does this artwork elucidate its abstract? | The Portrait of Philip IV in Fraga is a mid-length portrait of Philip IV of Spain by Velázquez. It was painted over the course of three sessions in June 1644 in Fraga, where Philip IV had moved the royal court as part of the "Jornada de Aragón" which resulted in the recovery of Lérida from France, which had occupied the city earlier during the Reapers' War. The portrait was gifted by Philip V to his son, the future Philip, Duke of Parma, and the painting left Spain along with him in 1748. In 1911 it was acquired by the Frick Collection, where it is currently on display.
This is almost certainly the same painting which Antonio Palomino said Velázquez painted of the king in a natural manner "in the way he entered Lérida, wielding a military staff, and dressed in crimson plush, with such a beautiful air, so much grace, and majesty, that the painting looked like another living Philip".Much is known of the circumstances surrounding the painting of the portrait due to extant expense accounts, including masonry costs related to the creation of two windows in the throne room where the king was to pose, as well as expenses related to the renovation of the facilities that Velázquez used as a studio, which had been in a ruinous state. At the same time he worked on this painting, he worked on another painting, one of the court dwarf Diego de Acedo, known as El Primo, which was sent to Madrid in June. The painting appears to have been different than the painting of the dwarf which is currently at the Prado.
The painting was finished before the end of June, and was sent to Philip IV's wife Elisabeth, who ordered its public exhibition. José Pellicer in his Avisos históricos noted that on August 16, 1644 that a painting of the king portrayed "in the same way that he is in the field", dressed in red and silver, had been exhibited in the church of San Martín, "under a canopy embroidered with gold, where many people came to see it and copies are being made of it".Jonathan Brown suggests that Velázquez's composition might have been inspired by Anthony van Dyck's, Cardinal-Infante Ferdinand of Austria, which had been in Madrid since 1636.
Among the known copies, the most esteemed is held in the Dulwich College of London, which had previously mistakenly been considered Velasquez's original, before it was attributed to Juan Bautista Martínez del Mazo in 1911 by Aureliano de Beruete, leading to the copy in New York being identified as the original. | [
"Antonio Palomino",
"Cardinal-Infante Ferdinand of Austria",
"José Pellicer",
"Fraga",
"Anthony van Dyck",
"painting of the dwarf which is currently at the Prado.",
"Lérida",
"Philip, Duke of Parma",
"Reapers' War",
"Juan Bautista Martínez del Mazo",
"Velázquez",
"Philip V",
"Elisabeth",
"Philip",
"London",
"Aureliano de Beruete",
"Frick Collection",
"Philip IV of Spain",
"Dulwich College"
] |
|
15274_T | Portrait of Philip IV in Fraga | Focus on Portrait of Philip IV in Fraga and analyze the In popular culture. | The painting (most likely a copy) appears in the 1941 film, The Maltese Falcon. | [
"The Maltese Falcon"
] |
|
15274_NT | Portrait of Philip IV in Fraga | Focus on this artwork and analyze the In popular culture. | The painting (most likely a copy) appears in the 1941 film, The Maltese Falcon. | [
"The Maltese Falcon"
] |
|
15275_T | Iris, Messenger of the Gods | In Iris, Messenger of the Gods, how is the abstract discussed? | Iris, Messenger of the Gods (French: "Iris, messagère des Dieux") (sometimes known as Flying Figure, or Eternal Tunnel) is a bronze sculpture by Auguste Rodin. A plaster model, created between 1891 and 1894, was cast in bronze by Fonderie Rudier at various times from about 1895. Iris is depicted with her right hand clasping her right foot and her naked body posed provocatively with her legs spread wide, displaying her genitalia. | [
"Auguste Rodin",
"Fonderie Rudier"
] |
|
15275_NT | Iris, Messenger of the Gods | In this artwork, how is the abstract discussed? | Iris, Messenger of the Gods (French: "Iris, messagère des Dieux") (sometimes known as Flying Figure, or Eternal Tunnel) is a bronze sculpture by Auguste Rodin. A plaster model, created between 1891 and 1894, was cast in bronze by Fonderie Rudier at various times from about 1895. Iris is depicted with her right hand clasping her right foot and her naked body posed provocatively with her legs spread wide, displaying her genitalia. | [
"Auguste Rodin",
"Fonderie Rudier"
] |
|
15276_T | Iris, Messenger of the Gods | Focus on Iris, Messenger of the Gods and explore the Background. | The sculpture was conceived in 1891 as part of Rodin's second (and ultimately unrealised) proposal to create a monument to Victor Hugo for a site outside the Panthéon in Paris. Rodin received the commission in 1889, and he initially conceived a sculpture of Victor Hugo accompanied by three female figures representing Youth, Maturity and Old Age. Over time, the project evolved, and the parts of the figures became separate sculptures, including Meditation, Tragic Muse, and Iris. The figure that became Iris was intended to personify the "Spirit of the Nineteenth Century", or "Glory", hovering above the head of Hugo.
A simplified version of the Monument to Victor Hugo was later installed at the Palais Royale. | [
"Palais Royale",
"Tragic Muse",
"Panthéon",
"personify",
"Meditation",
"Victor Hugo"
] |
|
15276_NT | Iris, Messenger of the Gods | Focus on this artwork and explore the Background. | The sculpture was conceived in 1891 as part of Rodin's second (and ultimately unrealised) proposal to create a monument to Victor Hugo for a site outside the Panthéon in Paris. Rodin received the commission in 1889, and he initially conceived a sculpture of Victor Hugo accompanied by three female figures representing Youth, Maturity and Old Age. Over time, the project evolved, and the parts of the figures became separate sculptures, including Meditation, Tragic Muse, and Iris. The figure that became Iris was intended to personify the "Spirit of the Nineteenth Century", or "Glory", hovering above the head of Hugo.
A simplified version of the Monument to Victor Hugo was later installed at the Palais Royale. | [
"Palais Royale",
"Tragic Muse",
"Panthéon",
"personify",
"Meditation",
"Victor Hugo"
] |
|
15277_T | Iris, Messenger of the Gods | Focus on Iris, Messenger of the Gods and explain the Description. | The original sculpture depicted the Greek goddess Iris as a woman, with sweeping wings, and legs spread wide. The pose recalls the uncompromising painting L'Origine du monde (1866) by Gustave Courbet (held in a private collection and still little unknown in 1890, but Rodin may have become acquainted with it through Edmond de Goncourt: Courbet's work gained wider exposure after being acquired by the Musée d'Orsay in 1981). It also evokes the athleticism of a gymnast or dancer stretching. The sculpture was probably from life, with the model lying on a bed or perhaps based on a can-can dancer. Indeed, it may be inspired by Rodin's clipping of the Chahut dancer "Grille d'Egout" from an 1891 issue of the Gil Blas magazine.
A small early study of Iris retains the head. The sculpture was altered in 1894, when it was enlarged by Rodin's assistant Henri Lebossé and reoriented vertically, with the left arm and head removed leaving a fragmentary torso similar to that of a damaged statue from Classical antiquity. It was catalogued as Study of a woman with legs apart in November 1894, and then cast in bronze at the Rudier Foundry. A full-size cast held by the Musée Rodin measures 82.7 cm × 69 cm × 63 cm (32.6 in × 27.2 in × 24.8 in).
A cast was exhibited at the Sixth Munich Secession exhibition in 1898, and then, under the title Another Voice, at Rodin's retrospective in a temporary pavilion at the Place de l'Alma during the Exposition Universelle in 1900. The work was initially very controversial due to its unabashed eroticism, so it was retained in Rodin's studio. A cast owned by Edward Perry Warren was donated to the Museum of Fine Arts, Boston, in 1908, but the museum felt unable to exhibit the "unshowable" work, and sold it in 1953. (Warren collected other controversial artworks: he also owned the Warren Cup, and his donation of a stone version of Rodin's The Kiss to the local council in Lewes was returned as being unsuitable for public display.) The Victoria and Albert Museum accepted the artist's donation of an early cast in 1914, cataloguing it as "Crouching Woman". Today, the official copies of the sculpture are kept in museums of Oslo, Zurich, Paris, Washington, Basel, New York, Los Angeles and Adelaide.Iris has been described by the art historian Jane Mayo Roos as "open[ing] her thighs in a pose of candid, aggressive sexuality". The critic Arthur Symons wrote that "All the force of the muscle palpitates in this strenuous flesh, the whole splendour of her sex, unveiled, palpitates in the air, the messenger of the gods, bringing some divine message, pauses in flight, an embodied inspiration". The sculpture has also drawn feminist criticism given Iris' sexually objectifying pose. In particular, the title of the pose suggests that the figure's sexual organ is her means of verbal communication. By removing them and repositioning the legs into their current confrontational pose, Rodin erases any sense of individualism in favor of anonymous carnality. | [
"Rudier Foundry",
"Edmond de Goncourt",
"Henri Lebossé",
"Munich Secession",
"Musée d'Orsay",
"Chahut",
"objectifying",
"Musée Rodin",
"Edward Perry Warren",
"Jane Mayo Roos",
"Gil Blas",
"Crouching Woman",
"L'Origine du monde",
"Arthur Symons",
"Exposition Universelle",
"Gustave Courbet",
"Warren Cup",
"The Kiss",
"Greek goddess Iris",
"Victoria and Albert Museum",
"feminist",
"can-can",
"Place de l'Alma",
"Museum of Fine Arts, Boston",
"Lewes"
] |
|
15277_NT | Iris, Messenger of the Gods | Focus on this artwork and explain the Description. | The original sculpture depicted the Greek goddess Iris as a woman, with sweeping wings, and legs spread wide. The pose recalls the uncompromising painting L'Origine du monde (1866) by Gustave Courbet (held in a private collection and still little unknown in 1890, but Rodin may have become acquainted with it through Edmond de Goncourt: Courbet's work gained wider exposure after being acquired by the Musée d'Orsay in 1981). It also evokes the athleticism of a gymnast or dancer stretching. The sculpture was probably from life, with the model lying on a bed or perhaps based on a can-can dancer. Indeed, it may be inspired by Rodin's clipping of the Chahut dancer "Grille d'Egout" from an 1891 issue of the Gil Blas magazine.
A small early study of Iris retains the head. The sculpture was altered in 1894, when it was enlarged by Rodin's assistant Henri Lebossé and reoriented vertically, with the left arm and head removed leaving a fragmentary torso similar to that of a damaged statue from Classical antiquity. It was catalogued as Study of a woman with legs apart in November 1894, and then cast in bronze at the Rudier Foundry. A full-size cast held by the Musée Rodin measures 82.7 cm × 69 cm × 63 cm (32.6 in × 27.2 in × 24.8 in).
A cast was exhibited at the Sixth Munich Secession exhibition in 1898, and then, under the title Another Voice, at Rodin's retrospective in a temporary pavilion at the Place de l'Alma during the Exposition Universelle in 1900. The work was initially very controversial due to its unabashed eroticism, so it was retained in Rodin's studio. A cast owned by Edward Perry Warren was donated to the Museum of Fine Arts, Boston, in 1908, but the museum felt unable to exhibit the "unshowable" work, and sold it in 1953. (Warren collected other controversial artworks: he also owned the Warren Cup, and his donation of a stone version of Rodin's The Kiss to the local council in Lewes was returned as being unsuitable for public display.) The Victoria and Albert Museum accepted the artist's donation of an early cast in 1914, cataloguing it as "Crouching Woman". Today, the official copies of the sculpture are kept in museums of Oslo, Zurich, Paris, Washington, Basel, New York, Los Angeles and Adelaide.Iris has been described by the art historian Jane Mayo Roos as "open[ing] her thighs in a pose of candid, aggressive sexuality". The critic Arthur Symons wrote that "All the force of the muscle palpitates in this strenuous flesh, the whole splendour of her sex, unveiled, palpitates in the air, the messenger of the gods, bringing some divine message, pauses in flight, an embodied inspiration". The sculpture has also drawn feminist criticism given Iris' sexually objectifying pose. In particular, the title of the pose suggests that the figure's sexual organ is her means of verbal communication. By removing them and repositioning the legs into their current confrontational pose, Rodin erases any sense of individualism in favor of anonymous carnality. | [
"Rudier Foundry",
"Edmond de Goncourt",
"Henri Lebossé",
"Munich Secession",
"Musée d'Orsay",
"Chahut",
"objectifying",
"Musée Rodin",
"Edward Perry Warren",
"Jane Mayo Roos",
"Gil Blas",
"Crouching Woman",
"L'Origine du monde",
"Arthur Symons",
"Exposition Universelle",
"Gustave Courbet",
"Warren Cup",
"The Kiss",
"Greek goddess Iris",
"Victoria and Albert Museum",
"feminist",
"can-can",
"Place de l'Alma",
"Museum of Fine Arts, Boston",
"Lewes"
] |
|
15278_T | Iris, Messenger of the Gods | Explore the Versions of this artwork, Iris, Messenger of the Gods. | Examples of the sculpture exists in a number of smaller casts.
A 82.9 cm (32.6 in) high version, cast by Rudier in 1902-5, one of just seven known castings made during Rodin's lifetime, was sold for £11.57m at Sotheby's in 2016. It was sold from the collection of Sylvester Stallone, who had nicknamed it the "flying beaver". Stallone had acquired it at auction in 2007 for £4.6m, then a record for Rodin. Lucian Freud also owned a copy for many years, which he placed at the end of his bed, making it the first thing he saw in the morning.Ten smaller 41 cm (16 in) high bronze casts were made by the Rudier Foundry for the Musée Rodin between 1945 and 1965. One was sold at Christie's in 2007 for US$880,000, and another at Bonham's in 2014 for US$509,000. A 95.5 cm (37.6 in) high version, cast in 1963, was sold for US$2.89m at Sotheby's in 2016.
A 17.8 cm (7.0 in) version is held by the Museum of Modern Art in New York, and the Metropolitan Museum of Art has a 44.5 cm (17.5 in) version, cast in 1965.
The Musée Rodin had a series of 13 casts of a 53 cm (21 in) high version with the head intact and the stump of a left arm, known as Iris, Study with Head made by the Susse foundry between 1969 and 1972.
The work may have influenced Marcel Duchamp's explicit peephole installation Étant donnés. Some works of Francis Bacon show the influence of this sculpture, including his Lying Figure No. 1 (1959) and Reclining Woman (1961). | [
"Rudier Foundry",
"Reclining Woman",
"Francis Bacon",
"Musée Rodin",
"Susse",
"Sylvester Stallone",
"Christie's",
"Marcel Duchamp",
"Sotheby's",
"Museum of Modern Art",
"Lying Figure No. 1",
"Lucian Freud",
"Bonham's",
"Metropolitan Museum of Art",
"Étant donnés",
"peephole"
] |
|
15278_NT | Iris, Messenger of the Gods | Explore the Versions of this artwork. | Examples of the sculpture exists in a number of smaller casts.
A 82.9 cm (32.6 in) high version, cast by Rudier in 1902-5, one of just seven known castings made during Rodin's lifetime, was sold for £11.57m at Sotheby's in 2016. It was sold from the collection of Sylvester Stallone, who had nicknamed it the "flying beaver". Stallone had acquired it at auction in 2007 for £4.6m, then a record for Rodin. Lucian Freud also owned a copy for many years, which he placed at the end of his bed, making it the first thing he saw in the morning.Ten smaller 41 cm (16 in) high bronze casts were made by the Rudier Foundry for the Musée Rodin between 1945 and 1965. One was sold at Christie's in 2007 for US$880,000, and another at Bonham's in 2014 for US$509,000. A 95.5 cm (37.6 in) high version, cast in 1963, was sold for US$2.89m at Sotheby's in 2016.
A 17.8 cm (7.0 in) version is held by the Museum of Modern Art in New York, and the Metropolitan Museum of Art has a 44.5 cm (17.5 in) version, cast in 1965.
The Musée Rodin had a series of 13 casts of a 53 cm (21 in) high version with the head intact and the stump of a left arm, known as Iris, Study with Head made by the Susse foundry between 1969 and 1972.
The work may have influenced Marcel Duchamp's explicit peephole installation Étant donnés. Some works of Francis Bacon show the influence of this sculpture, including his Lying Figure No. 1 (1959) and Reclining Woman (1961). | [
"Rudier Foundry",
"Reclining Woman",
"Francis Bacon",
"Musée Rodin",
"Susse",
"Sylvester Stallone",
"Christie's",
"Marcel Duchamp",
"Sotheby's",
"Museum of Modern Art",
"Lying Figure No. 1",
"Lucian Freud",
"Bonham's",
"Metropolitan Museum of Art",
"Étant donnés",
"peephole"
] |
|
15279_T | Still Life with a Sketch after Delacroix | Focus on Still Life with a Sketch after Delacroix and discuss the abstract. | Still Life with a Sketch after Delacroix is an oil painting by the French artist Paul Gauguin. The undated work is thought to have been painted during the artist's 1887 stay in Martinique. It was bequeathed to the Strasbourg museum by Raymond Koechlin (of the Koechlin family) in 1931 and is now on display in the Musée d'Art moderne et contemporain. Its inventory number is 55.974.0.662.The painting depicts a still life of exotic fruit and a large glass bottle on a wooden table. On the wall behind hangs an engraving after a sketch by Eugène Delacroix, depicting The Expulsion of Adam and Eve from Paradise. Gauguin's work thus represents the loss of a traditional Paradise and the gain of new one, represented by the generous nature of a far-away island. | [
"still life",
"French",
"Musée d'Art moderne et contemporain",
"Adam and Eve",
"sketch",
"Paul Gauguin",
"Raymond Koechlin",
"Koechlin family",
"engraving",
"Eugène Delacroix",
"Strasbourg",
"oil painting",
"Paradise",
"Martinique"
] |
|
15279_NT | Still Life with a Sketch after Delacroix | Focus on this artwork and discuss the abstract. | Still Life with a Sketch after Delacroix is an oil painting by the French artist Paul Gauguin. The undated work is thought to have been painted during the artist's 1887 stay in Martinique. It was bequeathed to the Strasbourg museum by Raymond Koechlin (of the Koechlin family) in 1931 and is now on display in the Musée d'Art moderne et contemporain. Its inventory number is 55.974.0.662.The painting depicts a still life of exotic fruit and a large glass bottle on a wooden table. On the wall behind hangs an engraving after a sketch by Eugène Delacroix, depicting The Expulsion of Adam and Eve from Paradise. Gauguin's work thus represents the loss of a traditional Paradise and the gain of new one, represented by the generous nature of a far-away island. | [
"still life",
"French",
"Musée d'Art moderne et contemporain",
"Adam and Eve",
"sketch",
"Paul Gauguin",
"Raymond Koechlin",
"Koechlin family",
"engraving",
"Eugène Delacroix",
"Strasbourg",
"oil painting",
"Paradise",
"Martinique"
] |
|
15280_T | Portrait of Ms Ruby May, Standing | How does Portrait of Ms Ruby May, Standing elucidate its abstract? | Portrait of Ms Ruby May, Standing is an oil on canvas painting made in 2012 by the British visual artist Leena McCall, portraying her friend Ruby May. | [
"Leena McCall",
"oil on canvas"
] |
|
15280_NT | Portrait of Ms Ruby May, Standing | How does this artwork elucidate its abstract? | Portrait of Ms Ruby May, Standing is an oil on canvas painting made in 2012 by the British visual artist Leena McCall, portraying her friend Ruby May. | [
"Leena McCall",
"oil on canvas"
] |
|
15281_T | Portrait of Ms Ruby May, Standing | Focus on Portrait of Ms Ruby May, Standing and analyze the Description. | The painting depicts May, a tattooed black-haired woman, smoking a pipe. May is coolly scrutinizing the viewer, her other hand on her hip, with her trousers unbuttoned such that her pubic hair is visible. McCall's intention in painting May was to explore "how women choose to express their sexual identity beyond the male gaze". | [
"pubic hair",
"male gaze"
] |
|
15281_NT | Portrait of Ms Ruby May, Standing | Focus on this artwork and analyze the Description. | The painting depicts May, a tattooed black-haired woman, smoking a pipe. May is coolly scrutinizing the viewer, her other hand on her hip, with her trousers unbuttoned such that her pubic hair is visible. McCall's intention in painting May was to explore "how women choose to express their sexual identity beyond the male gaze". | [
"pubic hair",
"male gaze"
] |
|
15282_T | The Red Ceiling | In The Red Ceiling, how is the abstract discussed? | The Red Ceiling is a photograph by William Eggleston. Its formal title is Greenwood, Mississippi. Eggleston took the photo at the home of his friend Dr. Thomas Chester Boring, Jr., at 508 Macarthur St. in Greenwood, Mississippi. | [
"William Eggleston"
] |
|
15282_NT | The Red Ceiling | In this artwork, how is the abstract discussed? | The Red Ceiling is a photograph by William Eggleston. Its formal title is Greenwood, Mississippi. Eggleston took the photo at the home of his friend Dr. Thomas Chester Boring, Jr., at 508 Macarthur St. in Greenwood, Mississippi. | [
"William Eggleston"
] |
|
15283_T | The Red Ceiling | Focus on The Red Ceiling and explore the Process. | The photograph is a dye transfer print measuring 13+7⁄8 by 21+11⁄16 inches (35.2 by 55.1 cm). Eggleston considers it among his most challenging and powerful works, "so powerful that, in fact, I've never seen it reproduced on the page to my satisfaction". | [] |
|
15283_NT | The Red Ceiling | Focus on this artwork and explore the Process. | The photograph is a dye transfer print measuring 13+7⁄8 by 21+11⁄16 inches (35.2 by 55.1 cm). Eggleston considers it among his most challenging and powerful works, "so powerful that, in fact, I've never seen it reproduced on the page to my satisfaction". | [] |
|
15284_T | The Red Ceiling | Focus on The Red Ceiling and explain the Reception and legacy. | A copy of the photograph is held by the J. Paul Getty Museum, but is currently not on view at the Getty Center. Another copy is held by the Museum of Modern Art.It has been described as Eggleston's "most famous photograph," with "some indefinable sense of menace". It is widely recognised as the album cover for the record Radio City (1974) by the Memphis band Big Star. | [
"Big Star",
"Getty Center",
"J. Paul Getty Museum",
"Radio City",
"Museum of Modern Art"
] |
|
15284_NT | The Red Ceiling | Focus on this artwork and explain the Reception and legacy. | A copy of the photograph is held by the J. Paul Getty Museum, but is currently not on view at the Getty Center. Another copy is held by the Museum of Modern Art.It has been described as Eggleston's "most famous photograph," with "some indefinable sense of menace". It is widely recognised as the album cover for the record Radio City (1974) by the Memphis band Big Star. | [
"Big Star",
"Getty Center",
"J. Paul Getty Museum",
"Radio City",
"Museum of Modern Art"
] |
|
15285_T | The Birth of Venus (Gérôme) | Explore the abstract of this artwork, The Birth of Venus (Gérôme). | The Birth of Venus or Venus Rising (The Star) (French: La Naissance de Vénus; Vénus — l'étoile) is an 1890 painting by Jean-Léon Gérôme. It depicts the mythological birth of Venus from the sea.
Sold at auction in 1991, it is currently in a private collection. | [
"Venus",
"Jean-Léon Gérôme"
] |
|
15285_NT | The Birth of Venus (Gérôme) | Explore the abstract of this artwork. | The Birth of Venus or Venus Rising (The Star) (French: La Naissance de Vénus; Vénus — l'étoile) is an 1890 painting by Jean-Léon Gérôme. It depicts the mythological birth of Venus from the sea.
Sold at auction in 1991, it is currently in a private collection. | [
"Venus",
"Jean-Léon Gérôme"
] |
|
15286_T | The Birth of Venus (Gérôme) | Focus on The Birth of Venus (Gérôme) and discuss the Description. | Jean-Léon Gérôme was an exponent of academism, the nineteenth-century French art based on the academies of Fine Arts. During his life he was greatly inspired by Greco-Roman mythology and also specialized in the female artistic nude. The work depicts the birth of Venus, the goddess of love in Roman mythology. The goddess emerges from the sea, on a small wave, surrounded by dozens of putti, one of which holds a golden apple in one hand that recalls the apple of contention, which in the myth of the judgment of Paris was given to the goddess of love. Unlike many other works on the same artistic theme, which actually depict the arrival of the goddess on the island of Cyprus, this painting portrays the moment of the birth of the goddess. In the background an island stands out on the horizon. | [
"Venus",
"Jean-Léon Gérôme"
] |
|
15286_NT | The Birth of Venus (Gérôme) | Focus on this artwork and discuss the Description. | Jean-Léon Gérôme was an exponent of academism, the nineteenth-century French art based on the academies of Fine Arts. During his life he was greatly inspired by Greco-Roman mythology and also specialized in the female artistic nude. The work depicts the birth of Venus, the goddess of love in Roman mythology. The goddess emerges from the sea, on a small wave, surrounded by dozens of putti, one of which holds a golden apple in one hand that recalls the apple of contention, which in the myth of the judgment of Paris was given to the goddess of love. Unlike many other works on the same artistic theme, which actually depict the arrival of the goddess on the island of Cyprus, this painting portrays the moment of the birth of the goddess. In the background an island stands out on the horizon. | [
"Venus",
"Jean-Léon Gérôme"
] |
|
15287_T | Simón Bolívar (Tadolini) | How does Simón Bolívar (Tadolini) elucidate its Description? | Adamo Tadolini's sculpture depicts Simón Bolívar atop his rearing horse. Bolívar is dressed in military attire, including a decorated coat and a flowing cape. Other accessories include tall boots, epaulets and a sash. He has a sheathed sword over his left thigh, and he holds his hat on the right side of his body.Tadolini was the pupil of the sculptor Canova, and is usually seen as working in the same neoclassical tradition.
It has been suggested that the Bolívar statue was inspired by Jacques Louis David's famous painting of Napoleon Crossing the Alps. One problem Tadolini had to face, unlike the painter, was of statics: representing the horse with raised legs could cause stability problems due to the excessive weight of the bronze being supported by two legs and a tail. The Bronze Horseman by Étienne Maurice Falconet, which overcomes a similar problem, can also be seen as a forerunner of Tadolini's statue. | [
"Étienne Maurice Falconet",
"Bronze Horseman",
"Napoleon Crossing the Alps",
"right",
"Simón Bolívar",
"Jacques Louis David",
"neoclassical",
"Canova",
"statics",
"Bronze",
"Adamo Tadolini"
] |
|
15287_NT | Simón Bolívar (Tadolini) | How does this artwork elucidate its Description? | Adamo Tadolini's sculpture depicts Simón Bolívar atop his rearing horse. Bolívar is dressed in military attire, including a decorated coat and a flowing cape. Other accessories include tall boots, epaulets and a sash. He has a sheathed sword over his left thigh, and he holds his hat on the right side of his body.Tadolini was the pupil of the sculptor Canova, and is usually seen as working in the same neoclassical tradition.
It has been suggested that the Bolívar statue was inspired by Jacques Louis David's famous painting of Napoleon Crossing the Alps. One problem Tadolini had to face, unlike the painter, was of statics: representing the horse with raised legs could cause stability problems due to the excessive weight of the bronze being supported by two legs and a tail. The Bronze Horseman by Étienne Maurice Falconet, which overcomes a similar problem, can also be seen as a forerunner of Tadolini's statue. | [
"Étienne Maurice Falconet",
"Bronze Horseman",
"Napoleon Crossing the Alps",
"right",
"Simón Bolívar",
"Jacques Louis David",
"neoclassical",
"Canova",
"statics",
"Bronze",
"Adamo Tadolini"
] |
|
15288_T | Simón Bolívar (Tadolini) | Describe the characteristics of the Lima in Simón Bolívar (Tadolini)'s Locations. | The statue was sculpted in Rome and cast in Munich.
The pedestal was completed in marble in Rome. | [
"Lima"
] |
|
15288_NT | Simón Bolívar (Tadolini) | Describe the characteristics of the Lima in this artwork's Locations. | The statue was sculpted in Rome and cast in Munich.
The pedestal was completed in marble in Rome. | [
"Lima"
] |
|
15289_T | Simón Bolívar (Tadolini) | In the context of Simón Bolívar (Tadolini), explore the Caracas of the Locations. | On 7 November 1874, the statue was inaugurated in the center of the Plaza Bolívar with the ringing of bells and a 21 gun salute.The Venezuelan president at the time, Antonio Guzmán Blanco, was an admirer of Bolívar. Among other measures he purchased Bolívar's birthplace (near the location of the statue) and adopted the bolívar, defined on the silver standard, as the country's currency. | [
"Caracas",
"Plaza Bolívar",
"Bolívar's birthplace",
"Antonio Guzmán Blanco",
"bolívar"
] |
|
15289_NT | Simón Bolívar (Tadolini) | In the context of this artwork, explore the Caracas of the Locations. | On 7 November 1874, the statue was inaugurated in the center of the Plaza Bolívar with the ringing of bells and a 21 gun salute.The Venezuelan president at the time, Antonio Guzmán Blanco, was an admirer of Bolívar. Among other measures he purchased Bolívar's birthplace (near the location of the statue) and adopted the bolívar, defined on the silver standard, as the country's currency. | [
"Caracas",
"Plaza Bolívar",
"Bolívar's birthplace",
"Antonio Guzmán Blanco",
"bolívar"
] |
|
15290_T | Simón Bolívar (Tadolini) | In the context of Simón Bolívar (Tadolini), explain the San Francisco of the Locations. | The San Francisco copy was engineered by Miriam Gandica Mora and cast by Victor Hugo Barrenchea-Villegas. It was dedicated on 6 December 1984. Located at United Nations Plaza at the intersection of Hyde Street and Fulton Street, the sculpture is administered by the City and County of San Francisco and the San Francisco Arts Commission. The statue was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! program in 1992. | [
"San Francisco Arts Commission",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"United Nations Plaza"
] |
|
15290_NT | Simón Bolívar (Tadolini) | In the context of this artwork, explain the San Francisco of the Locations. | The San Francisco copy was engineered by Miriam Gandica Mora and cast by Victor Hugo Barrenchea-Villegas. It was dedicated on 6 December 1984. Located at United Nations Plaza at the intersection of Hyde Street and Fulton Street, the sculpture is administered by the City and County of San Francisco and the San Francisco Arts Commission. The statue was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! program in 1992. | [
"San Francisco Arts Commission",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"United Nations Plaza"
] |
|
15291_T | Chabimura | Explore the abstract of this artwork, Chabimura. | Chabimura also known as Chakwrakma or Chakrakma is famous for its panels of rock carving on steep mountain wall on the bank of Gomati river in Indian state Tripura. There are huge carved images of Shiva, Vishnu, Kartika, Mahisasura Mardini Durga and other Gods and Goddesses.It is situated on the bank of Gomati river at Haakwchak or Haakchak, Amarpur subdivision under Gomati district, 82 km away from main city and capital Agartala, Tripura, India, 30 km away from Udaipur and 7.5 km away from Amarpur. | [
"Shiva",
"India",
"Gomati district",
"Durga",
"Agartala",
"Gomati river",
"Amarpur",
"Udaipur",
"Tripura",
"Kartika",
"Vishnu"
] |
|
15291_NT | Chabimura | Explore the abstract of this artwork. | Chabimura also known as Chakwrakma or Chakrakma is famous for its panels of rock carving on steep mountain wall on the bank of Gomati river in Indian state Tripura. There are huge carved images of Shiva, Vishnu, Kartika, Mahisasura Mardini Durga and other Gods and Goddesses.It is situated on the bank of Gomati river at Haakwchak or Haakchak, Amarpur subdivision under Gomati district, 82 km away from main city and capital Agartala, Tripura, India, 30 km away from Udaipur and 7.5 km away from Amarpur. | [
"Shiva",
"India",
"Gomati district",
"Durga",
"Agartala",
"Gomati river",
"Amarpur",
"Udaipur",
"Tripura",
"Kartika",
"Vishnu"
] |
|
15292_T | Chabimura | Focus on Chabimura and discuss the Durga in Chabimura. | The biggest idol of Maa Durga in rock carvings is about 20 feet high. The carvings images date back to 15-16th centuries.Beautiful images are curved with a lot of dexterity on the rocky faces of Devtamura which is steep at 90 degrees. The hill ranges are covered with thick jungles and one can reach this abode of gods only after trekking through these jungles. | [
"Durga",
"Devtamura"
] |
|
15292_NT | Chabimura | Focus on this artwork and discuss the Durga in Chabimura. | The biggest idol of Maa Durga in rock carvings is about 20 feet high. The carvings images date back to 15-16th centuries.Beautiful images are curved with a lot of dexterity on the rocky faces of Devtamura which is steep at 90 degrees. The hill ranges are covered with thick jungles and one can reach this abode of gods only after trekking through these jungles. | [
"Durga",
"Devtamura"
] |
|
15293_T | Public Sale (painting) | How does Public Sale (painting) elucidate its abstract? | Public Sale is a 1943 painting by the American artist Andrew Wyeth. It shows two men by a car and in the distance a crowd of people outside a farm building. The event depicted is the forced auction of a farm after the farmer's wife had died.The painting belongs to the Philadelphia Museum of Art since 2000. As of 2016, it is currently not on view. | [
"Philadelphia",
"Andrew Wyeth",
"Philadelphia Museum of Art"
] |
|
15293_NT | Public Sale (painting) | How does this artwork elucidate its abstract? | Public Sale is a 1943 painting by the American artist Andrew Wyeth. It shows two men by a car and in the distance a crowd of people outside a farm building. The event depicted is the forced auction of a farm after the farmer's wife had died.The painting belongs to the Philadelphia Museum of Art since 2000. As of 2016, it is currently not on view. | [
"Philadelphia",
"Andrew Wyeth",
"Philadelphia Museum of Art"
] |
|
15294_T | Public Sale (painting) | Focus on Public Sale (painting) and analyze the Reception. | Ken Johnson of The New York Times singled the painting out as unusual in Wyeth's oeuvre because it "evinces social consciousness", something that otherwise is absent from the artist's works and makes him different from his contemporary Norman Rockwell. Johnson, reviewing a Wyeth exhibition in 2006, likened Public Sale to "an understated Thomas Hart Benton painting". | [
"Thomas Hart Benton",
"Ken Johnson",
"The New York Times",
"Norman Rockwell"
] |
|
15294_NT | Public Sale (painting) | Focus on this artwork and analyze the Reception. | Ken Johnson of The New York Times singled the painting out as unusual in Wyeth's oeuvre because it "evinces social consciousness", something that otherwise is absent from the artist's works and makes him different from his contemporary Norman Rockwell. Johnson, reviewing a Wyeth exhibition in 2006, likened Public Sale to "an understated Thomas Hart Benton painting". | [
"Thomas Hart Benton",
"Ken Johnson",
"The New York Times",
"Norman Rockwell"
] |
|
15295_T | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | In A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano, how is the abstract discussed? | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano (Catalan: Un farmacèutic aixecant amb extrema precaució la cutícula d'un piano de cua) (Spanish: Farmacéutico levantando con suma precaución la cutícula de un piano de cola) is a 1936 oil painting by artist Salvador Dalí. The painting is an example of Dalí's distinctive, avant-garde brand of surrealism as well as a curious example of Dalí's mysterious relationship with Judaism. | [
"Judaism",
"Spanish",
"Salvador Dalí",
"surrealism",
"oil painting",
"Catalan"
] |
|
15295_NT | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | In this artwork, how is the abstract discussed? | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano (Catalan: Un farmacèutic aixecant amb extrema precaució la cutícula d'un piano de cua) (Spanish: Farmacéutico levantando con suma precaución la cutícula de un piano de cola) is a 1936 oil painting by artist Salvador Dalí. The painting is an example of Dalí's distinctive, avant-garde brand of surrealism as well as a curious example of Dalí's mysterious relationship with Judaism. | [
"Judaism",
"Spanish",
"Salvador Dalí",
"surrealism",
"oil painting",
"Catalan"
] |
|
15296_T | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | Focus on A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano and explore the Description. | The painting is set on a barren, mute landscape with a mostly monochromatic color scheme. To the left, the painting's titular character, the Chemist, has one leg on a rock and is lifting the edge of a grand piano which blends into the landscape. The instrument appears to have the consistency of a piece of cloth as if it has melted into the ground, no longer a solid object; this a quintessentially surrealist technique which appears prominently in many of Dalí's works, including The Persistence of Memory.
The painting was originally titled, Instantaneous presence of Louis II of Bavaria, Salvador Dalí, Lenin, and Wagner on the beach at Rosas, which sheds light on the identities of the characters present in the painting; the original titular figures were described by Dalí as "all the real and fantastic personages of the modern tragedy" – although many of them are admittedly difficult to distinguish with certainty in the painting's current form. In the center of the painting sits German composer Richard Wagner in his distinctive beret-and-robe regalia. The ashen-faced man in the forefront depicted laying down and reading a newspaper bears a resemblance to Vladimir Lenin, a possible nod to surrealism's Communist underpinnings, and the Chemist is Friedrich Nietzsche, another intellectual Dalí admired.Just beside Wagner stands a small boy carrying a hoop and stick, accoutrements used in a children's game known as hoop rolling, who is looking across the landscape at a woman garbed in a white dress out in the distance. And in the far right of the painting stands an African woman with pink, flowery hair wearing an orange dress staring in the direction of the Chemist.
The largely monotone color scheme juxtaposes the vibrant, almost holy, bright aura of yellow light surrounding Wagner, as well as a bright blue patch of sky in the upper right-hand corner visible through the clouds. | [
"Communist",
"Vladimir Lenin",
"hoop rolling",
"Salvador Dalí",
"surrealism",
"The Persistence of Memory",
"Friedrich Nietzsche",
"Richard Wagner"
] |
|
15296_NT | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | Focus on this artwork and explore the Description. | The painting is set on a barren, mute landscape with a mostly monochromatic color scheme. To the left, the painting's titular character, the Chemist, has one leg on a rock and is lifting the edge of a grand piano which blends into the landscape. The instrument appears to have the consistency of a piece of cloth as if it has melted into the ground, no longer a solid object; this a quintessentially surrealist technique which appears prominently in many of Dalí's works, including The Persistence of Memory.
The painting was originally titled, Instantaneous presence of Louis II of Bavaria, Salvador Dalí, Lenin, and Wagner on the beach at Rosas, which sheds light on the identities of the characters present in the painting; the original titular figures were described by Dalí as "all the real and fantastic personages of the modern tragedy" – although many of them are admittedly difficult to distinguish with certainty in the painting's current form. In the center of the painting sits German composer Richard Wagner in his distinctive beret-and-robe regalia. The ashen-faced man in the forefront depicted laying down and reading a newspaper bears a resemblance to Vladimir Lenin, a possible nod to surrealism's Communist underpinnings, and the Chemist is Friedrich Nietzsche, another intellectual Dalí admired.Just beside Wagner stands a small boy carrying a hoop and stick, accoutrements used in a children's game known as hoop rolling, who is looking across the landscape at a woman garbed in a white dress out in the distance. And in the far right of the painting stands an African woman with pink, flowery hair wearing an orange dress staring in the direction of the Chemist.
The largely monotone color scheme juxtaposes the vibrant, almost holy, bright aura of yellow light surrounding Wagner, as well as a bright blue patch of sky in the upper right-hand corner visible through the clouds. | [
"Communist",
"Vladimir Lenin",
"hoop rolling",
"Salvador Dalí",
"surrealism",
"The Persistence of Memory",
"Friedrich Nietzsche",
"Richard Wagner"
] |
|
15297_T | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | Focus on A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano and explain the Provenance. | The painting was first sold by Julien Levy at an exhibition of Salvador Dalí's work in 1936. The Julien Levy Gallery was a prominent venue for Surrealists and avant-garde artists in the 1930s and 1940s. Levy sold the painting to Mr. Thomas Hart Fisher and Mrs. Ruth Page Fisher, who owned the painting until at least 1969. By 1985, the painting was in the possession of Mr. and Mrs. Joseph R. Shapiro. Mr. Shapiro was the founding president of the Museum of Contemporary Art in Chicago and an active trustee at the Art Institute of Chicago. The Art Institute of Chicago acquired the painting as a gift from Shapiro in 1996. | [
"Art Institute of Chicago",
"Julien Levy",
"Museum of Contemporary Art in Chicago",
"Salvador Dalí",
"Chicago"
] |
|
15297_NT | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | Focus on this artwork and explain the Provenance. | The painting was first sold by Julien Levy at an exhibition of Salvador Dalí's work in 1936. The Julien Levy Gallery was a prominent venue for Surrealists and avant-garde artists in the 1930s and 1940s. Levy sold the painting to Mr. Thomas Hart Fisher and Mrs. Ruth Page Fisher, who owned the painting until at least 1969. By 1985, the painting was in the possession of Mr. and Mrs. Joseph R. Shapiro. Mr. Shapiro was the founding president of the Museum of Contemporary Art in Chicago and an active trustee at the Art Institute of Chicago. The Art Institute of Chicago acquired the painting as a gift from Shapiro in 1996. | [
"Art Institute of Chicago",
"Julien Levy",
"Museum of Contemporary Art in Chicago",
"Salvador Dalí",
"Chicago"
] |
|
15298_T | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | In the context of A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano, discuss the Dalí's Admiration for Wagner of the Dalí, Wagner, and Judaism. | Wagner was Dalí's favorite composer, and the painters connection to Wagner was personal and deeply rooted. As a child, Dalí would listen as his father sat by the family phonograph listening to Lohengrin – while Dalí's uncle, Anselm Domènech, was active in the Barcelona Wagner Association. In adulthood the infatuation continued, and even today a dozen or so recordings of Wagner's operas can be seen at the Dalí Castle in Púbol, as well as an eight-track tape of Wagner's Greatest Hits; moreover, the castle garden sports an ornate fountain inlayed with dozens of small busts of the composer he so admired. One of Dalí's especially beloved tracks, an old scratched record of Tristan und Isolde, played constantly, and was playing on the day Dalí died in 1989. | [
"Tristan und Isolde",
"Lohengrin",
"Dalí Castle in Púbol"
] |
|
15298_NT | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | In the context of this artwork, discuss the Dalí's Admiration for Wagner of the Dalí, Wagner, and Judaism. | Wagner was Dalí's favorite composer, and the painters connection to Wagner was personal and deeply rooted. As a child, Dalí would listen as his father sat by the family phonograph listening to Lohengrin – while Dalí's uncle, Anselm Domènech, was active in the Barcelona Wagner Association. In adulthood the infatuation continued, and even today a dozen or so recordings of Wagner's operas can be seen at the Dalí Castle in Púbol, as well as an eight-track tape of Wagner's Greatest Hits; moreover, the castle garden sports an ornate fountain inlayed with dozens of small busts of the composer he so admired. One of Dalí's especially beloved tracks, an old scratched record of Tristan und Isolde, played constantly, and was playing on the day Dalí died in 1989. | [
"Tristan und Isolde",
"Lohengrin",
"Dalí Castle in Púbol"
] |
|
15299_T | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | In A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano, how is the Wagner's Antisemitism and Dalí's Complicated Relationship with Judaism of the Dalí, Wagner, and Judaism elucidated? | Even prior to Hitler's rise to power, Wagner was a well-known racist and antisemite. As German author Jens Malte Fischer once quipped, "If you didn't know in the 1870s and 1880s that Wagner was a staunch anti-Semite, then you must have been pretty much deaf and blind."Dalí's perennial obsession with Wagner – in addition to explicit Hitlerian iconography in some of his later works, such as in The Enigma of Hitler – led many to believe that Dalí himself harbored antisemitic views or had fascist sympathies. In addition to his love of Wagner and several fascist allusions in his paintings, Dalí publicly revealed several of his mystical, homoerotic fever dreams about Hitler: just before World War II, Dalí mused that “I often dreamed of Hitler as a woman” and later in his autobiography confessed that "Hitler turned me on in the highest." Dalí's fellow Surrealists, a group composed almost entirely of politically active Communists and anti-fascists, were not amused with these antics. Finally, one of their prominent members, Andre Breton, accused Dali of glorifying Hitler, and promptly expelled him from the group.This explicit fascist iconography and bizarre dalliance with Hitler, however, seemingly juxtaposes Dalí's relationship with Judaism in his later years. Dalí produced a surprising, yet remarkable corpus of Jewish works that differs widely from his other work. In 1968, Dalí produced a series of 25 lithographs entitled Aliyah, the Rebirth of Israel to celebrate the 20th anniversary of Israel's independence – Aliyah is a Hebrew word that literally means "migration to the land of Israel."
David R. Blumenthal, Professor of Judaic Studies at Emory University, described the paintings in the following way: In spite of his having no inner connection with Zionism, Israel, and Judaism, Dali captured the spirit of the rebirth of the Jewish people in its homeland with remarkable focus (and, of course, remarkable skill). Thus, he captures the dryness of the land before the creation of the National Water Carrier and the richness of the land after its inauguration. Thus, too, he captures the victory and also the heavy price that was paid to give re-birth to the Jewish people in its homeland. He also has strong echoes of the Holocaust and Jewish religious symbols in this set of paintings and lithographs.It is widely circulated that Dalí's mother's family, the Domènech of Barcelona, had Jewish roots, but scholars agree this is not true. However, despite Dalí's lack of a personal connection to Judaism, it is clear that his work succeeded in capturing a 'Jewish essence' that resonated strongly with his new audience.
Dalí would go on to produce many more Jewish works. In 1971, Dalí created Song of Songs of Solomon, a portfolio of 12 drypoint etchings plus color and gold dust. That same year, Dalí produced another series of 13 vibrant etchings with color stencil in his work The Twelve Tribes of Israel – then again in 1975 with Moses and Monotheism.Dalí's true views regarding Judaism and antisemitism remain the subject of the debate. Some believe that Dalí's later work represents a transformative supernova in his relationship with "the Jew" and Judaism, revealing, in a way, a spiritual connection or at the very least a profound empathy for the Jewish people. Conversely, some maintain his Jewish paintings represent a deceitful attempt to tap into a new, wealthy market for his artwork – constituting an elaborate ploy to exploit the Jews for commercial benefit.Nonetheless, these artworks, and particularly A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano, represent, perhaps, that early conflict between Dalí's unconscious fascist sympathies, manifested in his deification of Wagner, and his profound Jewish empathy, exemplified by his later work and the abiding pluralism of the eccentric and bizarre surrealist. | [
"Antisemitism",
"anti-fascists",
"Judaism",
"Communist",
"Israel",
"Hitler's rise to power",
"Andre Breton",
"Emory University",
"antisemite",
"The Enigma of Hitler",
"other work"
] |
|
15299_NT | A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano | In this artwork, how is the Wagner's Antisemitism and Dalí's Complicated Relationship with Judaism of the Dalí, Wagner, and Judaism elucidated? | Even prior to Hitler's rise to power, Wagner was a well-known racist and antisemite. As German author Jens Malte Fischer once quipped, "If you didn't know in the 1870s and 1880s that Wagner was a staunch anti-Semite, then you must have been pretty much deaf and blind."Dalí's perennial obsession with Wagner – in addition to explicit Hitlerian iconography in some of his later works, such as in The Enigma of Hitler – led many to believe that Dalí himself harbored antisemitic views or had fascist sympathies. In addition to his love of Wagner and several fascist allusions in his paintings, Dalí publicly revealed several of his mystical, homoerotic fever dreams about Hitler: just before World War II, Dalí mused that “I often dreamed of Hitler as a woman” and later in his autobiography confessed that "Hitler turned me on in the highest." Dalí's fellow Surrealists, a group composed almost entirely of politically active Communists and anti-fascists, were not amused with these antics. Finally, one of their prominent members, Andre Breton, accused Dali of glorifying Hitler, and promptly expelled him from the group.This explicit fascist iconography and bizarre dalliance with Hitler, however, seemingly juxtaposes Dalí's relationship with Judaism in his later years. Dalí produced a surprising, yet remarkable corpus of Jewish works that differs widely from his other work. In 1968, Dalí produced a series of 25 lithographs entitled Aliyah, the Rebirth of Israel to celebrate the 20th anniversary of Israel's independence – Aliyah is a Hebrew word that literally means "migration to the land of Israel."
David R. Blumenthal, Professor of Judaic Studies at Emory University, described the paintings in the following way: In spite of his having no inner connection with Zionism, Israel, and Judaism, Dali captured the spirit of the rebirth of the Jewish people in its homeland with remarkable focus (and, of course, remarkable skill). Thus, he captures the dryness of the land before the creation of the National Water Carrier and the richness of the land after its inauguration. Thus, too, he captures the victory and also the heavy price that was paid to give re-birth to the Jewish people in its homeland. He also has strong echoes of the Holocaust and Jewish religious symbols in this set of paintings and lithographs.It is widely circulated that Dalí's mother's family, the Domènech of Barcelona, had Jewish roots, but scholars agree this is not true. However, despite Dalí's lack of a personal connection to Judaism, it is clear that his work succeeded in capturing a 'Jewish essence' that resonated strongly with his new audience.
Dalí would go on to produce many more Jewish works. In 1971, Dalí created Song of Songs of Solomon, a portfolio of 12 drypoint etchings plus color and gold dust. That same year, Dalí produced another series of 13 vibrant etchings with color stencil in his work The Twelve Tribes of Israel – then again in 1975 with Moses and Monotheism.Dalí's true views regarding Judaism and antisemitism remain the subject of the debate. Some believe that Dalí's later work represents a transformative supernova in his relationship with "the Jew" and Judaism, revealing, in a way, a spiritual connection or at the very least a profound empathy for the Jewish people. Conversely, some maintain his Jewish paintings represent a deceitful attempt to tap into a new, wealthy market for his artwork – constituting an elaborate ploy to exploit the Jews for commercial benefit.Nonetheless, these artworks, and particularly A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano, represent, perhaps, that early conflict between Dalí's unconscious fascist sympathies, manifested in his deification of Wagner, and his profound Jewish empathy, exemplified by his later work and the abiding pluralism of the eccentric and bizarre surrealist. | [
"Antisemitism",
"anti-fascists",
"Judaism",
"Communist",
"Israel",
"Hitler's rise to power",
"Andre Breton",
"Emory University",
"antisemite",
"The Enigma of Hitler",
"other work"
] |
|
15300_T | Crucifixion with Pietà (Lotto) | Focus on Crucifixion with Pietà (Lotto) and analyze the abstract. | The Crucifixion with Pietà or Crucifixion (Italian: Crocifissione) is a painting by the Italian Renaissance painter Lorenzo Lotto, executed in 1529–1534 and housed in the church of Santa Maria della Pietà in Telusiano, Monte San Giusto, province of Macerata, region of Marche, Italy. | [
"Lorenzo Lotto",
"Lotto",
"Santa Maria della Pietà in Telusiano, Monte San Giusto"
] |
|
15300_NT | Crucifixion with Pietà (Lotto) | Focus on this artwork and analyze the abstract. | The Crucifixion with Pietà or Crucifixion (Italian: Crocifissione) is a painting by the Italian Renaissance painter Lorenzo Lotto, executed in 1529–1534 and housed in the church of Santa Maria della Pietà in Telusiano, Monte San Giusto, province of Macerata, region of Marche, Italy. | [
"Lorenzo Lotto",
"Lotto",
"Santa Maria della Pietà in Telusiano, Monte San Giusto"
] |
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