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15301_T | Crucifixion with Pietà (Lotto) | In Crucifixion with Pietà (Lotto), how is the History discussed? | The work was commissioned by Bishop Bonafede for the church, painted mainly in Venice, and placed in situ in the present frame circa 1534. Lotto was paid 100 gold florins and a quantity of olive oil. The signature on the painting was not discovered until 1831.The scene depicts three levels:Christ and the two robbers are crucified against a darkening sky.
A disorganized rabble of soldiers, some on horseback, mill below the crosses, with multiple askance spears. It is claimed that the central figure facing the viewer at the base of Christ's cross is a self-portrait of Lotto himself.
The lowest scene depicts the Pietà, with the Virgin Mary fainting into the arms of St John, while an wrought Mary Magdalen in a blue dress embraces the scene. In the corner is the kneeling donor Bishop, who is being exposed the scene by an angel. | [
"Lotto"
] |
|
15301_NT | Crucifixion with Pietà (Lotto) | In this artwork, how is the History discussed? | The work was commissioned by Bishop Bonafede for the church, painted mainly in Venice, and placed in situ in the present frame circa 1534. Lotto was paid 100 gold florins and a quantity of olive oil. The signature on the painting was not discovered until 1831.The scene depicts three levels:Christ and the two robbers are crucified against a darkening sky.
A disorganized rabble of soldiers, some on horseback, mill below the crosses, with multiple askance spears. It is claimed that the central figure facing the viewer at the base of Christ's cross is a self-portrait of Lotto himself.
The lowest scene depicts the Pietà, with the Virgin Mary fainting into the arms of St John, while an wrought Mary Magdalen in a blue dress embraces the scene. In the corner is the kneeling donor Bishop, who is being exposed the scene by an angel. | [
"Lotto"
] |
|
15302_T | Bust of Edwin B. Hay | Focus on Bust of Edwin B. Hay and explore the abstract. | Edwin B. Hay is a public artwork by American artist Vinnie Ream, located at Rock Creek Cemetery in Washington, D.C., United States. "Edwin B. Hay" was surveyed as part of the Smithsonian's Save Outdoor Sculpture! program in 1993. It serves as the gravesite for the Hay family. | [
"Smithsonian",
"Washington, D.C.",
"Vinnie Ream",
"Smithsonian's",
"Rock Creek Cemetery",
"Save Outdoor Sculpture!",
"United States"
] |
|
15302_NT | Bust of Edwin B. Hay | Focus on this artwork and explore the abstract. | Edwin B. Hay is a public artwork by American artist Vinnie Ream, located at Rock Creek Cemetery in Washington, D.C., United States. "Edwin B. Hay" was surveyed as part of the Smithsonian's Save Outdoor Sculpture! program in 1993. It serves as the gravesite for the Hay family. | [
"Smithsonian",
"Washington, D.C.",
"Vinnie Ream",
"Smithsonian's",
"Rock Creek Cemetery",
"Save Outdoor Sculpture!",
"United States"
] |
|
15303_T | Bismarck Memorial | Focus on Bismarck Memorial and explain the abstract. | The Bismarck Memorial (German: Bismarck-Nationaldenkmal) is a prominent memorial statue in the Tiergarten in Berlin dedicated to Prince Otto von Bismarck, Minister President of the Kingdom of Prussia and the first Chancellor of the German Empire. It was sculpted by Reinhold Begas. It is one of 250 memorials to Bismarck worldwide.
This memorial in Berlin portrays Bismarck in his ceremonial garb as Chancellor standing above statues of:Atlas, showing Germany's world power status at the end of the 19th century;
Siegfried, forging a sword to show Germany's strong industrial and military might;
Germania pinning underfoot a panther, symbolizing the suppression of discord and rebellion;
a sibyl reclining on a sphinx and reading the book of history.The statue, along with the famous Berlin victory column, were once located in front of the Reichstag building before they were moved in 1938 by Adolf Hitler in his project to recast Berlin as Welthauptstadt Germania. The statue weathered a marked amount of shrapnel damage during World War II, but has survived largely intact to the present day. In fact, the move probably saved the monument from total destruction, as the old garden in front of the Reichstag was obliterated in the war. | [
"Adolf Hitler",
"Tiergarten",
"statue",
"Berlin",
"Siegfried",
"Reichstag",
"Kingdom of Prussia",
"Germania",
"Chancellor",
"Minister President",
"Berlin victory column",
"Reichstag building",
"sibyl",
"Otto von Bismarck",
"memorials to Bismarck",
"sphinx",
"Reinhold Begas",
"Atlas",
"Welthauptstadt Germania",
"World War II",
"German Empire"
] |
|
15303_NT | Bismarck Memorial | Focus on this artwork and explain the abstract. | The Bismarck Memorial (German: Bismarck-Nationaldenkmal) is a prominent memorial statue in the Tiergarten in Berlin dedicated to Prince Otto von Bismarck, Minister President of the Kingdom of Prussia and the first Chancellor of the German Empire. It was sculpted by Reinhold Begas. It is one of 250 memorials to Bismarck worldwide.
This memorial in Berlin portrays Bismarck in his ceremonial garb as Chancellor standing above statues of:Atlas, showing Germany's world power status at the end of the 19th century;
Siegfried, forging a sword to show Germany's strong industrial and military might;
Germania pinning underfoot a panther, symbolizing the suppression of discord and rebellion;
a sibyl reclining on a sphinx and reading the book of history.The statue, along with the famous Berlin victory column, were once located in front of the Reichstag building before they were moved in 1938 by Adolf Hitler in his project to recast Berlin as Welthauptstadt Germania. The statue weathered a marked amount of shrapnel damage during World War II, but has survived largely intact to the present day. In fact, the move probably saved the monument from total destruction, as the old garden in front of the Reichstag was obliterated in the war. | [
"Adolf Hitler",
"Tiergarten",
"statue",
"Berlin",
"Siegfried",
"Reichstag",
"Kingdom of Prussia",
"Germania",
"Chancellor",
"Minister President",
"Berlin victory column",
"Reichstag building",
"sibyl",
"Otto von Bismarck",
"memorials to Bismarck",
"sphinx",
"Reinhold Begas",
"Atlas",
"Welthauptstadt Germania",
"World War II",
"German Empire"
] |
|
15304_T | Anzac, the Landing 1915 | Explore the Composition of this artwork, Anzac, the Landing 1915. | The painting shows "Australian troops ascending ridge to Plugge's Plateau, The Sphinx, Walker's Ridge and Baby 700 on skyline, steep, rocky hillside at Gallipoli".
Onwards and upwards you scan the picture as you follow the path of the men: on the skyline there is a scurry of small figures running across open ground. Your eye follows the jagged outline of the cliff face across to the other side of the gorge and that small cloud now appears likely to be an artillery explosion. The upper half of the painting is almost devoid of human figures, dominated only by the ragged and precipitous edges of cliffs. As you follow the line of these downwards, you are taken back to the beach where men are landing on the narrow shore. [...] the artist has also managed to create the impression of an endlessly repeating film loop, as more men land, climb the slopes and run into the distance at the top right.
The painting has a viewing arc of around 240°, greater than the human eye can see in a single glance. It also shows various groups of soldiers landing, climbing and cresting the ridges simultaneously. Lambert felt this distortion of space and time necessary to show the entire story of the landing, balancing the need to interpret the landing in a moment with the requirement to be accurate and maintain the public trust that his painting was a reliable record of events. Lambert also took artistic licence in other matters, notably showing all Australian troops in slouch hats rather than portraying some in caps, which were worn on the day. | [
"slouch hats",
"Walker's Ridge",
"Baby 700",
"Plugge's Plateau",
"The Sphinx",
"artistic licence"
] |
|
15304_NT | Anzac, the Landing 1915 | Explore the Composition of this artwork. | The painting shows "Australian troops ascending ridge to Plugge's Plateau, The Sphinx, Walker's Ridge and Baby 700 on skyline, steep, rocky hillside at Gallipoli".
Onwards and upwards you scan the picture as you follow the path of the men: on the skyline there is a scurry of small figures running across open ground. Your eye follows the jagged outline of the cliff face across to the other side of the gorge and that small cloud now appears likely to be an artillery explosion. The upper half of the painting is almost devoid of human figures, dominated only by the ragged and precipitous edges of cliffs. As you follow the line of these downwards, you are taken back to the beach where men are landing on the narrow shore. [...] the artist has also managed to create the impression of an endlessly repeating film loop, as more men land, climb the slopes and run into the distance at the top right.
The painting has a viewing arc of around 240°, greater than the human eye can see in a single glance. It also shows various groups of soldiers landing, climbing and cresting the ridges simultaneously. Lambert felt this distortion of space and time necessary to show the entire story of the landing, balancing the need to interpret the landing in a moment with the requirement to be accurate and maintain the public trust that his painting was a reliable record of events. Lambert also took artistic licence in other matters, notably showing all Australian troops in slouch hats rather than portraying some in caps, which were worn on the day. | [
"slouch hats",
"Walker's Ridge",
"Baby 700",
"Plugge's Plateau",
"The Sphinx",
"artistic licence"
] |
|
15305_T | Anzac, the Landing 1915 | Focus on Anzac, the Landing 1915 and discuss the Reception. | The painting was commissioned in 1919 for £500 by the Australian High Commission in London, as part of an official war art scheme. Lambert started work on London and completed the work in 1922. It was unveiled on ANZAC Day (25 April) 1922 in Melbourne. The work was immediately popular with over 14,000 viewers in the first week of exhibition and over 770,000 by the time the exhibition closed in 1924.
[V]isitors to the Museum ... complain there is a lack of fire, a lack of action and of the terror of war, but on the facts ... we must accept that men equipped as these men were, moving upwards on this particular place, without any idea of where the enemy was, what they had to do, would look just like this small swarm of ants climbing, no matter how rapidly, climbing painfully and laboriously upward through the uneven ground and spiky uncomfortable shrubs
Painter and critic Alexander Colquhoun in a contemporary review stated Lambert's work showed "rare dramatic and artistic skill" and "speaks ... of a declaration of sacrifice and achievement in a way that no other war picture has done". | [
"ANZAC Day",
"1922",
"Melbourne",
"Alexander Colquhoun"
] |
|
15305_NT | Anzac, the Landing 1915 | Focus on this artwork and discuss the Reception. | The painting was commissioned in 1919 for £500 by the Australian High Commission in London, as part of an official war art scheme. Lambert started work on London and completed the work in 1922. It was unveiled on ANZAC Day (25 April) 1922 in Melbourne. The work was immediately popular with over 14,000 viewers in the first week of exhibition and over 770,000 by the time the exhibition closed in 1924.
[V]isitors to the Museum ... complain there is a lack of fire, a lack of action and of the terror of war, but on the facts ... we must accept that men equipped as these men were, moving upwards on this particular place, without any idea of where the enemy was, what they had to do, would look just like this small swarm of ants climbing, no matter how rapidly, climbing painfully and laboriously upward through the uneven ground and spiky uncomfortable shrubs
Painter and critic Alexander Colquhoun in a contemporary review stated Lambert's work showed "rare dramatic and artistic skill" and "speaks ... of a declaration of sacrifice and achievement in a way that no other war picture has done". | [
"ANZAC Day",
"1922",
"Melbourne",
"Alexander Colquhoun"
] |
|
15306_T | Young Omahaw, War Eagle, Little Missouri, and Pawnees | How does Young Omahaw, War Eagle, Little Missouri, and Pawnees elucidate its abstract? | Young Omahaw, War Eagle, Little Missouri, and Pawnees is an 1821 painting by the American portrait artist Charles Bird King (1785–1862), who is best known for his portrayals of significant Native American leaders and tribesmen.The painting portrays Plains Indian chiefs, who among many others traveled to Washington to meet with the president to negotiate Native American territorial rights with the government. At the White House, the Capitol, and in private homes, policymakers employed bribery, dazzle, and intimidation to win the cooperation of these men. In his Seventh Street studio, Charles Bird King painted their portraits, creating a gallery of allies in the government's plan to settle the Indian question peacefully.
Young Omahaw, War Eagle, Little Missouri, and Pawnees portrays Chief War Eagle with a presidential peace medal, valued by Native Americans as a sign of status and worn on all formal occasions. King painted the chiefs with a war axe, blood-red face paint, and eagle feathers atop their heads, reinforcing the romantic image of Indians as savages. | [
"Native American",
"presidential peace medal",
"Plains Indian",
"the Capitol",
"White House",
"Charles Bird King"
] |
|
15306_NT | Young Omahaw, War Eagle, Little Missouri, and Pawnees | How does this artwork elucidate its abstract? | Young Omahaw, War Eagle, Little Missouri, and Pawnees is an 1821 painting by the American portrait artist Charles Bird King (1785–1862), who is best known for his portrayals of significant Native American leaders and tribesmen.The painting portrays Plains Indian chiefs, who among many others traveled to Washington to meet with the president to negotiate Native American territorial rights with the government. At the White House, the Capitol, and in private homes, policymakers employed bribery, dazzle, and intimidation to win the cooperation of these men. In his Seventh Street studio, Charles Bird King painted their portraits, creating a gallery of allies in the government's plan to settle the Indian question peacefully.
Young Omahaw, War Eagle, Little Missouri, and Pawnees portrays Chief War Eagle with a presidential peace medal, valued by Native Americans as a sign of status and worn on all formal occasions. King painted the chiefs with a war axe, blood-red face paint, and eagle feathers atop their heads, reinforcing the romantic image of Indians as savages. | [
"Native American",
"presidential peace medal",
"Plains Indian",
"the Capitol",
"White House",
"Charles Bird King"
] |
|
15307_T | Self-portrait (Tartaglia) | Focus on Self-portrait (Tartaglia) and analyze the abstract. | Self-portrait (Croatian: Autoportret) is one of the earliest works of Croatian artist Marino Tartaglia. He painted it in 1917, in the expressionist style. | [
"expressionist",
"Tartaglia",
"Marino Tartaglia"
] |
|
15307_NT | Self-portrait (Tartaglia) | Focus on this artwork and analyze the abstract. | Self-portrait (Croatian: Autoportret) is one of the earliest works of Croatian artist Marino Tartaglia. He painted it in 1917, in the expressionist style. | [
"expressionist",
"Tartaglia",
"Marino Tartaglia"
] |
|
15308_T | Self-portrait (Tartaglia) | In Self-portrait (Tartaglia), how is the Description discussed? | The painting is part of his first period in painting and measures 35.5 × 19 cm. It is held in the collections of the Museum of Contemporary Art, Zagreb. | [
"Zagreb",
"Museum of Contemporary Art, Zagreb"
] |
|
15308_NT | Self-portrait (Tartaglia) | In this artwork, how is the Description discussed? | The painting is part of his first period in painting and measures 35.5 × 19 cm. It is held in the collections of the Museum of Contemporary Art, Zagreb. | [
"Zagreb",
"Museum of Contemporary Art, Zagreb"
] |
|
15309_T | The Grey Dance | Focus on The Grey Dance and explore the abstract. | The Grey Dance is a painting by Väinö Kunnas, from 1928. | [
"Väinö Kunnas"
] |
|
15309_NT | The Grey Dance | Focus on this artwork and explore the abstract. | The Grey Dance is a painting by Väinö Kunnas, from 1928. | [
"Väinö Kunnas"
] |
|
15310_T | The Grey Dance | Focus on The Grey Dance and explain the Description. | The painting has dimensions 63.5 x 57 centimeters.
It is in the collection of the Ateneum, Helsinki. | [
"Ateneum",
"Helsinki"
] |
|
15310_NT | The Grey Dance | Focus on this artwork and explain the Description. | The painting has dimensions 63.5 x 57 centimeters.
It is in the collection of the Ateneum, Helsinki. | [
"Ateneum",
"Helsinki"
] |
|
15311_T | Texas Cowboy Monument | Explore the abstract of this artwork, Texas Cowboy Monument. | The Texas Cowboy Monument is an outdoor memorial commemorating Texas' cowboys, installed on the Texas State Capitol grounds in Austin, Texas, United States. The monument was sculpted by Constance Whitney Warren and erected in 1925. It features a bronze statue of a cowboy on a rearing horse atop a concrete base. | [
"Cowboy",
"Constance Whitney Warren",
"Texas",
"bronze",
"Texas State Capitol",
"cowboy",
"Austin, Texas"
] |
|
15311_NT | Texas Cowboy Monument | Explore the abstract of this artwork. | The Texas Cowboy Monument is an outdoor memorial commemorating Texas' cowboys, installed on the Texas State Capitol grounds in Austin, Texas, United States. The monument was sculpted by Constance Whitney Warren and erected in 1925. It features a bronze statue of a cowboy on a rearing horse atop a concrete base. | [
"Cowboy",
"Constance Whitney Warren",
"Texas",
"bronze",
"Texas State Capitol",
"cowboy",
"Austin, Texas"
] |
|
15312_T | Jean de Fiennes | Focus on Jean de Fiennes and discuss the abstract. | Jean de Fiennes, in real life Jean de Vienne, is a sculpture by the French artist Auguste Rodin, first produced between 1885 and 1886. A bronze cast of it is now in the Museo Soumaya in Mexico City. | [
"Auguste Rodin",
"Jean de Vienne",
"Museo Soumaya",
"Mexico City"
] |
|
15312_NT | Jean de Fiennes | Focus on this artwork and discuss the abstract. | Jean de Fiennes, in real life Jean de Vienne, is a sculpture by the French artist Auguste Rodin, first produced between 1885 and 1886. A bronze cast of it is now in the Museo Soumaya in Mexico City. | [
"Auguste Rodin",
"Jean de Vienne",
"Museo Soumaya",
"Mexico City"
] |
|
15313_T | Jean de Fiennes | How does Jean de Fiennes elucidate its Burghers of Calais? | It is an individual nude modello for his group The Burghers of Calais, showing Jean de Vienne, captain of Calais and the youngest of the burghers who surrendered to protect the citizens of Calais. However, de Fiennes' name was only assigned to one of the burghers long after the historical event in 1346. | [
"The Burghers of Calais",
"modello",
"Jean de Vienne"
] |
|
15313_NT | Jean de Fiennes | How does this artwork elucidate its Burghers of Calais? | It is an individual nude modello for his group The Burghers of Calais, showing Jean de Vienne, captain of Calais and the youngest of the burghers who surrendered to protect the citizens of Calais. However, de Fiennes' name was only assigned to one of the burghers long after the historical event in 1346. | [
"The Burghers of Calais",
"modello",
"Jean de Vienne"
] |
|
15314_T | Jean de Fiennes | Focus on Jean de Fiennes and analyze the Versions. | Rodin made individual modellos of the figures to study the proportions of the figure and how each would emote aspects of the heroic. In one version of the modello for de Fiennes, Rodin he showed the figure's arms tense and fists clenched, while in another he showed his hands open and his arms by his sides.A second modello has a nude torso with arms extended and palms upwards; from his forearms a shirt is held – a shirt which covers his lower body and his legs. His face is in profile facing left.A third study shows him with no arms, totally covered by a robe from shoulders to feet, with more hair on his head and with more detail in the facial features. In the final group the figure is clothed but has his arms extended as in the first nude modello. However, overall the figure of de Fiennes in the final group is the one with the most changes from the initial modello. | [
"modello",
"left"
] |
|
15314_NT | Jean de Fiennes | Focus on this artwork and analyze the Versions. | Rodin made individual modellos of the figures to study the proportions of the figure and how each would emote aspects of the heroic. In one version of the modello for de Fiennes, Rodin he showed the figure's arms tense and fists clenched, while in another he showed his hands open and his arms by his sides.A second modello has a nude torso with arms extended and palms upwards; from his forearms a shirt is held – a shirt which covers his lower body and his legs. His face is in profile facing left.A third study shows him with no arms, totally covered by a robe from shoulders to feet, with more hair on his head and with more detail in the facial features. In the final group the figure is clothed but has his arms extended as in the first nude modello. However, overall the figure of de Fiennes in the final group is the one with the most changes from the initial modello. | [
"modello",
"left"
] |
|
15315_T | The Thinker | In The Thinker, how is the abstract discussed? | The Thinker (French: Le Penseur) is a bronze sculpture by Auguste Rodin, usually placed on a stone pedestal. The work depicts a nude male figure of heroic size sitting on a rock. He is seen leaning over, his right elbow placed on his left thigh, holding the weight of his chin on the back of his right hand. The pose is one of deep thought and contemplation, and the statue is often used as an image to represent philosophy.
Rodin conceived the figure as part of his work The Gates of Hell commissioned in 1880, but the first of the familiar monumental bronze castings was made in 1904, and is now exhibited at the Musée Rodin, in Paris.
There are 27 other known full-sized castings, in which the figure is approximately 185 cm (73 inches) high, though not all were made during Rodin's lifetime and under his supervision. There are various other versions, several in plaster, and studies and posthumous castings exist in a range of sizes. | [
"",
"nude male figure of heroic size",
"Musée Rodin",
"hero",
"Auguste Rodin",
"casting",
"Paris",
"philosophy",
"The Gates of Hell",
"left"
] |
|
15315_NT | The Thinker | In this artwork, how is the abstract discussed? | The Thinker (French: Le Penseur) is a bronze sculpture by Auguste Rodin, usually placed on a stone pedestal. The work depicts a nude male figure of heroic size sitting on a rock. He is seen leaning over, his right elbow placed on his left thigh, holding the weight of his chin on the back of his right hand. The pose is one of deep thought and contemplation, and the statue is often used as an image to represent philosophy.
Rodin conceived the figure as part of his work The Gates of Hell commissioned in 1880, but the first of the familiar monumental bronze castings was made in 1904, and is now exhibited at the Musée Rodin, in Paris.
There are 27 other known full-sized castings, in which the figure is approximately 185 cm (73 inches) high, though not all were made during Rodin's lifetime and under his supervision. There are various other versions, several in plaster, and studies and posthumous castings exist in a range of sizes. | [
"",
"nude male figure of heroic size",
"Musée Rodin",
"hero",
"Auguste Rodin",
"casting",
"Paris",
"philosophy",
"The Gates of Hell",
"left"
] |
|
15316_T | The Thinker | Focus on The Thinker and explore the Origin. | The Thinker was initially named The Poet (French: Le Poète), and was part of a large commission begun in 1880 for a doorway surround called The Gates of Hell. Rodin based this on the early 14th century poem The Divine Comedy by Dante Alighieri, and most of the figures in the work represented the main characters in the poem with The Thinker at the center of the composition over the doorway and somewhat larger than most of the other figures. Some critics believe that it was originally intended to depict Dante at the gates of Hell, pondering his great poem.
Other critics reject that theory, pointing out that the figure is naked while Dante is fully clothed throughout his poem, and that the sculpture's physique does not correspond to Dante's effete figure. The sculpture is nude, as Rodin wanted a heroic figure in the tradition of Michelangelo, to represent intellect as well as poetry. Other critics came to see the sculpture as a self-portrait. This detail from the Gates of Hell was first named The Thinker by foundry workers, who noted its similarity to Michelangelo's statue of Lorenzo de' Medici, Duke of Urbino, called Il Pensieroso (The Thinker).
The model for this sculpture, as for other works by Rodin, was the muscular French prizefighter and wrestler Jean Baud, who mostly appeared in the red-light district. Jean Baud was also featured on the 1911 Swiss 50 franc note by Hodler.
The original is in the Musée Rodin in Paris. The sculpture has a height of 72 cm, was made of bronze and had been finely patinated and polished. The work depicts a nude male figure of heroic size who is tense, muscular and internalized, contemplating the actions and fate of the people while sitting on a rock. He is seen leaning over, his right elbow placed on his left thigh, holding the weight of his chin on the back of his right hand. The pose is one of deep thought and contemplation, and the statue is often used as an image to represent philosophy. This and many other works by Rodin were groundbreaking for modernism and heralded a new age of three-dimensional artistic creation.
The work was enlarged in 1902 to a height of 181 cm. The monumental version became the artist's first work in public space. The figure was designed to be seen from below and is normally displayed on a fairly high plinth, although the heights vary considerably chosen by the various owners. | [
"",
"nude male figure of heroic size",
"Lorenzo de' Medici, Duke of Urbino",
"intellect",
"modernism",
"Musée Rodin",
"Divine Comedy",
"Hodler",
"plinth",
"Dante Alighieri",
"red-light district",
"poetry",
"hero",
"Paris",
"1911 Swiss 50 franc note",
"philosophy",
"Michelangelo",
"The Gates of Hell",
"left"
] |
|
15316_NT | The Thinker | Focus on this artwork and explore the Origin. | The Thinker was initially named The Poet (French: Le Poète), and was part of a large commission begun in 1880 for a doorway surround called The Gates of Hell. Rodin based this on the early 14th century poem The Divine Comedy by Dante Alighieri, and most of the figures in the work represented the main characters in the poem with The Thinker at the center of the composition over the doorway and somewhat larger than most of the other figures. Some critics believe that it was originally intended to depict Dante at the gates of Hell, pondering his great poem.
Other critics reject that theory, pointing out that the figure is naked while Dante is fully clothed throughout his poem, and that the sculpture's physique does not correspond to Dante's effete figure. The sculpture is nude, as Rodin wanted a heroic figure in the tradition of Michelangelo, to represent intellect as well as poetry. Other critics came to see the sculpture as a self-portrait. This detail from the Gates of Hell was first named The Thinker by foundry workers, who noted its similarity to Michelangelo's statue of Lorenzo de' Medici, Duke of Urbino, called Il Pensieroso (The Thinker).
The model for this sculpture, as for other works by Rodin, was the muscular French prizefighter and wrestler Jean Baud, who mostly appeared in the red-light district. Jean Baud was also featured on the 1911 Swiss 50 franc note by Hodler.
The original is in the Musée Rodin in Paris. The sculpture has a height of 72 cm, was made of bronze and had been finely patinated and polished. The work depicts a nude male figure of heroic size who is tense, muscular and internalized, contemplating the actions and fate of the people while sitting on a rock. He is seen leaning over, his right elbow placed on his left thigh, holding the weight of his chin on the back of his right hand. The pose is one of deep thought and contemplation, and the statue is often used as an image to represent philosophy. This and many other works by Rodin were groundbreaking for modernism and heralded a new age of three-dimensional artistic creation.
The work was enlarged in 1902 to a height of 181 cm. The monumental version became the artist's first work in public space. The figure was designed to be seen from below and is normally displayed on a fairly high plinth, although the heights vary considerably chosen by the various owners. | [
"",
"nude male figure of heroic size",
"Lorenzo de' Medici, Duke of Urbino",
"intellect",
"modernism",
"Musée Rodin",
"Divine Comedy",
"Hodler",
"plinth",
"Dante Alighieri",
"red-light district",
"poetry",
"hero",
"Paris",
"1911 Swiss 50 franc note",
"philosophy",
"Michelangelo",
"The Gates of Hell",
"left"
] |
|
15317_T | The Thinker | Focus on The Thinker and explain the Casts. | The Thinker has been cast in multiple versions and is found around the world, but the history of the progression from models to castings is still not entirely clear. About 28 monumental-sized bronze casts are in museums and public places. In addition, there are sculptures of different study-sized scales and plaster versions (often painted bronze) in both monumental and study sizes. Some newer castings have been produced posthumously and are not considered part of the original production.
Rodin made the first small plaster version around 1881. The first full-scale model was presented at the Salon des Beaux-Arts in Paris in 1904. A public subscription financed a bronze casting, which became the property of the City of Paris, and was put in front of the Panthéon. In 1922, the original bronze was moved to the Musée Rodin. | [
"",
"Salon des Beaux-Arts",
"Musée Rodin",
"casting",
"Paris",
"Panthéon"
] |
|
15317_NT | The Thinker | Focus on this artwork and explain the Casts. | The Thinker has been cast in multiple versions and is found around the world, but the history of the progression from models to castings is still not entirely clear. About 28 monumental-sized bronze casts are in museums and public places. In addition, there are sculptures of different study-sized scales and plaster versions (often painted bronze) in both monumental and study sizes. Some newer castings have been produced posthumously and are not considered part of the original production.
Rodin made the first small plaster version around 1881. The first full-scale model was presented at the Salon des Beaux-Arts in Paris in 1904. A public subscription financed a bronze casting, which became the property of the City of Paris, and was put in front of the Panthéon. In 1922, the original bronze was moved to the Musée Rodin. | [
"",
"Salon des Beaux-Arts",
"Musée Rodin",
"casting",
"Paris",
"Panthéon"
] |
|
15318_T | The Thinker | Explore the Art market of this artwork, The Thinker. | In June 2022 a cast was put up for sale at Christie's in Paris with an estimate of up to €14m. The cast was made in about 1928 at the Rudier Foundry, founded by Alexis Rudier (1845-1897) who worked with Antoine Bourdelle and Aristide Maillol. | [
"",
"Rudier Foundry",
"Christie's",
"Paris",
"Antoine Bourdelle",
"Aristide Maillol"
] |
|
15318_NT | The Thinker | Explore the Art market of this artwork. | In June 2022 a cast was put up for sale at Christie's in Paris with an estimate of up to €14m. The cast was made in about 1928 at the Rudier Foundry, founded by Alexis Rudier (1845-1897) who worked with Antoine Bourdelle and Aristide Maillol. | [
"",
"Rudier Foundry",
"Christie's",
"Paris",
"Antoine Bourdelle",
"Aristide Maillol"
] |
|
15319_T | The Thinker | Focus on The Thinker and discuss the Reception. | Max Linde had a copy of the monumental version cast in 1904 and placed it in the garden of his villa, Lindesche Villa. There Edvard Munch painted his painting Rodin's Thinker in the Garden of Dr. Linde, which is now in the Behnhaus. The cast later went to the Detroit Institute of Arts.
In his film The Great Dictator, Charlie Chaplin shows the Venus de Milo and Rodin's Thinker with the modification that the left arms are stretched out in the Hynkel salute. With this allusion to the Nazi salute, Chaplin addresses the integration of art into Nazi propaganda. In the film Night at the Museum 2, the protagonists encounter a statue of the Thinker that has been brought to life. When asked a question, he simply replies, "I think...I think...I think." Later in the film, he flirts with a statue of Aphrodite. In Death at a Funeral, the statue is quoted as Alan Tudyk sitting naked on a rooftop in a "thinking pose." In Midnight in Paris, the then French first lady Carla Bruni made a cameo appearance as a tour guide, explaining the sculpture of the Thinker to a group of American visitors in the garden of the Musée Rodin.
In singer Ariana Grande's "God Is a Woman" music video, she sits in the Thinker pose while being attacked by small angry men. They throw into them words taken from the book they are on. However, these bounce off the singer when they reach her.
As part of the Stadt.Wand.Kunst project launched in Mannheim for the painting of houses in the city with large-scale wall paintings (so-called murals) by national and international artists from the street art scene, Rodin's Thinker was taken up and the mural The Modern Thinker implemented. | [
"",
"God Is a Woman",
"God",
"The Great Dictator",
"Mannheim",
"Nazi propaganda",
"Death at a Funeral",
"Musée Rodin",
"Midnight in Paris",
"The Modern Thinker",
"Charlie Chaplin",
"Night at the Museum 2",
"Edvard Munch",
"Nazi salute",
"street art",
"Ariana Grande",
"cameo appearance",
"Paris",
"Max Linde",
"Alan Tudyk",
"Detroit Institute of Arts",
"Behnhaus",
"Stadt.Wand.Kunst",
"left",
"Venus de Milo",
"Carla Bruni"
] |
|
15319_NT | The Thinker | Focus on this artwork and discuss the Reception. | Max Linde had a copy of the monumental version cast in 1904 and placed it in the garden of his villa, Lindesche Villa. There Edvard Munch painted his painting Rodin's Thinker in the Garden of Dr. Linde, which is now in the Behnhaus. The cast later went to the Detroit Institute of Arts.
In his film The Great Dictator, Charlie Chaplin shows the Venus de Milo and Rodin's Thinker with the modification that the left arms are stretched out in the Hynkel salute. With this allusion to the Nazi salute, Chaplin addresses the integration of art into Nazi propaganda. In the film Night at the Museum 2, the protagonists encounter a statue of the Thinker that has been brought to life. When asked a question, he simply replies, "I think...I think...I think." Later in the film, he flirts with a statue of Aphrodite. In Death at a Funeral, the statue is quoted as Alan Tudyk sitting naked on a rooftop in a "thinking pose." In Midnight in Paris, the then French first lady Carla Bruni made a cameo appearance as a tour guide, explaining the sculpture of the Thinker to a group of American visitors in the garden of the Musée Rodin.
In singer Ariana Grande's "God Is a Woman" music video, she sits in the Thinker pose while being attacked by small angry men. They throw into them words taken from the book they are on. However, these bounce off the singer when they reach her.
As part of the Stadt.Wand.Kunst project launched in Mannheim for the painting of houses in the city with large-scale wall paintings (so-called murals) by national and international artists from the street art scene, Rodin's Thinker was taken up and the mural The Modern Thinker implemented. | [
"",
"God Is a Woman",
"God",
"The Great Dictator",
"Mannheim",
"Nazi propaganda",
"Death at a Funeral",
"Musée Rodin",
"Midnight in Paris",
"The Modern Thinker",
"Charlie Chaplin",
"Night at the Museum 2",
"Edvard Munch",
"Nazi salute",
"street art",
"Ariana Grande",
"cameo appearance",
"Paris",
"Max Linde",
"Alan Tudyk",
"Detroit Institute of Arts",
"Behnhaus",
"Stadt.Wand.Kunst",
"left",
"Venus de Milo",
"Carla Bruni"
] |
|
15320_T | The Thinker | How does The Thinker elucidate its Similar sculptures? | Repetitive portrayals of individuals, both male and female, have been depicted in physical form while in the process of contemplation or grieving.
The "Karditsa Thinker" is a Neolithic clay figurine found in the area of Karditsa in Thessaly, Greece. This unique artifact, dating back to the Final Neolithic period (4500-3300 B.C.), is a large solid clay figurine of a seated man. Despite some clumsiness in detail, it conveys the impression of a robust man looking upwards with a manly bearing. The figurine exhibits features of fully developed sculpture and is considered the largest Neolithic artifact found in Greece. The pronounced ithyphallic element, though mostly broken, along with its size, suggests a possible cultic character, possibly representing an agrarian deity associated with the fertility of the land.The Thinker from Yehud, also known as the Thinker of Palestine, is an archaeological figurine discovered during salvage excavations in the Israeli city of Yehud. The figurine, which sits atop a ceramic jug in a posture resembling "The Thinker," dates back to the Middle Bronze Age II Palestine (c. 1800–1600 B.C.E.). It was found in a tomb accompanied by various items, including daggers, spearheads, an axe head, a knife, two male sheep, and a donkey, all likely buried as offerings. After its discovery, the broken jug had to be stabilised and restored before being displayed in the Canaanite Galleries of the Israel Museum in Jerusalem.The "Thinker of Cernavodă", Romania, a terracotta sculpture, and its female counterpart, "The Sitting Woman", are works of art from the Chalcolithic era. The Hamangia culture produced these remarkable sculptures, with The Thinker believed to be the earliest prehistoric sculpture that conveys human self-reflection instead of the more common artistic themes of hunting or fertility. The discovery of the Spong Man, which is the earliest known Anglo-Saxon sculpture of a person, was found in Europe's other end, five millennia. The sculpture takes the form of a seated figure on a pottery lid of a cremation urn, resembling a humanoid figure.
A thousand years later, Michelangelo created the tomb of Lorenzo de' Medici, Duke of Urbino, which is located in the Basilica di San Lorenzo in Florence, Italy. The tomb is a sculptural masterpiece and was commissioned by Pope Clement VII to honor the memory of the Duke of Urbino, a member of the powerful Medici family of Florence. The tomb is considered one of Michelangelo's finest works in sculpture and was created in the Mannerist style of the Late Renaissance period. The tomb features a large rectangular base, which is adorned with intricate reliefs and two sculptures, Dusk and Dawn, that represent the cycle of life. The central figure on the tomb is a sculpture of the Duke, who is portrayed as a thinker with his face in shadow and his elbow resting on a money box with a similarly muscular, contemplative figure with his hand on his chin, though the figure is seated rather than standing like Rodin's "The Thinker.". The tomb also includes two reclining figures on the sarcophagus, which are believed to represent Day and Night. | [
"",
"Renaissance",
"Canaanite",
"Bronze",
"Hamangia culture",
"Lorenzo de' Medici, Duke of Urbino",
"Mannerist style",
"Spong Man",
"Florence",
"Thinker of Cernavodă",
"Yehud",
"Middle Bronze Age II",
"Anglo-Saxon",
"Thinker from Yehud",
"Chalcolithic",
"terracotta",
"Middle Bronze Age",
"Israel Museum",
"Michelangelo",
"figurine",
"Karditsa",
"Thessaly",
"Pope Clement VII",
"Bronze Age",
"Karditsa Thinker",
"Neolithic"
] |
|
15320_NT | The Thinker | How does this artwork elucidate its Similar sculptures? | Repetitive portrayals of individuals, both male and female, have been depicted in physical form while in the process of contemplation or grieving.
The "Karditsa Thinker" is a Neolithic clay figurine found in the area of Karditsa in Thessaly, Greece. This unique artifact, dating back to the Final Neolithic period (4500-3300 B.C.), is a large solid clay figurine of a seated man. Despite some clumsiness in detail, it conveys the impression of a robust man looking upwards with a manly bearing. The figurine exhibits features of fully developed sculpture and is considered the largest Neolithic artifact found in Greece. The pronounced ithyphallic element, though mostly broken, along with its size, suggests a possible cultic character, possibly representing an agrarian deity associated with the fertility of the land.The Thinker from Yehud, also known as the Thinker of Palestine, is an archaeological figurine discovered during salvage excavations in the Israeli city of Yehud. The figurine, which sits atop a ceramic jug in a posture resembling "The Thinker," dates back to the Middle Bronze Age II Palestine (c. 1800–1600 B.C.E.). It was found in a tomb accompanied by various items, including daggers, spearheads, an axe head, a knife, two male sheep, and a donkey, all likely buried as offerings. After its discovery, the broken jug had to be stabilised and restored before being displayed in the Canaanite Galleries of the Israel Museum in Jerusalem.The "Thinker of Cernavodă", Romania, a terracotta sculpture, and its female counterpart, "The Sitting Woman", are works of art from the Chalcolithic era. The Hamangia culture produced these remarkable sculptures, with The Thinker believed to be the earliest prehistoric sculpture that conveys human self-reflection instead of the more common artistic themes of hunting or fertility. The discovery of the Spong Man, which is the earliest known Anglo-Saxon sculpture of a person, was found in Europe's other end, five millennia. The sculpture takes the form of a seated figure on a pottery lid of a cremation urn, resembling a humanoid figure.
A thousand years later, Michelangelo created the tomb of Lorenzo de' Medici, Duke of Urbino, which is located in the Basilica di San Lorenzo in Florence, Italy. The tomb is a sculptural masterpiece and was commissioned by Pope Clement VII to honor the memory of the Duke of Urbino, a member of the powerful Medici family of Florence. The tomb is considered one of Michelangelo's finest works in sculpture and was created in the Mannerist style of the Late Renaissance period. The tomb features a large rectangular base, which is adorned with intricate reliefs and two sculptures, Dusk and Dawn, that represent the cycle of life. The central figure on the tomb is a sculpture of the Duke, who is portrayed as a thinker with his face in shadow and his elbow resting on a money box with a similarly muscular, contemplative figure with his hand on his chin, though the figure is seated rather than standing like Rodin's "The Thinker.". The tomb also includes two reclining figures on the sarcophagus, which are believed to represent Day and Night. | [
"",
"Renaissance",
"Canaanite",
"Bronze",
"Hamangia culture",
"Lorenzo de' Medici, Duke of Urbino",
"Mannerist style",
"Spong Man",
"Florence",
"Thinker of Cernavodă",
"Yehud",
"Middle Bronze Age II",
"Anglo-Saxon",
"Thinker from Yehud",
"Chalcolithic",
"terracotta",
"Middle Bronze Age",
"Israel Museum",
"Michelangelo",
"figurine",
"Karditsa",
"Thessaly",
"Pope Clement VII",
"Bronze Age",
"Karditsa Thinker",
"Neolithic"
] |
|
15321_T | The Hurdy-Gurdy Player with a Dog | Focus on The Hurdy-Gurdy Player with a Dog and analyze the abstract. | The Hurdy-Gurdy Player with a Dog is an oil-on-canvas painting by the French artist Georges de La Tour (1593–1652), now in the Musée du Mont-de-Piété de Bergues. It belongs to his early period and forms part of a set of works on the same subject, which also includes The Hurdy-Gurdy Player. He is also featured in The Musicians' Brawl. | [
"Bergues",
"The Hurdy-Gurdy Player",
"Musée du Mont-de-Piété de Bergues",
"Georges de La Tour",
"The Musicians' Brawl"
] |
|
15321_NT | The Hurdy-Gurdy Player with a Dog | Focus on this artwork and analyze the abstract. | The Hurdy-Gurdy Player with a Dog is an oil-on-canvas painting by the French artist Georges de La Tour (1593–1652), now in the Musée du Mont-de-Piété de Bergues. It belongs to his early period and forms part of a set of works on the same subject, which also includes The Hurdy-Gurdy Player. He is also featured in The Musicians' Brawl. | [
"Bergues",
"The Hurdy-Gurdy Player",
"Musée du Mont-de-Piété de Bergues",
"Georges de La Tour",
"The Musicians' Brawl"
] |
|
15322_T | The Hurdy-Gurdy Player with a Dog | In The Hurdy-Gurdy Player with a Dog, how is the Date discussed? | This painting belongs to the first period of the artist, the diurnal period, in which – against the current of the painting of the time marked by mannerism – La Tour depicted peasants and beggars in all the crudeness of their truth.It is one of a series of paintings of old beggars. According to a general consensus, The Hurdy-Gurdy Player with a Dog is the oldest painting by La Tour on this subject, datable to around the 1620s, and in any case, predating The Hurdy-Gurdy Player of the Musée d'Arts de Nantes, held to be the most accomplished. | [
"mannerism",
"The Hurdy-Gurdy Player",
"Musée d'Arts de Nantes"
] |
|
15322_NT | The Hurdy-Gurdy Player with a Dog | In this artwork, how is the Date discussed? | This painting belongs to the first period of the artist, the diurnal period, in which – against the current of the painting of the time marked by mannerism – La Tour depicted peasants and beggars in all the crudeness of their truth.It is one of a series of paintings of old beggars. According to a general consensus, The Hurdy-Gurdy Player with a Dog is the oldest painting by La Tour on this subject, datable to around the 1620s, and in any case, predating The Hurdy-Gurdy Player of the Musée d'Arts de Nantes, held to be the most accomplished. | [
"mannerism",
"The Hurdy-Gurdy Player",
"Musée d'Arts de Nantes"
] |
|
15323_T | The Hurdy-Gurdy Player with a Dog | Focus on The Hurdy-Gurdy Player with a Dog and explore the Description. | The canvas, monumental in size (186 cm × 120 cm; 73 in × 47 in), is the largest currently attributed to the painter.It represents, full length and to scale, a blind beggar singing and accompanying himself on the hurdy-gurdy. A small dog who lies by his side on a leash probably serves as his guide. The shallow depth is suggested by pebbles and cobblestone in the foreground, and by the intersection of two side walls blocking the background, the left one in shadow, the right one illuminated by a light whose source is located in front of the frame, on the left. The shadow of the old man stands out clearly on the ground and extends onto the wall, at the right edge of the frame.
The old man has a dramatic and pitiful side at the same time, which is reinforced by the bareness of the decor, the harshness of the lighting, the voice frozen in the open mouth, and the man's unstable stance emphasized by his advanced left foot. The shining eyes that the little dog directs at the spectator, in contrast to the closed eyes of the blind man, add to the melancholy of the scene. | [
"hurdy-gurdy"
] |
|
15323_NT | The Hurdy-Gurdy Player with a Dog | Focus on this artwork and explore the Description. | The canvas, monumental in size (186 cm × 120 cm; 73 in × 47 in), is the largest currently attributed to the painter.It represents, full length and to scale, a blind beggar singing and accompanying himself on the hurdy-gurdy. A small dog who lies by his side on a leash probably serves as his guide. The shallow depth is suggested by pebbles and cobblestone in the foreground, and by the intersection of two side walls blocking the background, the left one in shadow, the right one illuminated by a light whose source is located in front of the frame, on the left. The shadow of the old man stands out clearly on the ground and extends onto the wall, at the right edge of the frame.
The old man has a dramatic and pitiful side at the same time, which is reinforced by the bareness of the decor, the harshness of the lighting, the voice frozen in the open mouth, and the man's unstable stance emphasized by his advanced left foot. The shining eyes that the little dog directs at the spectator, in contrast to the closed eyes of the blind man, add to the melancholy of the scene. | [
"hurdy-gurdy"
] |
|
15324_T | The Hurdy-Gurdy Player with a Dog | Focus on The Hurdy-Gurdy Player with a Dog and explain the Provenance. | The first mention of the painting dates from 3 February 1791 when Joseph Delorge, painter and director of the Bergues drawing school, was commissioned to write the Etats et Notices des Monuments et Peinture, sculpture and engraving from the furniture of the Abbey of Saint-Winoc in Bergues. It is thus described there, at number 77: "A poor man playing the hurdy-gurdy, orig[inal] by Carache [sic] Urbain, on canvas, 5 ft, 6 in by 3 ft 6 in". Kept for a time in the abbey library, it was transferred, with the entire deposit, to the former Jesuit college in the city between 3 December 1792 and 5 January 1793.In 1800, the painting was one of the thirty-eight works that the sub-prefect Louis Schadet chose "to adorn the audience hall and adjoining rooms" of the sub-prefecture of Bergues, then installed at the Town Hall. In the handwritten list that he established on the occasion of the transfer, the painting, under number 12, is presented as a "blind man playing the hurdy-gurdy, led by his dog", and attributed to "Michelangelo" – meaning Caravaggio. It entered the museum of Bergues in 1838. It is then described, without attribution but as an original painting, under number 18 of the Catalogue of existing paintings of at the hotel of the town hall of the city of Bergues as "a beggar of natural size 175 × 130 cm".In 1842, the painting was entrusted, along with other works, to the painter Fabien-Napoléon Léoni to be restored. The relatively high cost of this restoration, which amounts to 250 francs, suggests that the painting was already in poor condition. Around 1846, it was placed in the gallery that the town hall dedicated to this purpose. A handwritten list, probably made by one of the members of the museum commission, then attributes The Old Man to Zurbarán.
In 1871, the painting was welcomed into the rooms of the new town hall converted into a museum. In the Catalogue of paintings exhibited in the gallery of the museum of Bergues written by the painter and restorer Pierre-Antoine Verlinde (1801–1877), the Beggar playing the hurdy-gurdy, under number 97, is attributed to José de Ribera. It is described as follows: "A blind old man, covered with a ragged garment and cloak, sings to the accompaniment of an hurdy-gurdy. The dog leading him by a rope is lying at his feet."It was transferred to the city's former Mont-de-Piété when it was transformed into a museum in 1953. | [
"Bergues",
"José de Ribera",
"Caravaggio",
"Zurbarán",
"hurdy-gurdy"
] |
|
15324_NT | The Hurdy-Gurdy Player with a Dog | Focus on this artwork and explain the Provenance. | The first mention of the painting dates from 3 February 1791 when Joseph Delorge, painter and director of the Bergues drawing school, was commissioned to write the Etats et Notices des Monuments et Peinture, sculpture and engraving from the furniture of the Abbey of Saint-Winoc in Bergues. It is thus described there, at number 77: "A poor man playing the hurdy-gurdy, orig[inal] by Carache [sic] Urbain, on canvas, 5 ft, 6 in by 3 ft 6 in". Kept for a time in the abbey library, it was transferred, with the entire deposit, to the former Jesuit college in the city between 3 December 1792 and 5 January 1793.In 1800, the painting was one of the thirty-eight works that the sub-prefect Louis Schadet chose "to adorn the audience hall and adjoining rooms" of the sub-prefecture of Bergues, then installed at the Town Hall. In the handwritten list that he established on the occasion of the transfer, the painting, under number 12, is presented as a "blind man playing the hurdy-gurdy, led by his dog", and attributed to "Michelangelo" – meaning Caravaggio. It entered the museum of Bergues in 1838. It is then described, without attribution but as an original painting, under number 18 of the Catalogue of existing paintings of at the hotel of the town hall of the city of Bergues as "a beggar of natural size 175 × 130 cm".In 1842, the painting was entrusted, along with other works, to the painter Fabien-Napoléon Léoni to be restored. The relatively high cost of this restoration, which amounts to 250 francs, suggests that the painting was already in poor condition. Around 1846, it was placed in the gallery that the town hall dedicated to this purpose. A handwritten list, probably made by one of the members of the museum commission, then attributes The Old Man to Zurbarán.
In 1871, the painting was welcomed into the rooms of the new town hall converted into a museum. In the Catalogue of paintings exhibited in the gallery of the museum of Bergues written by the painter and restorer Pierre-Antoine Verlinde (1801–1877), the Beggar playing the hurdy-gurdy, under number 97, is attributed to José de Ribera. It is described as follows: "A blind old man, covered with a ragged garment and cloak, sings to the accompaniment of an hurdy-gurdy. The dog leading him by a rope is lying at his feet."It was transferred to the city's former Mont-de-Piété when it was transformed into a museum in 1953. | [
"Bergues",
"José de Ribera",
"Caravaggio",
"Zurbarán",
"hurdy-gurdy"
] |
|
15325_T | The Hurdy-Gurdy Player with a Dog | Explore the Attribution to Georges de La Tour about the Provenance of this artwork, The Hurdy-Gurdy Player with a Dog. | Noticed in 1925 by Pierre Landry, who was the first to bring it closer to the works of the master then in full rediscovery, the painting was chosen by Charles Sterling to appear in an exhibition of "painters of reality" that opened in November 1934 at the l'Orangerie of the Tuileries, but still cautiously attributed to the "workshop of Georges de La Tour". Cleaned on this occasion, it remained in Paris to be completely restored. At the end of the operation, which lasted fourteen months and was graciously donated by Pierre Landry, the painting was exhibited for some time, from June 1936, in the new acquisitions room of the Musée du Louvre.
It was not until 1958 that Michel Laclotte placed The Hurdy-Gurdy Player with a Dog alongside the originals from La Tour, and in particular The Hurdy-Gurdy Player in Nantes, on the occasion of the exhibition entitled The French XVII|e. Masterpieces from provincial museums. Since then, the painting has appeared in other exhibitions devoted to the painter from Lorraine, whether it be the first retrospective held from May to September 1972 at the Musée de l'Orangerie (catalogue number 3), or that of the Galeries nationales du Grand Palais, from 3 October 1997 to 26 January 1998 (catalogue number 16). | [
"Musée du Louvre",
"l'Orangerie",
"The Hurdy-Gurdy Player",
"Michel Laclotte",
"Tuileries",
"Galeries nationales du Grand Palais",
"Charles Sterling",
"Louvre",
"Musée de l'Orangerie",
"Georges de La Tour"
] |
|
15325_NT | The Hurdy-Gurdy Player with a Dog | Explore the Attribution to Georges de La Tour about the Provenance of this artwork. | Noticed in 1925 by Pierre Landry, who was the first to bring it closer to the works of the master then in full rediscovery, the painting was chosen by Charles Sterling to appear in an exhibition of "painters of reality" that opened in November 1934 at the l'Orangerie of the Tuileries, but still cautiously attributed to the "workshop of Georges de La Tour". Cleaned on this occasion, it remained in Paris to be completely restored. At the end of the operation, which lasted fourteen months and was graciously donated by Pierre Landry, the painting was exhibited for some time, from June 1936, in the new acquisitions room of the Musée du Louvre.
It was not until 1958 that Michel Laclotte placed The Hurdy-Gurdy Player with a Dog alongside the originals from La Tour, and in particular The Hurdy-Gurdy Player in Nantes, on the occasion of the exhibition entitled The French XVII|e. Masterpieces from provincial museums. Since then, the painting has appeared in other exhibitions devoted to the painter from Lorraine, whether it be the first retrospective held from May to September 1972 at the Musée de l'Orangerie (catalogue number 3), or that of the Galeries nationales du Grand Palais, from 3 October 1997 to 26 January 1998 (catalogue number 16). | [
"Musée du Louvre",
"l'Orangerie",
"The Hurdy-Gurdy Player",
"Michel Laclotte",
"Tuileries",
"Galeries nationales du Grand Palais",
"Charles Sterling",
"Louvre",
"Musée de l'Orangerie",
"Georges de La Tour"
] |
|
15326_T | Talos No. 2 | Focus on Talos No. 2 and discuss the abstract. | Talos No. 2 is an outdoor 1959–1977 bronze sculpture created by the American artist James Lee Hansen. It is located in the Transit Mall of downtown Portland, Oregon, in the United States. | [
"James Lee Hansen",
"Portland, Oregon",
"bronze sculpture",
"downtown",
"Transit Mall",
"Talos"
] |
|
15326_NT | Talos No. 2 | Focus on this artwork and discuss the abstract. | Talos No. 2 is an outdoor 1959–1977 bronze sculpture created by the American artist James Lee Hansen. It is located in the Transit Mall of downtown Portland, Oregon, in the United States. | [
"James Lee Hansen",
"Portland, Oregon",
"bronze sculpture",
"downtown",
"Transit Mall",
"Talos"
] |
|
15327_T | Talos No. 2 | How does Talos No. 2 elucidate its Description? | James Lee Hansen's bronze sculpture Talos No. 2 is installed at the intersection of Southwest 6th Avenue and Stark Street on the Portland Transit Mall. The abstract statue depicts Talos, the giant man of bronze in Greek mythology who protected Crete from invaders. It is part of a series of works by Hansen called "Talos"; Talos, which is part of the Guardian series, was installed on Fulton Mall in downtown Fresno, California in 1961, and the bronze Talos No. 3 (1984) is part of the collection of the Seattle Art Museum.Talos is shown with three legs; other discernible body parts include a head, rib cage and hips. The piece is 7 feet (2.1 m) tall, or 66 inches (1.7 m) x 20 inches (0.51 m) x 20 inches (0.51 m), and weighs between 400 and 700 lbs. The work is administered by the Regional Arts & Culture Council (RACC), which has described the work as an "abstracted human figure on three legs with multiple short appendages on the torso and shoulders". Furthmore, the agency offers the following description of Talos and the sculpture he inspired:He had one vein running from his neck to his ankle which flowed with lead, a sacred fluid believed to be the blood of the gods. This sculpture transforms the mythic figure into an abstracted form. Rather than mimicking the monumentality of the character, Hansen invokes him though this vaguely human but altogether otherworldly creature that seems to take in its surroundings from three directions at once, acting as a guardian to those who pass by.
RACC's public art collection manager has said Talos No. 2 is an "excellent" example of abstract sculpture from the 1970s. | [
"James Lee Hansen",
"Regional Arts & Culture Council",
"Crete",
"Seattle Art Museum",
"bronze sculpture",
"Stark Street",
"Fulton Mall",
"Greek mythology",
"Fresno, California",
"downtown",
"Transit Mall",
"Talos",
"abstract",
"Portland Transit Mall"
] |
|
15327_NT | Talos No. 2 | How does this artwork elucidate its Description? | James Lee Hansen's bronze sculpture Talos No. 2 is installed at the intersection of Southwest 6th Avenue and Stark Street on the Portland Transit Mall. The abstract statue depicts Talos, the giant man of bronze in Greek mythology who protected Crete from invaders. It is part of a series of works by Hansen called "Talos"; Talos, which is part of the Guardian series, was installed on Fulton Mall in downtown Fresno, California in 1961, and the bronze Talos No. 3 (1984) is part of the collection of the Seattle Art Museum.Talos is shown with three legs; other discernible body parts include a head, rib cage and hips. The piece is 7 feet (2.1 m) tall, or 66 inches (1.7 m) x 20 inches (0.51 m) x 20 inches (0.51 m), and weighs between 400 and 700 lbs. The work is administered by the Regional Arts & Culture Council (RACC), which has described the work as an "abstracted human figure on three legs with multiple short appendages on the torso and shoulders". Furthmore, the agency offers the following description of Talos and the sculpture he inspired:He had one vein running from his neck to his ankle which flowed with lead, a sacred fluid believed to be the blood of the gods. This sculpture transforms the mythic figure into an abstracted form. Rather than mimicking the monumentality of the character, Hansen invokes him though this vaguely human but altogether otherworldly creature that seems to take in its surroundings from three directions at once, acting as a guardian to those who pass by.
RACC's public art collection manager has said Talos No. 2 is an "excellent" example of abstract sculpture from the 1970s. | [
"James Lee Hansen",
"Regional Arts & Culture Council",
"Crete",
"Seattle Art Museum",
"bronze sculpture",
"Stark Street",
"Fulton Mall",
"Greek mythology",
"Fresno, California",
"downtown",
"Transit Mall",
"Talos",
"abstract",
"Portland Transit Mall"
] |
|
15328_T | Talos No. 2 | Focus on Talos No. 2 and analyze the History. | Talos No. 2 was completed during 1959–1977, and was funded by TriMet as part of its Percent for Art program, as well as the United States Department of Transportation, for $10,000. When the Transit Mall was completed in 1977, the sculpture was located in the block of 6th Avenue between Morrison and Alder streets. It was valued at $70,000 when the Transit Mall was reconstructed beginning in 2007. Along with nine other sculptures, it was placed in storage during that reconstruction, and when the mall reopened in 2009, Talos No. 2 was reinstalled, but at a different location—on 6th Avenue just north of its intersection with Stark Street.
The sculpture broke into several pieces in July 2015 after being toppled from its pedestal. Police took a suspect into custody, who was later charged with criminal mischief for damaging the statue. RACC staff thought the sculpture was irreparable when they first saw its pieces in the Portland Police Bureau Evidence Room. However, it was later determined repairs were possible because many of the breaks were along weld lines.
In September 2015, Portland Tribune reported that RACC was soliciting donations to offset repair costs, which were estimated at $3,750 by Portland's Cascadia Art Conservation Center. The repairs were partially financed by the city's insurance policy, which had a $2,500 deductible. RACC's public art collection manager said, "We're very hopeful the statue can be repaired and returned to the Transit Mall in a few months." Repairs included positioning five pieces, welding, and a chemical treatment, completed by Robert Krueger and welders from Art & Design Works over three months. Reinstallation occurred on October 30, 2015.Hansen's Winter Rider No. 2 (2003) was installed on the Transit Mall, at the intersection of Southwest Sixth Avenue and Taylor Street, in February 2010. It was previously installed at the Public Service Building. | [
"Stark Street",
"TriMet",
"Winter Rider No. 2",
"United States Department of Transportation",
"Transit Mall",
"Talos",
"Portland Tribune",
"Public Service Building"
] |
|
15328_NT | Talos No. 2 | Focus on this artwork and analyze the History. | Talos No. 2 was completed during 1959–1977, and was funded by TriMet as part of its Percent for Art program, as well as the United States Department of Transportation, for $10,000. When the Transit Mall was completed in 1977, the sculpture was located in the block of 6th Avenue between Morrison and Alder streets. It was valued at $70,000 when the Transit Mall was reconstructed beginning in 2007. Along with nine other sculptures, it was placed in storage during that reconstruction, and when the mall reopened in 2009, Talos No. 2 was reinstalled, but at a different location—on 6th Avenue just north of its intersection with Stark Street.
The sculpture broke into several pieces in July 2015 after being toppled from its pedestal. Police took a suspect into custody, who was later charged with criminal mischief for damaging the statue. RACC staff thought the sculpture was irreparable when they first saw its pieces in the Portland Police Bureau Evidence Room. However, it was later determined repairs were possible because many of the breaks were along weld lines.
In September 2015, Portland Tribune reported that RACC was soliciting donations to offset repair costs, which were estimated at $3,750 by Portland's Cascadia Art Conservation Center. The repairs were partially financed by the city's insurance policy, which had a $2,500 deductible. RACC's public art collection manager said, "We're very hopeful the statue can be repaired and returned to the Transit Mall in a few months." Repairs included positioning five pieces, welding, and a chemical treatment, completed by Robert Krueger and welders from Art & Design Works over three months. Reinstallation occurred on October 30, 2015.Hansen's Winter Rider No. 2 (2003) was installed on the Transit Mall, at the intersection of Southwest Sixth Avenue and Taylor Street, in February 2010. It was previously installed at the Public Service Building. | [
"Stark Street",
"TriMet",
"Winter Rider No. 2",
"United States Department of Transportation",
"Transit Mall",
"Talos",
"Portland Tribune",
"Public Service Building"
] |
|
15329_T | Portrait of Pietro Aretino | In Portrait of Pietro Aretino, how is the abstract discussed? | The Portrait of Pietro Aretino is an oil on canvas portrait of the Renaissance poet Pietro Aretino by Titian, painted around 1545, possibly for Cosimo I de' Medici. It is now in the Sala di Venere of Palazzo Pitti in Florence. | [
"Titian",
"Palazzo Pitti",
"Cosimo I de' Medici",
"Florence",
"Pietro Aretino"
] |
|
15329_NT | Portrait of Pietro Aretino | In this artwork, how is the abstract discussed? | The Portrait of Pietro Aretino is an oil on canvas portrait of the Renaissance poet Pietro Aretino by Titian, painted around 1545, possibly for Cosimo I de' Medici. It is now in the Sala di Venere of Palazzo Pitti in Florence. | [
"Titian",
"Palazzo Pitti",
"Cosimo I de' Medici",
"Florence",
"Pietro Aretino"
] |
|
15330_T | Kneeling Female Faun | Focus on Kneeling Female Faun and explore the abstract. | Kneeling Female Faun is a sculpture by the French artist Auguste Rodin. A variant of his work The Martyr, it is made of bronze. It was originally conceived in 1884 and exhibited in 1889 in Georges Petit's gallery. | [
"Georges Petit",
"Auguste Rodin"
] |
|
15330_NT | Kneeling Female Faun | Focus on this artwork and explore the abstract. | Kneeling Female Faun is a sculpture by the French artist Auguste Rodin. A variant of his work The Martyr, it is made of bronze. It was originally conceived in 1884 and exhibited in 1889 in Georges Petit's gallery. | [
"Georges Petit",
"Auguste Rodin"
] |
|
15331_T | Agony in the Garden (Mantegna, Tours) | Focus on Agony in the Garden (Mantegna, Tours) and explain the abstract. | Agony in the Garden is a painting by Andrea Mantegna, conserved at the Musée des Beaux-Arts de Tours, dating from 1457–59. | [
"Musée des Beaux-Arts",
"Tours",
"Musée des Beaux-Arts de Tours",
"Andrea Mantegna",
"Mantegna"
] |
|
15331_NT | Agony in the Garden (Mantegna, Tours) | Focus on this artwork and explain the abstract. | Agony in the Garden is a painting by Andrea Mantegna, conserved at the Musée des Beaux-Arts de Tours, dating from 1457–59. | [
"Musée des Beaux-Arts",
"Tours",
"Musée des Beaux-Arts de Tours",
"Andrea Mantegna",
"Mantegna"
] |
|
15332_T | Statue of George V, Westminster | Explore the abstract of this artwork, Statue of George V, Westminster. | The statue of George V in Old Palace Yard, Westminster, London, is a sculpture of George V, King of the United Kingdom and the British Dominions, and Emperor of India. The statue was sculpted prior to the Second World War and was hidden in a quarry during the war years. Other locations were suggested for the statue, including Parliament Square, but it was unveiled opposite the House of Lords in 1947. | [
"British Dominions",
"Emperor of India",
"Parliament Square",
"Old Palace Yard",
"Second World War",
"King of the United Kingdom",
"Dominion",
"Westminster",
"George V",
"House of Lords"
] |
|
15332_NT | Statue of George V, Westminster | Explore the abstract of this artwork. | The statue of George V in Old Palace Yard, Westminster, London, is a sculpture of George V, King of the United Kingdom and the British Dominions, and Emperor of India. The statue was sculpted prior to the Second World War and was hidden in a quarry during the war years. Other locations were suggested for the statue, including Parliament Square, but it was unveiled opposite the House of Lords in 1947. | [
"British Dominions",
"Emperor of India",
"Parliament Square",
"Old Palace Yard",
"Second World War",
"King of the United Kingdom",
"Dominion",
"Westminster",
"George V",
"House of Lords"
] |
|
15333_T | Statue of George V, Westminster | Focus on Statue of George V, Westminster and discuss the Description. | The statue stands 10 feet (3.0 m) high and is made of Portland stone. It is located south of The Lady Chapel, Westminster Abbey and opposite the House of Lords. It is a Grade II listed structure, having become so on 5 February 1970. | [
"The Lady Chapel, Westminster Abbey",
"Portland stone",
"Westminster",
"House of Lords"
] |
|
15333_NT | Statue of George V, Westminster | Focus on this artwork and discuss the Description. | The statue stands 10 feet (3.0 m) high and is made of Portland stone. It is located south of The Lady Chapel, Westminster Abbey and opposite the House of Lords. It is a Grade II listed structure, having become so on 5 February 1970. | [
"The Lady Chapel, Westminster Abbey",
"Portland stone",
"Westminster",
"House of Lords"
] |
|
15334_T | Statue of George V, Westminster | How does Statue of George V, Westminster elucidate its History? | It was announced in March 1937 by the Lord Mayor of London that William Reid Dick had been selected as the sculptor of a statue of George V. Giles Gilbert Scott was selected to design the architecture of the plinth. A location in Abingdon Street opposite the House of Lords was announced in October 1937. The construction was organised by the King George V National Memorial Committee. The original design proved controversial and resulted in some criticism: it was to feature an ornate Gothic canopy which critics described as "dwarfing" the statue itself. Following a public consultation this feature was removed from later designs.The Amenities groups of both the House of Commons and the House of Lords opposed the citing of the statue facing the House of Lords as they were concerned it would lead to the demolition of No. 6 and 7 Old Palace Yard and houses in a nearby street. A model of the statue was exhibited in the Member's tea room of the House of Commons.The Royal Fine Art Commission suggested that the statue should be located in Parliament Square instead of opposite the House of Lords. The construction of the statue took place prior to the Second World War, but the danger of bringing the statue to London prevented the erection of it until after the war. The carving of the statue actually took place in the Portland quarry from which the stone was produced, and during the war years it was placed inside one of the quarry's tunnels on the Island in order to prevent it from potential damage due to German bombing raids. Following the war it was moved to the Tate Gallery while the statue's site was prepared for it. The statue was placed in the original proposed spot opposite the House of Lords, which required the demolition of No. 5 Old Palace Yard. It was unveiled by King George VI, on 22 October 1947 and was attended by Queen Elizabeth, Queen Mary, and Princesses Elizabeth and Margaret.In 1968, the symbol of the Campaign for Nuclear Disarmament was drawn on the side of the plinth, provoking the question of its removal to be raised by Dudley Smith MP in the House of the Commons. | [
"Queen Mary",
"Dudley Smith",
"Royal Fine Art Commission",
"Parliament Square",
"Old Palace Yard",
"Second World War",
"William Reid Dick",
"Tate",
"Margaret",
"Tate Gallery",
"Giles Gilbert Scott",
"George V",
"Elizabeth",
"Queen Elizabeth",
"George VI",
"Lord Mayor of London",
"Campaign for Nuclear Disarmament",
"Gothic",
"House of Lords"
] |
|
15334_NT | Statue of George V, Westminster | How does this artwork elucidate its History? | It was announced in March 1937 by the Lord Mayor of London that William Reid Dick had been selected as the sculptor of a statue of George V. Giles Gilbert Scott was selected to design the architecture of the plinth. A location in Abingdon Street opposite the House of Lords was announced in October 1937. The construction was organised by the King George V National Memorial Committee. The original design proved controversial and resulted in some criticism: it was to feature an ornate Gothic canopy which critics described as "dwarfing" the statue itself. Following a public consultation this feature was removed from later designs.The Amenities groups of both the House of Commons and the House of Lords opposed the citing of the statue facing the House of Lords as they were concerned it would lead to the demolition of No. 6 and 7 Old Palace Yard and houses in a nearby street. A model of the statue was exhibited in the Member's tea room of the House of Commons.The Royal Fine Art Commission suggested that the statue should be located in Parliament Square instead of opposite the House of Lords. The construction of the statue took place prior to the Second World War, but the danger of bringing the statue to London prevented the erection of it until after the war. The carving of the statue actually took place in the Portland quarry from which the stone was produced, and during the war years it was placed inside one of the quarry's tunnels on the Island in order to prevent it from potential damage due to German bombing raids. Following the war it was moved to the Tate Gallery while the statue's site was prepared for it. The statue was placed in the original proposed spot opposite the House of Lords, which required the demolition of No. 5 Old Palace Yard. It was unveiled by King George VI, on 22 October 1947 and was attended by Queen Elizabeth, Queen Mary, and Princesses Elizabeth and Margaret.In 1968, the symbol of the Campaign for Nuclear Disarmament was drawn on the side of the plinth, provoking the question of its removal to be raised by Dudley Smith MP in the House of the Commons. | [
"Queen Mary",
"Dudley Smith",
"Royal Fine Art Commission",
"Parliament Square",
"Old Palace Yard",
"Second World War",
"William Reid Dick",
"Tate",
"Margaret",
"Tate Gallery",
"Giles Gilbert Scott",
"George V",
"Elizabeth",
"Queen Elizabeth",
"George VI",
"Lord Mayor of London",
"Campaign for Nuclear Disarmament",
"Gothic",
"House of Lords"
] |
|
15335_T | Madonna and Child (Cima, Saint Petersburg) | Focus on Madonna and Child (Cima, Saint Petersburg) and analyze the Variants. | Unusually for the artist, who usually produced unique works, this one seems to belong to a group of at least five works produced from a single cartoon: | [
"cartoon"
] |
|
15335_NT | Madonna and Child (Cima, Saint Petersburg) | Focus on this artwork and analyze the Variants. | Unusually for the artist, who usually produced unique works, this one seems to belong to a group of at least five works produced from a single cartoon: | [
"cartoon"
] |
|
15336_T | Maxwell & Demon Gargoyle | In Maxwell & Demon Gargoyle, how is the abstract discussed? | Maxwell & Demon Gargoyle is an outdoor 1989 sculpture by Wayne Chabre, installed in Eugene, Oregon, in the United States. It is a low-relief portrait depicting Scottish physicist James Clerk Maxwell and his "demon", attached to the exterior of Willamette Hall on the University of Oregon campus. The hammered copper sheet sculpture measures approximately 3.15 feet (0.96 m) x 2.5 feet (0.76 m) x 1.5 feet (0.46 m). Its condition was undetermined when the Smithsonian Institution's "Save Outdoor Sculpture!" program surveyed the work in 1994. | [
"James Clerk Maxwell",
"demon",
"University of Oregon",
"Smithsonian Institution",
"Wayne Chabre",
"Willamette Hall",
"Save Outdoor Sculpture!",
"Eugene, Oregon"
] |
|
15336_NT | Maxwell & Demon Gargoyle | In this artwork, how is the abstract discussed? | Maxwell & Demon Gargoyle is an outdoor 1989 sculpture by Wayne Chabre, installed in Eugene, Oregon, in the United States. It is a low-relief portrait depicting Scottish physicist James Clerk Maxwell and his "demon", attached to the exterior of Willamette Hall on the University of Oregon campus. The hammered copper sheet sculpture measures approximately 3.15 feet (0.96 m) x 2.5 feet (0.76 m) x 1.5 feet (0.46 m). Its condition was undetermined when the Smithsonian Institution's "Save Outdoor Sculpture!" program surveyed the work in 1994. | [
"James Clerk Maxwell",
"demon",
"University of Oregon",
"Smithsonian Institution",
"Wayne Chabre",
"Willamette Hall",
"Save Outdoor Sculpture!",
"Eugene, Oregon"
] |
|
15337_T | Gollis | Focus on Gollis and explore the abstract. | Gollis is a Norwegian tourist attraction. It is a 9-metre (30 ft) tall Santa Claus made out of plastic materials. It is located in Lyngseidet in Lyngen in the county of Troms og Finnmark.
It has been claimed to be the world's biggest Santa Claus. | [
"Lyngseidet",
"Santa Claus",
"tourist attraction",
"Troms og Finnmark",
"Lyngen"
] |
|
15337_NT | Gollis | Focus on this artwork and explore the abstract. | Gollis is a Norwegian tourist attraction. It is a 9-metre (30 ft) tall Santa Claus made out of plastic materials. It is located in Lyngseidet in Lyngen in the county of Troms og Finnmark.
It has been claimed to be the world's biggest Santa Claus. | [
"Lyngseidet",
"Santa Claus",
"tourist attraction",
"Troms og Finnmark",
"Lyngen"
] |
|
15338_T | Spinal Column (sculpture) | Focus on Spinal Column (sculpture) and explain the abstract. | Spinal Column is a 1968 sculpture by Alexander Calder. It was commissioned for the San Diego Museum of Art in 1968 and was displayed in the May S. Marcy Sculpture Garden before being installed outside the museum. The work measures 118 in. x 100 in. x 90 in. | [
"San Diego",
"San Diego Museum of Art",
"Alexander Calder",
"May S. Marcy Sculpture Garden"
] |
|
15338_NT | Spinal Column (sculpture) | Focus on this artwork and explain the abstract. | Spinal Column is a 1968 sculpture by Alexander Calder. It was commissioned for the San Diego Museum of Art in 1968 and was displayed in the May S. Marcy Sculpture Garden before being installed outside the museum. The work measures 118 in. x 100 in. x 90 in. | [
"San Diego",
"San Diego Museum of Art",
"Alexander Calder",
"May S. Marcy Sculpture Garden"
] |
|
15339_T | Three Angels and Young Tobias | Explore the abstract of this artwork, Three Angels and Young Tobias. | Three Archangels with Young Tobias is a painting by the Italian Renaissance painter Filippino Lippi, dated c. 1485. It is housed in the Galleria Sabauda of Turin.
On the background of a rocky landscape, resembling that of the London Adoration of the Magi, the picture represents the three archangels: Michael on the left, Raphael in the centre, and Gabriel holding a lily, together with a young Tobias, son of Tobit. The scene is clearly inspired by a Voyage of Tobias by Francesco Botticini, once in the Florentine church of Florence and now in the Uffizi, while the angels resemble those painted by Filippino himself in the Liberation of St. Peter in the Brancacci Chapel.
The work was once attributed to Sandro Botticelli or his workshop. | [
"Michael",
"Florence",
"Francesco Botticini",
"Filippino Lippi",
"Raphael",
"Uffizi",
"Archangel",
"Turin",
"Renaissance",
"Tobias, son of Tobit",
"Sandro Botticelli",
"Brancacci Chapel",
"Italian",
"Gabriel",
"Liberation of St. Peter",
"Adoration of the Magi",
"Galleria Sabauda",
"archangel"
] |
|
15339_NT | Three Angels and Young Tobias | Explore the abstract of this artwork. | Three Archangels with Young Tobias is a painting by the Italian Renaissance painter Filippino Lippi, dated c. 1485. It is housed in the Galleria Sabauda of Turin.
On the background of a rocky landscape, resembling that of the London Adoration of the Magi, the picture represents the three archangels: Michael on the left, Raphael in the centre, and Gabriel holding a lily, together with a young Tobias, son of Tobit. The scene is clearly inspired by a Voyage of Tobias by Francesco Botticini, once in the Florentine church of Florence and now in the Uffizi, while the angels resemble those painted by Filippino himself in the Liberation of St. Peter in the Brancacci Chapel.
The work was once attributed to Sandro Botticelli or his workshop. | [
"Michael",
"Florence",
"Francesco Botticini",
"Filippino Lippi",
"Raphael",
"Uffizi",
"Archangel",
"Turin",
"Renaissance",
"Tobias, son of Tobit",
"Sandro Botticelli",
"Brancacci Chapel",
"Italian",
"Gabriel",
"Liberation of St. Peter",
"Adoration of the Magi",
"Galleria Sabauda",
"archangel"
] |
|
15340_T | Hunter's Home | Focus on Hunter's Home and discuss the abstract. | Hunter's Home (Dutch: Jagerswoning) is an 1826 oil painting by the Belgian artist Henry Voordecker. The painting depicts a hunter at home, surrounded by animals and members of his family; a typical genre painting. It is in the collection of the Rijksmuseum in Amsterdam.
It is in a typical Biedermeier style and its themes are characterized by the reinforced feelings of security, gemütlichkeit, traditional simplicity, portraying a sentimental view of the world.The painting depicts a family at the doorway of their home. The dwelling is brick-built, with a vine scrambling around the arched stone doorway. A mother with a child sit in front of a young man in hunting clothes with a dog (perhaps a Dutch Partridge Dog) and a hunting gun. Chickens and doves are on the steps in front of the doorway; a magpie is in a cage beside the door, and more doves around a dovecote to the left. To the left of the steps stands another child, and a young woman doing laundry, with a horned white cow in a stable to the far left. To the right of the door is a second dog on a chain, various domestic pots and pans on the roof of a wooden kennel or henhouse, and a potted plant with small red flowers (perhaps a pelargonium) on a window ledge.
It is signed and dated "H. Voordecker fecit 1826", and measures 62 by 78 centimetres (24 in × 31 in). It was acquired by the Rijksmuseum in Amsterdam in 1828. | [
"Amsterdam",
"pelargonium",
"genre painting",
"Henry Voordecker",
"Biedermeier",
"hunter",
"Dutch Partridge Dog",
"sentimental",
"Rijksmuseum",
"gemütlichkeit",
"dovecote"
] |
|
15340_NT | Hunter's Home | Focus on this artwork and discuss the abstract. | Hunter's Home (Dutch: Jagerswoning) is an 1826 oil painting by the Belgian artist Henry Voordecker. The painting depicts a hunter at home, surrounded by animals and members of his family; a typical genre painting. It is in the collection of the Rijksmuseum in Amsterdam.
It is in a typical Biedermeier style and its themes are characterized by the reinforced feelings of security, gemütlichkeit, traditional simplicity, portraying a sentimental view of the world.The painting depicts a family at the doorway of their home. The dwelling is brick-built, with a vine scrambling around the arched stone doorway. A mother with a child sit in front of a young man in hunting clothes with a dog (perhaps a Dutch Partridge Dog) and a hunting gun. Chickens and doves are on the steps in front of the doorway; a magpie is in a cage beside the door, and more doves around a dovecote to the left. To the left of the steps stands another child, and a young woman doing laundry, with a horned white cow in a stable to the far left. To the right of the door is a second dog on a chain, various domestic pots and pans on the roof of a wooden kennel or henhouse, and a potted plant with small red flowers (perhaps a pelargonium) on a window ledge.
It is signed and dated "H. Voordecker fecit 1826", and measures 62 by 78 centimetres (24 in × 31 in). It was acquired by the Rijksmuseum in Amsterdam in 1828. | [
"Amsterdam",
"pelargonium",
"genre painting",
"Henry Voordecker",
"Biedermeier",
"hunter",
"Dutch Partridge Dog",
"sentimental",
"Rijksmuseum",
"gemütlichkeit",
"dovecote"
] |
|
15341_T | Peasant Family in an Interior | How does Peasant Family in an Interior elucidate its abstract? | Peasant Family in an Interior is a large oil painting executed c.1642 by one or more of the French Le Nain brothers, Louis or Antoine. It is in the collection of the Louvre.The Le Nain brothers, Antoine Le Nain (c.1600–1648), Louis Le Nain (c.1603–1648), and Mathieu Le Nain (1607–1677) produced genre works, portraits and portrait miniatures in 17th-century France. Because of the similarity of their styles of painting and the fact that they signed their paintings only with their surnames they are commonly referred to collectively as Le Nain.
This particular genre painting depicts three generations of a peasant family relaxing by the fireside round a table in the evening. Light coming from a window illuminates their faces and the folds of their simple clothes. By virtue of its size, quality and character it is considered one of the Le Nain's masterpieces. | [
"Louvre",
"Le Nain"
] |
|
15341_NT | Peasant Family in an Interior | How does this artwork elucidate its abstract? | Peasant Family in an Interior is a large oil painting executed c.1642 by one or more of the French Le Nain brothers, Louis or Antoine. It is in the collection of the Louvre.The Le Nain brothers, Antoine Le Nain (c.1600–1648), Louis Le Nain (c.1603–1648), and Mathieu Le Nain (1607–1677) produced genre works, portraits and portrait miniatures in 17th-century France. Because of the similarity of their styles of painting and the fact that they signed their paintings only with their surnames they are commonly referred to collectively as Le Nain.
This particular genre painting depicts three generations of a peasant family relaxing by the fireside round a table in the evening. Light coming from a window illuminates their faces and the folds of their simple clothes. By virtue of its size, quality and character it is considered one of the Le Nain's masterpieces. | [
"Louvre",
"Le Nain"
] |
|
15342_T | Theft of The Weeping Woman from the National Gallery of Victoria | In Theft of The Weeping Woman from the National Gallery of Victoria, how is the The painting discussed? | After painting Guernica, Pablo Picasso created a series of works depicting one of the figures in the work, a weeping woman. The model for these works was his mistress Dora Maar. The definitive work in the series is in the collection of the Tate Modern in the United Kingdom.One of the series was painted on 18 October 1937, and is oil on canvas, 55 centimetres by 46 centimetres. While the painting at the Tate Modern is in bright reds, blues and yellows, the 18 October work has been described as "an unsettling combination of acid greens and vibrant mauves exaggerated by thick black outlines". This is the painting that was purchased by the National Gallery of Victoria in 1985 for A$1.6 million.Before the National Gallery of Victoria bought its Weeping Woman, the highest price paid by a major gallery in Australia for a painting was for Jackson Pollock's Blue Poles, which was purchased by the National Gallery of Australia in 1973 for A$1.3 million. Commenting on the purchase of The Weeping Woman, director of the National Gallery of Victoria Patrick McCaughey said its recent acquisition is "the most expensive purchase by any Australian gallery", and, "This face is going to haunt Melbourne for the next 100 years."In 2016, the National Gallery of Victoria's Weeping Woman has been reported as valued by Sotheby's as worth A$100 million. | [
"Dora Maar",
"Victoria",
"Blue Poles",
"Patrick McCaughey",
"right",
"Tate Modern",
"oil on canvas",
"The Weeping Woman",
"Pablo Picasso",
"Sotheby's",
"Guernica",
"Jackson Pollock",
"National Gallery of Australia",
"Melbourne",
"National Gallery of Victoria"
] |
|
15342_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In this artwork, how is the The painting discussed? | After painting Guernica, Pablo Picasso created a series of works depicting one of the figures in the work, a weeping woman. The model for these works was his mistress Dora Maar. The definitive work in the series is in the collection of the Tate Modern in the United Kingdom.One of the series was painted on 18 October 1937, and is oil on canvas, 55 centimetres by 46 centimetres. While the painting at the Tate Modern is in bright reds, blues and yellows, the 18 October work has been described as "an unsettling combination of acid greens and vibrant mauves exaggerated by thick black outlines". This is the painting that was purchased by the National Gallery of Victoria in 1985 for A$1.6 million.Before the National Gallery of Victoria bought its Weeping Woman, the highest price paid by a major gallery in Australia for a painting was for Jackson Pollock's Blue Poles, which was purchased by the National Gallery of Australia in 1973 for A$1.3 million. Commenting on the purchase of The Weeping Woman, director of the National Gallery of Victoria Patrick McCaughey said its recent acquisition is "the most expensive purchase by any Australian gallery", and, "This face is going to haunt Melbourne for the next 100 years."In 2016, the National Gallery of Victoria's Weeping Woman has been reported as valued by Sotheby's as worth A$100 million. | [
"Dora Maar",
"Victoria",
"Blue Poles",
"Patrick McCaughey",
"right",
"Tate Modern",
"oil on canvas",
"The Weeping Woman",
"Pablo Picasso",
"Sotheby's",
"Guernica",
"Jackson Pollock",
"National Gallery of Australia",
"Melbourne",
"National Gallery of Victoria"
] |
|
15343_T | Theft of The Weeping Woman from the National Gallery of Victoria | Focus on Theft of The Weeping Woman from the National Gallery of Victoria and explore the The theft. | On Saturday, 2 August 1986, thieves obtained access to the National Gallery of Victoria and unscrewed the painting from its wall mounting. They removed the mounted canvas from its frame and left the gallery undetected. McCaughey stated that a specialised type of screwdriver, not available to the public, would have been required to take the painting off the wall. It has been suggested that the thieves knew their art history: the method of the theft was an ironic homage to the 1911 theft of the Mona Lisa from the Louvre. (In 1911, Picasso and his contemporary Guillaume Apollinaire were both suspects in the Mona Lisa theft, but were cleared of any association with the crime.)
The theft of The Weeping Woman was not noticed until Monday, 4 August 1986. The thieves had left a card indicating that the painting had been removed for routine maintenance. Staff had assumed that "ACT" on the card – the initials of the "Australian Cultural Terrorists" – referred to the Australian Capital Territory, and that the painting had been transferred to the National Gallery of Australia in Canberra. Initially it was suspected that the crime might have been perpetrated by a gang of international art smugglers, and the possibility of an "inside job" was not considered.The painting itself was not insured. Then-Arts Minister Race Mathews noted that the price of insurance was prohibitive for such major works of art. | [
"Victoria",
"inside job",
"screwdriver",
"Australian Capital Territory",
"Guillaume Apollinaire",
"The Weeping Woman",
"Louvre",
"Race Mathews",
"Canberra",
"homage",
"National Gallery of Australia",
"National Gallery of Victoria",
"Mona Lisa",
"insured"
] |
|
15343_NT | Theft of The Weeping Woman from the National Gallery of Victoria | Focus on this artwork and explore the The theft. | On Saturday, 2 August 1986, thieves obtained access to the National Gallery of Victoria and unscrewed the painting from its wall mounting. They removed the mounted canvas from its frame and left the gallery undetected. McCaughey stated that a specialised type of screwdriver, not available to the public, would have been required to take the painting off the wall. It has been suggested that the thieves knew their art history: the method of the theft was an ironic homage to the 1911 theft of the Mona Lisa from the Louvre. (In 1911, Picasso and his contemporary Guillaume Apollinaire were both suspects in the Mona Lisa theft, but were cleared of any association with the crime.)
The theft of The Weeping Woman was not noticed until Monday, 4 August 1986. The thieves had left a card indicating that the painting had been removed for routine maintenance. Staff had assumed that "ACT" on the card – the initials of the "Australian Cultural Terrorists" – referred to the Australian Capital Territory, and that the painting had been transferred to the National Gallery of Australia in Canberra. Initially it was suspected that the crime might have been perpetrated by a gang of international art smugglers, and the possibility of an "inside job" was not considered.The painting itself was not insured. Then-Arts Minister Race Mathews noted that the price of insurance was prohibitive for such major works of art. | [
"Victoria",
"inside job",
"screwdriver",
"Australian Capital Territory",
"Guillaume Apollinaire",
"The Weeping Woman",
"Louvre",
"Race Mathews",
"Canberra",
"homage",
"National Gallery of Australia",
"National Gallery of Victoria",
"Mona Lisa",
"insured"
] |
|
15344_T | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of Theft of The Weeping Woman from the National Gallery of Victoria, explain the Demands and insults of the The theft. | We have stolen the Picasso from the National Gallery as a protest against the niggardly funding of the fine arts in this hick State and against the clumsy, unimaginitive stupidity of the administration and distribution of that funding.
Two conditions must be publicly agreed upon if the painting is to be returned.
1. The Minister must announce a commitment to increasing the funding of the arts by 10% in real terms over the next three years, and must agree to appoint an independent committee to enquire into the mechanics of the funding of the arts with a view to releasing money from its administration and making it available to artists.
2. The Minister must announce a new annual prize for painting open to artists under thirty years of age. Five prizes of $5000 are to be awarded. A fund is to be established to ensure that the real value of the prizes is maintained each year. The prize is to be called The Picasso Ransom.
Because the Minister of the Arts is also Minister of Plod, we are allowing him a sporting seven days in which to try to have us arrested while he deliberates. There will be no negotiation. At the end of seven days if our demands have not been met the painting will be destroyed and our campaign continue.
Your very humble servants,
Australian Cultural Terrorists
The "Australian Cultural Terrorists" wrote two letters to Mathews, who was addressed as "Rank Mathews". The first letter demanded that funding for the arts be increased by ten per cent over a three-year period. The thieves also demanded that an art prize be set up, worth A$$25 000 and to be called "The Picasso Ransom" prize, or for five separate prizes to be awarded to young Australian artists. The thieves communiqués were loaded with insults; the first letter referred to Mathews, who was also Police Minister, as "Minister of Plod", while the second letter described him as a "tiresome old bag of swamp gas" and a "pompous fathead". The second letter also threatened that if the demands were not met, the painting would be burnt. | [
"Plod"
] |
|
15344_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of this artwork, explain the Demands and insults of the The theft. | We have stolen the Picasso from the National Gallery as a protest against the niggardly funding of the fine arts in this hick State and against the clumsy, unimaginitive stupidity of the administration and distribution of that funding.
Two conditions must be publicly agreed upon if the painting is to be returned.
1. The Minister must announce a commitment to increasing the funding of the arts by 10% in real terms over the next three years, and must agree to appoint an independent committee to enquire into the mechanics of the funding of the arts with a view to releasing money from its administration and making it available to artists.
2. The Minister must announce a new annual prize for painting open to artists under thirty years of age. Five prizes of $5000 are to be awarded. A fund is to be established to ensure that the real value of the prizes is maintained each year. The prize is to be called The Picasso Ransom.
Because the Minister of the Arts is also Minister of Plod, we are allowing him a sporting seven days in which to try to have us arrested while he deliberates. There will be no negotiation. At the end of seven days if our demands have not been met the painting will be destroyed and our campaign continue.
Your very humble servants,
Australian Cultural Terrorists
The "Australian Cultural Terrorists" wrote two letters to Mathews, who was addressed as "Rank Mathews". The first letter demanded that funding for the arts be increased by ten per cent over a three-year period. The thieves also demanded that an art prize be set up, worth A$$25 000 and to be called "The Picasso Ransom" prize, or for five separate prizes to be awarded to young Australian artists. The thieves communiqués were loaded with insults; the first letter referred to Mathews, who was also Police Minister, as "Minister of Plod", while the second letter described him as a "tiresome old bag of swamp gas" and a "pompous fathead". The second letter also threatened that if the demands were not met, the painting would be burnt. | [
"Plod"
] |
|
15345_T | Theft of The Weeping Woman from the National Gallery of Victoria | Explore the Official responses about the The theft of this artwork, Theft of The Weeping Woman from the National Gallery of Victoria. | The Victorian government refused to accept any of the demands and offered a A$50,000 reward for information leading to the capture of the perpetrators. Mathews was reported as saying: "I can't imagine that anybody who had genuinely at heart the interests either of art or of art lovers could have perpetrated an action of this sort." McCaughey was reported to have said, "We live in a philistine nation but a civilised city." | [
"Victoria",
"Victorian government"
] |
|
15345_NT | Theft of The Weeping Woman from the National Gallery of Victoria | Explore the Official responses about the The theft of this artwork. | The Victorian government refused to accept any of the demands and offered a A$50,000 reward for information leading to the capture of the perpetrators. Mathews was reported as saying: "I can't imagine that anybody who had genuinely at heart the interests either of art or of art lovers could have perpetrated an action of this sort." McCaughey was reported to have said, "We live in a philistine nation but a civilised city." | [
"Victoria",
"Victorian government"
] |
|
15346_T | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of Theft of The Weeping Woman from the National Gallery of Victoria, discuss the Recovery of the The theft. | In his 2003 memoir, The Bright Shapes and the True Names, McCaughey wrote that, a few days before the painting was recovered, a Melbourne art dealer called him to say that a young artist may know something about the theft. When he visited the artist's studio, McCaughey writes, he made a point to say that he was interested in the return of the painting, not a conviction for the crime: "I said deliberately, at least twice, that the people who had taken the work could deposit it in a luggage locker at Spencer Street railway station or at Tullamarine Airport."Two days later, on 19 August 1986, following an anonymous phone call to police, the painting was found undamaged and carefully wrapped in brown paper tied with string in locker number 227 at Spencer Street station. The locker was opened with a station staff master key. Police stated that the painting was packed in such a way as to ensure that it would not be damaged, suggesting "quite possibly someone in the art world or on the fringes of the art world." McCaughey himself later formally identified the painting.A third letter from the "Australian Cultural Terrorists" was included with the work. Its content was not initially released to the public. An extract printed in The Age read:Of course we never looked to have our demands met ... Our intention was always to bring to public attention the plight of a group which lacks any of the legitimate means of blackmailing governments. | [
"right",
"The Age",
"Spencer Street railway station",
"blackmail",
"Tullamarine Airport",
"Melbourne"
] |
|
15346_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of this artwork, discuss the Recovery of the The theft. | In his 2003 memoir, The Bright Shapes and the True Names, McCaughey wrote that, a few days before the painting was recovered, a Melbourne art dealer called him to say that a young artist may know something about the theft. When he visited the artist's studio, McCaughey writes, he made a point to say that he was interested in the return of the painting, not a conviction for the crime: "I said deliberately, at least twice, that the people who had taken the work could deposit it in a luggage locker at Spencer Street railway station or at Tullamarine Airport."Two days later, on 19 August 1986, following an anonymous phone call to police, the painting was found undamaged and carefully wrapped in brown paper tied with string in locker number 227 at Spencer Street station. The locker was opened with a station staff master key. Police stated that the painting was packed in such a way as to ensure that it would not be damaged, suggesting "quite possibly someone in the art world or on the fringes of the art world." McCaughey himself later formally identified the painting.A third letter from the "Australian Cultural Terrorists" was included with the work. Its content was not initially released to the public. An extract printed in The Age read:Of course we never looked to have our demands met ... Our intention was always to bring to public attention the plight of a group which lacks any of the legitimate means of blackmailing governments. | [
"right",
"The Age",
"Spencer Street railway station",
"blackmail",
"Tullamarine Airport",
"Melbourne"
] |
|
15347_T | Theft of The Weeping Woman from the National Gallery of Victoria | In Theft of The Weeping Woman from the National Gallery of Victoria, how is the Closure of crime investigation of the The theft elucidated? | On 11 January 1989, The Age reported that the case had been closed, and no further investigations would be made into the theft until solid evidence was presented that any persons, including gallery staff, were involved in the theft. | [
"The Age"
] |
|
15347_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In this artwork, how is the Closure of crime investigation of the The theft elucidated? | On 11 January 1989, The Age reported that the case had been closed, and no further investigations would be made into the theft until solid evidence was presented that any persons, including gallery staff, were involved in the theft. | [
"The Age"
] |
|
15348_T | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of Theft of The Weeping Woman from the National Gallery of Victoria, analyze the Contemporary reactions to the theft of the The theft. | In August 1986, while the painting was yet to be recovered, then-Australian Treasurer Paul Keating was caricatured in a political cartoon as the "Weeping Woman", his cause of sorrow being the 1986 Federal Budget.According to McCaughey, "a philistine piece" was written by B. A. Santamaria at around the same time, which urged that if the "Australian Cultural Terrorists" had in fact destroyed Picasso's work, they be awarded the Order of Australia.A columnist in The Age commented that the thieves had "nicked Picasso's Weeping Woman from McCaughey Mansions", a reference to an old radio program, "McCackie Mansion", involving Mo McCackie, a character created by the late comedian, Roy Rene.Chilean Australian artist Juan Davila painted a work titled Picasso Theft and offered to donate it to the National Gallery of Victoria in place of the stolen painting. Davila wrote that "mine is a real one". | [
"Paul Keating",
"Victoria",
"Federal Budget",
"political cartoon",
"Juan Davila",
"The Age",
"Order of Australia",
"Australian Treasurer",
"Roy Rene",
"National Gallery of Victoria",
"Chilean Australian",
"B. A. Santamaria"
] |
|
15348_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of this artwork, analyze the Contemporary reactions to the theft of the The theft. | In August 1986, while the painting was yet to be recovered, then-Australian Treasurer Paul Keating was caricatured in a political cartoon as the "Weeping Woman", his cause of sorrow being the 1986 Federal Budget.According to McCaughey, "a philistine piece" was written by B. A. Santamaria at around the same time, which urged that if the "Australian Cultural Terrorists" had in fact destroyed Picasso's work, they be awarded the Order of Australia.A columnist in The Age commented that the thieves had "nicked Picasso's Weeping Woman from McCaughey Mansions", a reference to an old radio program, "McCackie Mansion", involving Mo McCackie, a character created by the late comedian, Roy Rene.Chilean Australian artist Juan Davila painted a work titled Picasso Theft and offered to donate it to the National Gallery of Victoria in place of the stolen painting. Davila wrote that "mine is a real one". | [
"Paul Keating",
"Victoria",
"Federal Budget",
"political cartoon",
"Juan Davila",
"The Age",
"Order of Australia",
"Australian Treasurer",
"Roy Rene",
"National Gallery of Victoria",
"Chilean Australian",
"B. A. Santamaria"
] |
|
15349_T | Theft of The Weeping Woman from the National Gallery of Victoria | In Theft of The Weeping Woman from the National Gallery of Victoria, how is the Legacy discussed? | The crime was described in 2009 as "still Australia's greatest unsolved art heist". In 2010, in the context of a theft of an entire private collection worth A$$2 million and the theft of a Frans van Mieris self-portrait valued at A$1.4 million from the Art Gallery of New South Wales in 2004, it was referred to as "most famous art heist in Australia".On the 20th anniversary of the theft, Australian online magazine Crikey described the thieves as "more than likely just a bunch of naughty boys" and that it was regarded by some in the arts community as a work of "performance art" and a political act in response to the "cultural cringe".In 2011, John Brack's Collins St., 5 pm was voted the most popular work in the collection of the National Gallery of Victoria. The Weeping Woman was the fourth most popular. The work itself was described in 2012 as "the National Gallery of Victoria's much-loved Weeping Woman". | [
"Victoria",
"Collins St., 5 pm",
"Frans van Mieris",
"The Weeping Woman",
"cultural cringe",
"John Brack",
"Crikey",
"Art Gallery of New South Wales",
"National Gallery of Victoria",
"performance art"
] |
|
15349_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In this artwork, how is the Legacy discussed? | The crime was described in 2009 as "still Australia's greatest unsolved art heist". In 2010, in the context of a theft of an entire private collection worth A$$2 million and the theft of a Frans van Mieris self-portrait valued at A$1.4 million from the Art Gallery of New South Wales in 2004, it was referred to as "most famous art heist in Australia".On the 20th anniversary of the theft, Australian online magazine Crikey described the thieves as "more than likely just a bunch of naughty boys" and that it was regarded by some in the arts community as a work of "performance art" and a political act in response to the "cultural cringe".In 2011, John Brack's Collins St., 5 pm was voted the most popular work in the collection of the National Gallery of Victoria. The Weeping Woman was the fourth most popular. The work itself was described in 2012 as "the National Gallery of Victoria's much-loved Weeping Woman". | [
"Victoria",
"Collins St., 5 pm",
"Frans van Mieris",
"The Weeping Woman",
"cultural cringe",
"John Brack",
"Crikey",
"Art Gallery of New South Wales",
"National Gallery of Victoria",
"performance art"
] |
|
15350_T | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of Theft of The Weeping Woman from the National Gallery of Victoria, explore the Film and television of the Legacy. | The 1990 film A Kink in the Picasso was a 'comic and entirely fabricated drama' based on the painting's theft. 'Comedy is always difficult,' wrote reviewer John Mangan, 'even when the most unlikely aspect of the plot - the remarkable ease with which a group of young artists can sneak paintings worth millions of dollars out of art galleries - is based in fact.'The Australian Film Commission funded a documentary by Melbourne independent filmmakers Colin Cairnes and Catherine Dyson about the theft entitled The Picasso Ransom. The film was shown at the 23rd St Kilda Film Festival in 2006. A search was made for Spencer Street station's locker 227, where the painting was found, which supposedly was taken with others to a regional rail facility, but it had been replaced and could not be located. Since the time of the theft, Spencer Street station has been totally rebuilt and now renamed Southern Cross station. None of the buildings which housed services and facilities for travellers at that date now exist, although the platforms and a now generally inaccessible underground walkway between platforms still exist.
Commencing in late 2021, Framed, a four-part television documentary about the theft presented by Marc Fennell is currently available on Australian broadcaster Special Broadcasting Service's SBS on Demand video on demand service. | [
"Marc Fennell",
"A Kink in the Picasso",
"St Kilda Film Festival",
"SBS on Demand",
"Australian Film Commission",
"video on demand",
"Southern Cross station",
"television documentary",
"Special Broadcasting Service",
"Melbourne",
"The Australian"
] |
|
15350_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of this artwork, explore the Film and television of the Legacy. | The 1990 film A Kink in the Picasso was a 'comic and entirely fabricated drama' based on the painting's theft. 'Comedy is always difficult,' wrote reviewer John Mangan, 'even when the most unlikely aspect of the plot - the remarkable ease with which a group of young artists can sneak paintings worth millions of dollars out of art galleries - is based in fact.'The Australian Film Commission funded a documentary by Melbourne independent filmmakers Colin Cairnes and Catherine Dyson about the theft entitled The Picasso Ransom. The film was shown at the 23rd St Kilda Film Festival in 2006. A search was made for Spencer Street station's locker 227, where the painting was found, which supposedly was taken with others to a regional rail facility, but it had been replaced and could not be located. Since the time of the theft, Spencer Street station has been totally rebuilt and now renamed Southern Cross station. None of the buildings which housed services and facilities for travellers at that date now exist, although the platforms and a now generally inaccessible underground walkway between platforms still exist.
Commencing in late 2021, Framed, a four-part television documentary about the theft presented by Marc Fennell is currently available on Australian broadcaster Special Broadcasting Service's SBS on Demand video on demand service. | [
"Marc Fennell",
"A Kink in the Picasso",
"St Kilda Film Festival",
"SBS on Demand",
"Australian Film Commission",
"video on demand",
"Southern Cross station",
"television documentary",
"Special Broadcasting Service",
"Melbourne",
"The Australian"
] |
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