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15351_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 Novels of the Legacy. | Stealing Picasso, Australian writer Anson Cameron's fifth novel, published in 2009, was based on the incident. It includes entirely fictional narrative as well as fictionalised references to actual people and events.Cairo, a 2013 novel by Australian writer Chris Womersley about life in inner-city Melbourne uses the theft as a theme to describe its narrator's introduction into the bohemian lives of its other characters.The Guy, the Girl, the Artist and his Ex, a 2016 young adult novel by Gabrielle Williams, is a fictional story centered around the theft. While researching for the novel, Williams says that she "interviewed a number of people, some of who may or may not have been the actual Australian Cultural Terrorists". | [
"bohemian",
"Cairo",
"Anson Cameron",
"Melbourne",
"Chris Womersley"
] |
|
15351_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of this artwork, explain the Novels of the Legacy. | Stealing Picasso, Australian writer Anson Cameron's fifth novel, published in 2009, was based on the incident. It includes entirely fictional narrative as well as fictionalised references to actual people and events.Cairo, a 2013 novel by Australian writer Chris Womersley about life in inner-city Melbourne uses the theft as a theme to describe its narrator's introduction into the bohemian lives of its other characters.The Guy, the Girl, the Artist and his Ex, a 2016 young adult novel by Gabrielle Williams, is a fictional story centered around the theft. While researching for the novel, Williams says that she "interviewed a number of people, some of who may or may not have been the actual Australian Cultural Terrorists". | [
"bohemian",
"Cairo",
"Anson Cameron",
"Melbourne",
"Chris Womersley"
] |
|
15352_T | Theft of The Weeping Woman from the National Gallery of Victoria | Explore the Security measures about the Legacy of this artwork, Theft of The Weeping Woman from the National Gallery of Victoria. | In 2012, the work was shown as part of "Theatre of the World", a joint exhibition of the Museum of Old and New Art and Tasmanian Museum and Art Gallery, alongside works by Giacometti, Kandinsky, Basquiat, Ernst and Hirst. Museum of Old and New Art staff were not informed of the whereabouts or identity of the work, with a then reported value of up to $50 million, until it was in place. | [
"Hirst",
"Basquiat",
"Kandinsky",
"Ernst",
"Museum of Old and New Art",
"Giacometti",
"Tasmanian Museum and Art Gallery"
] |
|
15352_NT | Theft of The Weeping Woman from the National Gallery of Victoria | Explore the Security measures about the Legacy of this artwork. | In 2012, the work was shown as part of "Theatre of the World", a joint exhibition of the Museum of Old and New Art and Tasmanian Museum and Art Gallery, alongside works by Giacometti, Kandinsky, Basquiat, Ernst and Hirst. Museum of Old and New Art staff were not informed of the whereabouts or identity of the work, with a then reported value of up to $50 million, until it was in place. | [
"Hirst",
"Basquiat",
"Kandinsky",
"Ernst",
"Museum of Old and New Art",
"Giacometti",
"Tasmanian Museum and Art Gallery"
] |
|
15353_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 Humour of the Legacy. | The end of a disappointing 2012 AFL season for Australian football team Essendon Football Club was illustrated by a description of there being two well-known weeping figures within walking distance of each other in Melbourne: Essendon coach James Hird at the Melbourne Cricket Ground as well as "the famous one at the National Gallery of Victoria". | [
"Victoria",
"Melbourne Cricket Ground",
"Australian football",
"2012 AFL season",
"Melbourne",
"National Gallery of Victoria",
"James Hird",
"Essendon Football Club"
] |
|
15353_NT | Theft of The Weeping Woman from the National Gallery of Victoria | In the context of this artwork, discuss the Humour of the Legacy. | The end of a disappointing 2012 AFL season for Australian football team Essendon Football Club was illustrated by a description of there being two well-known weeping figures within walking distance of each other in Melbourne: Essendon coach James Hird at the Melbourne Cricket Ground as well as "the famous one at the National Gallery of Victoria". | [
"Victoria",
"Melbourne Cricket Ground",
"Australian football",
"2012 AFL season",
"Melbourne",
"National Gallery of Victoria",
"James Hird",
"Essendon Football Club"
] |
|
15354_T | Boy Peeling Fruit | How does Boy Peeling Fruit elucidate its abstract? | Boy Peeling Fruit is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610) painted circa 1592–1593.
This is the earliest known work by Caravaggio, painted soon after his arrival in Rome from his native Milan in mid 1592. His movements in this period are not certain. According to his contemporary Giulio Mancini he stayed for a short time with Monsignor Pandulfo Pucci in the Palazzo Colonna, but disliked the way Pucci treated him and left after a few months. (Pucci fed his boarders exclusively on greens, and Caravaggio referred to him later as 'Monsignor Salad'). He copied religious pictures for Pucci, (none survive), and apparently did a few pieces of his own for personal sale, of which Boy Peeling a Fruit would be the only known example. The piece may also date from slightly later, when he was working for Giuseppe Cesari, the "cavaliere d'Arpino". As Caravaggio is said to have been painting only "flowers and fruit" for d'Arpino, this would again be a personal piece done for sale outside the workshop, but it was among the works seized from d'Alpino by Cardinal Scipione Borghese in 1607, together with two other early Caravaggios, the Young Sick Bacchus and the Boy with a Basket of Fruit. It is not known how these works came to be in Cesari's collection at the time.
The fruit being peeled by the boy is something of a mystery. Sources indicate it may be a pear, which is probably correct but has been questioned; it may be a nectarine or plum, several of which lie on the table, but these are not usually peeled; some have suggested a bergamot, a pear-shaped citrus fruit grown in Italy, but others object that the bergamot is sour and practically inedible.
Seen as a simple genre painting, it differs from most in that the boy is not 'rusticated,' that is, he is depicted as clean and well-dressed instead of as a 'cute' ragamuffin. An allegoric meaning behind the painting is plausible, given the complex Renaissance symbology of fruit. Caravaggio scholar John T. Spike has recently suggested that the boy demonstrates resistance to temptation by ignoring the sweeter fruits (fruits of sin) in favour of the bergamot, but no specific reading is widely accepted.
The model is thought to bear a resemblance to the angel in Caravaggio's Ecstasy of Saint Francis and to the boy dressed as Cupid on the far left in his Young Musicians, both about 1595 to 1597.
Several other versions of the work are known, all of which may be by Caravaggio; it has been suggested that at the early stage of his career, while he was still in the studio of Cavalier d'Arpino, Caravaggio's paintings were put in the studio's shop window, and if they attracted the attention of passing buyers, Caravaggio would feed the demand with additional versions. John T. Spike identified the likely original as a painting auctioned in London that year, although others have argued that either the Ishizuka version or that in the British Royal Collection could be the prototype. The version in the Royal Collection has been on display in the Cumberland Gallery of Hampton Court Palace since 2004. Other copies identified include models in private collections in Berlin and Rome. | [
"Young Musicians",
"Ecstasy of Saint Francis",
"Milan",
"bergamot",
"Scipione Borghese",
"M",
"Boy with a Basket of Fruit",
"Baroque",
"Renaissance",
"Caravaggio",
"Ishizuka version",
"Cupid",
"Giuseppe Cesari",
"Italy",
"Italian",
"plum",
"nectarine",
"Royal Collection",
"pear",
"Hampton Court Palace",
"Young Sick Bacchus"
] |
|
15354_NT | Boy Peeling Fruit | How does this artwork elucidate its abstract? | Boy Peeling Fruit is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610) painted circa 1592–1593.
This is the earliest known work by Caravaggio, painted soon after his arrival in Rome from his native Milan in mid 1592. His movements in this period are not certain. According to his contemporary Giulio Mancini he stayed for a short time with Monsignor Pandulfo Pucci in the Palazzo Colonna, but disliked the way Pucci treated him and left after a few months. (Pucci fed his boarders exclusively on greens, and Caravaggio referred to him later as 'Monsignor Salad'). He copied religious pictures for Pucci, (none survive), and apparently did a few pieces of his own for personal sale, of which Boy Peeling a Fruit would be the only known example. The piece may also date from slightly later, when he was working for Giuseppe Cesari, the "cavaliere d'Arpino". As Caravaggio is said to have been painting only "flowers and fruit" for d'Arpino, this would again be a personal piece done for sale outside the workshop, but it was among the works seized from d'Alpino by Cardinal Scipione Borghese in 1607, together with two other early Caravaggios, the Young Sick Bacchus and the Boy with a Basket of Fruit. It is not known how these works came to be in Cesari's collection at the time.
The fruit being peeled by the boy is something of a mystery. Sources indicate it may be a pear, which is probably correct but has been questioned; it may be a nectarine or plum, several of which lie on the table, but these are not usually peeled; some have suggested a bergamot, a pear-shaped citrus fruit grown in Italy, but others object that the bergamot is sour and practically inedible.
Seen as a simple genre painting, it differs from most in that the boy is not 'rusticated,' that is, he is depicted as clean and well-dressed instead of as a 'cute' ragamuffin. An allegoric meaning behind the painting is plausible, given the complex Renaissance symbology of fruit. Caravaggio scholar John T. Spike has recently suggested that the boy demonstrates resistance to temptation by ignoring the sweeter fruits (fruits of sin) in favour of the bergamot, but no specific reading is widely accepted.
The model is thought to bear a resemblance to the angel in Caravaggio's Ecstasy of Saint Francis and to the boy dressed as Cupid on the far left in his Young Musicians, both about 1595 to 1597.
Several other versions of the work are known, all of which may be by Caravaggio; it has been suggested that at the early stage of his career, while he was still in the studio of Cavalier d'Arpino, Caravaggio's paintings were put in the studio's shop window, and if they attracted the attention of passing buyers, Caravaggio would feed the demand with additional versions. John T. Spike identified the likely original as a painting auctioned in London that year, although others have argued that either the Ishizuka version or that in the British Royal Collection could be the prototype. The version in the Royal Collection has been on display in the Cumberland Gallery of Hampton Court Palace since 2004. Other copies identified include models in private collections in Berlin and Rome. | [
"Young Musicians",
"Ecstasy of Saint Francis",
"Milan",
"bergamot",
"Scipione Borghese",
"M",
"Boy with a Basket of Fruit",
"Baroque",
"Renaissance",
"Caravaggio",
"Ishizuka version",
"Cupid",
"Giuseppe Cesari",
"Italy",
"Italian",
"plum",
"nectarine",
"Royal Collection",
"pear",
"Hampton Court Palace",
"Young Sick Bacchus"
] |
|
15355_T | Boy Peeling Fruit | Focus on Boy Peeling Fruit and analyze the Sources and references. | Caravaggio's fruit
Caravaggio's secular paintings
Peter Robb, M (1998) ISBN 0-312-27474-2ISBN 0-7475-4858-7 | [
"M",
"Caravaggio",
"Peter Robb"
] |
|
15355_NT | Boy Peeling Fruit | Focus on this artwork and analyze the Sources and references. | Caravaggio's fruit
Caravaggio's secular paintings
Peter Robb, M (1998) ISBN 0-312-27474-2ISBN 0-7475-4858-7 | [
"M",
"Caravaggio",
"Peter Robb"
] |
|
15356_T | On the Beach (painting) | In On the Beach (painting), how is the abstract discussed? | On the Beach is a 1908 oil on canvas painting by Eugen de Blaas held in a private collection. | [
"Eugen de Blaas"
] |
|
15356_NT | On the Beach (painting) | In this artwork, how is the abstract discussed? | On the Beach is a 1908 oil on canvas painting by Eugen de Blaas held in a private collection. | [
"Eugen de Blaas"
] |
|
15357_T | On the Beach (painting) | Focus on On the Beach (painting) and explore the Description. | This 43.2 by 73.7 centimetres (17.0 in × 29.0 in) oil painting was created by Eugen de Blaas in 1908. The work centers on a clothed but barefoot woman. Standing on a beach, she places her hands behind her head. Next to her is a basket. The woman and the basket are detailed, while in the background, we see vegetation with little detail. The blur increases in the background with a body of water, buildings and the sky. | [
"Eugen de Blaas"
] |
|
15357_NT | On the Beach (painting) | Focus on this artwork and explore the Description. | This 43.2 by 73.7 centimetres (17.0 in × 29.0 in) oil painting was created by Eugen de Blaas in 1908. The work centers on a clothed but barefoot woman. Standing on a beach, she places her hands behind her head. Next to her is a basket. The woman and the basket are detailed, while in the background, we see vegetation with little detail. The blur increases in the background with a body of water, buildings and the sky. | [
"Eugen de Blaas"
] |
|
15358_T | The Man with the Golden Helmet | Focus on The Man with the Golden Helmet and explain the abstract. | The Man with the Golden Helmet (c. 1650) is an oil-on-canvas painting formerly attributed to the Dutch painter Rembrandt and today considered to be a work by someone in his circle. The Man with the Golden Helmet is an example of Dutch Golden Age painting and is now in the collection of the Gemäldegalerie, Berlin. | [
"Berlin",
"Gemäldegalerie, Berlin",
"Dutch",
"oil",
"Rembrandt",
"Dutch Golden Age painting"
] |
|
15358_NT | The Man with the Golden Helmet | Focus on this artwork and explain the abstract. | The Man with the Golden Helmet (c. 1650) is an oil-on-canvas painting formerly attributed to the Dutch painter Rembrandt and today considered to be a work by someone in his circle. The Man with the Golden Helmet is an example of Dutch Golden Age painting and is now in the collection of the Gemäldegalerie, Berlin. | [
"Berlin",
"Gemäldegalerie, Berlin",
"Dutch",
"oil",
"Rembrandt",
"Dutch Golden Age painting"
] |
|
15359_T | The Man with the Golden Helmet | Explore the Attribution of this artwork, The Man with the Golden Helmet. | Categorized as a work by Rembrandt for many years, doubts were expressed as to its provenance in 1984 by a Dutch curators' commission specifically created to investigate Rembrandt's works of questionable authenticity. They made their remarks while viewing the painting in West Berlin.
In November 1985, Berlin-based art expert Jan Kelch announced that important details in the painting's style did not match the style of Rembrandt's known works, and that the painting was probably painted in 1650 by one of Rembrandt's students.
"It is not a fake," Kelch averred. "It remains a great masterful work." | [
"Berlin",
"Dutch",
"West Berlin",
"Rembrandt"
] |
|
15359_NT | The Man with the Golden Helmet | Explore the Attribution of this artwork. | Categorized as a work by Rembrandt for many years, doubts were expressed as to its provenance in 1984 by a Dutch curators' commission specifically created to investigate Rembrandt's works of questionable authenticity. They made their remarks while viewing the painting in West Berlin.
In November 1985, Berlin-based art expert Jan Kelch announced that important details in the painting's style did not match the style of Rembrandt's known works, and that the painting was probably painted in 1650 by one of Rembrandt's students.
"It is not a fake," Kelch averred. "It remains a great masterful work." | [
"Berlin",
"Dutch",
"West Berlin",
"Rembrandt"
] |
|
15360_T | The Man with the Golden Helmet | Focus on The Man with the Golden Helmet and discuss the Documentation. | This painting was documented by Hofstede de Groot in 1915, who wrote:261. AN ELDERLY MAN WITH A GILT HELMET. B.-HdG. 356. He is turned a little to the right; his eyes are cast down. He wears a dark coat with purplish-red sleeves. On his head is a richly wrought gilt helmet with ear-pieces and a plume of short white and red feathers. Dark background. Strong light falls from the left at top on tin helmet and, touching the face as it passes, on the breast. Life size, half-length. The sitter is identified as Rembrandt's brother Adriaen. But as Adriaen was a poor shoemaker in Leyden while Rembrandt lived in Amsterdam, and as moreover Adriaen van Rijn died in 1652 while this model occurs in pictures of the year 1654, the identification is not very probable. Painted about 1650. See the notes to 384 and 442; cf. 420, 423.
Canvas, 26 1/2 inches by 20 1/2 inches.
Exhibited at Amsterdam, 1898, No. 75.
Mentioned by Bode, Oud Holland, 1891, p. 4; by Dr. Laban, Zeitschrift für bildende Kunst, 1898, pp. 73, etc.
Acquired from the De Boccard collection, Fribourg, Switzerland, by the London dealers P. and D. Colnaghi; bought from them in 1897 by the Kaiser Friedrich Museumverein, Berlin, and since exhibited--
In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 811A. | [
"Hofstede de Groot",
"Berlin",
"Bode",
"Rembrandt"
] |
|
15360_NT | The Man with the Golden Helmet | Focus on this artwork and discuss the Documentation. | This painting was documented by Hofstede de Groot in 1915, who wrote:261. AN ELDERLY MAN WITH A GILT HELMET. B.-HdG. 356. He is turned a little to the right; his eyes are cast down. He wears a dark coat with purplish-red sleeves. On his head is a richly wrought gilt helmet with ear-pieces and a plume of short white and red feathers. Dark background. Strong light falls from the left at top on tin helmet and, touching the face as it passes, on the breast. Life size, half-length. The sitter is identified as Rembrandt's brother Adriaen. But as Adriaen was a poor shoemaker in Leyden while Rembrandt lived in Amsterdam, and as moreover Adriaen van Rijn died in 1652 while this model occurs in pictures of the year 1654, the identification is not very probable. Painted about 1650. See the notes to 384 and 442; cf. 420, 423.
Canvas, 26 1/2 inches by 20 1/2 inches.
Exhibited at Amsterdam, 1898, No. 75.
Mentioned by Bode, Oud Holland, 1891, p. 4; by Dr. Laban, Zeitschrift für bildende Kunst, 1898, pp. 73, etc.
Acquired from the De Boccard collection, Fribourg, Switzerland, by the London dealers P. and D. Colnaghi; bought from them in 1897 by the Kaiser Friedrich Museumverein, Berlin, and since exhibited--
In the Kaiser Friedrich Museum, Berlin, 1911 catalogue, No. 811A. | [
"Hofstede de Groot",
"Berlin",
"Bode",
"Rembrandt"
] |
|
15361_T | Referee (Queoff) | How does Referee (Queoff) elucidate its abstract? | Referee is a public artwork by American artist Tom Queoff, located on the south entrance of the UW–Milwaukee Panther Arena, which is in Milwaukee, Wisconsin, United States. The 9 foot laminated marble sculpture depicts an abstracted referee with legs spread apart and arms raised. | [
"American",
"referee",
"marble",
"United States",
"Wisconsin",
"UW–Milwaukee Panther Arena",
"Milwaukee",
"Tom Queoff",
"Referee"
] |
|
15361_NT | Referee (Queoff) | How does this artwork elucidate its abstract? | Referee is a public artwork by American artist Tom Queoff, located on the south entrance of the UW–Milwaukee Panther Arena, which is in Milwaukee, Wisconsin, United States. The 9 foot laminated marble sculpture depicts an abstracted referee with legs spread apart and arms raised. | [
"American",
"referee",
"marble",
"United States",
"Wisconsin",
"UW–Milwaukee Panther Arena",
"Milwaukee",
"Tom Queoff",
"Referee"
] |
|
15362_T | Referee (Queoff) | Focus on Referee (Queoff) and analyze the Description. | Tom Queoff's Referee is made of white laminated travertine marble which has been carved into the simplified figure of a referee. The referee stands with his legs out in an inverted "V" shape, and has both arms raised up and bent at the elbows. His face consists of a negative oval space. There are no inscriptions on the sculpture. | [
"referee",
"marble",
"Tom Queoff",
"Referee"
] |
|
15362_NT | Referee (Queoff) | Focus on this artwork and analyze the Description. | Tom Queoff's Referee is made of white laminated travertine marble which has been carved into the simplified figure of a referee. The referee stands with his legs out in an inverted "V" shape, and has both arms raised up and bent at the elbows. His face consists of a negative oval space. There are no inscriptions on the sculpture. | [
"referee",
"marble",
"Tom Queoff",
"Referee"
] |
|
15363_T | Referee (Queoff) | In Referee (Queoff), how is the Historical information discussed? | Referee was funded through the Comprehensive Employment and Training Act (CETA), a program that operated in Wisconsin from 1977 through 1981. The program's goal was to give university-trained artists the opportunity to create artworks, while finding them employment within their communities. Thirty Wisconsin artists participated in CETA during its short run. Tom Queoff joined the City of Milwaukee's CETA from 1977 to 1978. During this time he shared a studio with another sculptor, and worked on various art projects for the city. One of these projects was Referee. Since CETA could not afford to pay for an artist's materials, Queoff had the marble for the sculpture donated by the Milwaukee Marble Company. The marble was the remainders from the First Wisconsin Bank building's construction. The artist laminated the marble pieces together and then carved the sculpture out of this resulting material. Although the artwork sat in storage for some time, it was eventually placed on the south entrance of UW-Milwaukee Panther Arena in Milwaukee. | [
"marble",
"UW-Milwaukee Panther Arena",
"Comprehensive Employment and Training Act",
"finding them employment",
"Wisconsin",
"Milwaukee",
"Tom Queoff",
"Marble",
"Referee"
] |
|
15363_NT | Referee (Queoff) | In this artwork, how is the Historical information discussed? | Referee was funded through the Comprehensive Employment and Training Act (CETA), a program that operated in Wisconsin from 1977 through 1981. The program's goal was to give university-trained artists the opportunity to create artworks, while finding them employment within their communities. Thirty Wisconsin artists participated in CETA during its short run. Tom Queoff joined the City of Milwaukee's CETA from 1977 to 1978. During this time he shared a studio with another sculptor, and worked on various art projects for the city. One of these projects was Referee. Since CETA could not afford to pay for an artist's materials, Queoff had the marble for the sculpture donated by the Milwaukee Marble Company. The marble was the remainders from the First Wisconsin Bank building's construction. The artist laminated the marble pieces together and then carved the sculpture out of this resulting material. Although the artwork sat in storage for some time, it was eventually placed on the south entrance of UW-Milwaukee Panther Arena in Milwaukee. | [
"marble",
"UW-Milwaukee Panther Arena",
"Comprehensive Employment and Training Act",
"finding them employment",
"Wisconsin",
"Milwaukee",
"Tom Queoff",
"Marble",
"Referee"
] |
|
15364_T | Referee (Queoff) | Focus on Referee (Queoff) and explore the Artist. | Tom Queoff was born and raised in Green Bay, Wisconsin. He received a BFA from the University of Wisconsin–Milwaukee in 1975, and an MFA from the same school in 1977. Queoff established the Thomas Queoff Studio and Gallery in 1978. In 1985 he was introduced to snow carving, an activity he excelled at. The sculptor has taught at Cardinal Stritch University and received various awards at snow competitions, including the Finland International Snow Sculpting Championship in 1987 and 1988. Queoff was a member of the 2002 US Olympic snow sculpting team and was named a snow sculpting US National Champion. His studio is currently located in the Historic Third Ward, MilwaukeeTom Queoff created the Miller Valley Veterans Monument, which was unveiled on November 11, 2010, at the MillerCoors Brewery. The sculpture, an American bald eagle, is meant to honor the Miller-Coors employees killed in military action. He also created the sculpture United We Stand in front of Froedtert Hospital. | [
"MillerCoors",
"American",
"Historic Third Ward, Milwaukee",
"Miller Valley Veterans Monument",
"Cardinal Stritch University",
"Wisconsin",
"Milwaukee",
"Tom Queoff",
"University of Wisconsin–Milwaukee",
"bald eagle",
"Green Bay, Wisconsin",
"Froedtert Hospital"
] |
|
15364_NT | Referee (Queoff) | Focus on this artwork and explore the Artist. | Tom Queoff was born and raised in Green Bay, Wisconsin. He received a BFA from the University of Wisconsin–Milwaukee in 1975, and an MFA from the same school in 1977. Queoff established the Thomas Queoff Studio and Gallery in 1978. In 1985 he was introduced to snow carving, an activity he excelled at. The sculptor has taught at Cardinal Stritch University and received various awards at snow competitions, including the Finland International Snow Sculpting Championship in 1987 and 1988. Queoff was a member of the 2002 US Olympic snow sculpting team and was named a snow sculpting US National Champion. His studio is currently located in the Historic Third Ward, MilwaukeeTom Queoff created the Miller Valley Veterans Monument, which was unveiled on November 11, 2010, at the MillerCoors Brewery. The sculpture, an American bald eagle, is meant to honor the Miller-Coors employees killed in military action. He also created the sculpture United We Stand in front of Froedtert Hospital. | [
"MillerCoors",
"American",
"Historic Third Ward, Milwaukee",
"Miller Valley Veterans Monument",
"Cardinal Stritch University",
"Wisconsin",
"Milwaukee",
"Tom Queoff",
"University of Wisconsin–Milwaukee",
"bald eagle",
"Green Bay, Wisconsin",
"Froedtert Hospital"
] |
|
15365_T | Statue of Benjamin Franklin (San Francisco) | Focus on Statue of Benjamin Franklin (San Francisco) and explain the abstract. | Benjamin Franklin – also known as the Benjamin Franklin Memorial, Benjamin Franklin Statue and Cogswell Historical Monument – is an outdoor sculpture in Washington Square, San Francisco, California. | [
"California",
"Benjamin Franklin",
"San Francisco",
"Washington Square"
] |
|
15365_NT | Statue of Benjamin Franklin (San Francisco) | Focus on this artwork and explain the abstract. | Benjamin Franklin – also known as the Benjamin Franklin Memorial, Benjamin Franklin Statue and Cogswell Historical Monument – is an outdoor sculpture in Washington Square, San Francisco, California. | [
"California",
"Benjamin Franklin",
"San Francisco",
"Washington Square"
] |
|
15366_T | Statue of Benjamin Franklin (San Francisco) | Explore the Description of this artwork, Statue of Benjamin Franklin (San Francisco). | The smaller-than-life-size bronze statue of American Founding Father Benjamin Franklin, by an unknown sculptor, stands upon an ornate granite base, that contains a time capsule. There are inscriptions on all four sides of the base. Spigots once dispensed drinking water into three stone basins. The spigots have been removed. | [
"Founding Father",
"Benjamin Franklin",
"time capsule"
] |
|
15366_NT | Statue of Benjamin Franklin (San Francisco) | Explore the Description of this artwork. | The smaller-than-life-size bronze statue of American Founding Father Benjamin Franklin, by an unknown sculptor, stands upon an ornate granite base, that contains a time capsule. There are inscriptions on all four sides of the base. Spigots once dispensed drinking water into three stone basins. The spigots have been removed. | [
"Founding Father",
"Benjamin Franklin",
"time capsule"
] |
|
15367_T | Statue of Benjamin Franklin (San Francisco) | Focus on Statue of Benjamin Franklin (San Francisco) and discuss the History. | Created as a Temperance fountain by crusader Henry D. Cogswell, the monument was originally installed at Kearny and Market Streets in 1879. In 1904, it was relocated to Washington Square.In 1979, 100 years after its creation, a time capsule that was hidden in the statue's base was removed and opened, and contained Cogswell's personal papers. A new time capsule, to be opened in 2079, was installed. | [
"Temperance fountain",
"time capsule",
"Henry D. Cogswell",
"Kearny",
"Market Street",
"Washington Square"
] |
|
15367_NT | Statue of Benjamin Franklin (San Francisco) | Focus on this artwork and discuss the History. | Created as a Temperance fountain by crusader Henry D. Cogswell, the monument was originally installed at Kearny and Market Streets in 1879. In 1904, it was relocated to Washington Square.In 1979, 100 years after its creation, a time capsule that was hidden in the statue's base was removed and opened, and contained Cogswell's personal papers. A new time capsule, to be opened in 2079, was installed. | [
"Temperance fountain",
"time capsule",
"Henry D. Cogswell",
"Kearny",
"Market Street",
"Washington Square"
] |
|
15368_T | Statue of Benjamin Franklin (San Francisco) | How does Statue of Benjamin Franklin (San Francisco) elucidate its In popular culture? | The statue is visible behind Richard Brautigan and Michaela Le Grand on the original cover of Brautigan's 1967 novel Trout Fishing in America. | [
"Richard Brautigan",
"Trout Fishing in America"
] |
|
15368_NT | Statue of Benjamin Franklin (San Francisco) | How does this artwork elucidate its In popular culture? | The statue is visible behind Richard Brautigan and Michaela Le Grand on the original cover of Brautigan's 1967 novel Trout Fishing in America. | [
"Richard Brautigan",
"Trout Fishing in America"
] |
|
15369_T | Maschen disc brooch | Focus on Maschen disc brooch and analyze the abstract. | The Maschen disc brooch (German: Scheibenfibel von Maschen) is an Early Medieval fibula, which was found in 1958 during archaeological excavations of the late Saxon grave field near Maschen, in the Lower Saxony district of Harburg, Germany. On its face side, the fibula shows an unidentified saint with a halo. It was found in a woman's grave of the beginning of the Christianization of northern Germany, and is in the permanent exhibition of the Archaeological Museum Hamburg in Harburg, Hamburg. | [
"Harburg",
"archaeological excavation",
"northern Germany",
"Harburg, Hamburg",
"grave field",
"Christianization",
"Maschen",
"Germany",
"Saxon",
"saint",
"Early Medieval",
"fibula",
"Lower Saxony",
"halo",
"Archaeological Museum Hamburg"
] |
|
15369_NT | Maschen disc brooch | Focus on this artwork and analyze the abstract. | The Maschen disc brooch (German: Scheibenfibel von Maschen) is an Early Medieval fibula, which was found in 1958 during archaeological excavations of the late Saxon grave field near Maschen, in the Lower Saxony district of Harburg, Germany. On its face side, the fibula shows an unidentified saint with a halo. It was found in a woman's grave of the beginning of the Christianization of northern Germany, and is in the permanent exhibition of the Archaeological Museum Hamburg in Harburg, Hamburg. | [
"Harburg",
"archaeological excavation",
"northern Germany",
"Harburg, Hamburg",
"grave field",
"Christianization",
"Maschen",
"Germany",
"Saxon",
"saint",
"Early Medieval",
"fibula",
"Lower Saxony",
"halo",
"Archaeological Museum Hamburg"
] |
|
15370_T | Maschen disc brooch | In Maschen disc brooch, how is the Discovery discussed? | The cemetery was located on the western fringes of the Hallonen, an approximately 63-metre-high (207 ft) mountain range which is running out on the 23-metre-high (75 ft) Fuchsberg some 1,200 metres (3,900 ft) southeast of the village center of Maschen. During sand extraction from the Fuchsberg for the construction of the nearby Bundesautobahn 1, two Bronze Age tumuli were discovered in 1958.
The following excavations revealed that both grave mounds were disturbed to the undisturbed ground. Except for a few ceramic vessel shards and a razor from several later burials on the hill, no further findings were recorded. While pushing off the humuslayer 20 metres (66 ft) north of the tumuli, the first late Saxon flat graves appeared in the ground. Additionally some soil discolorations appeared at a brim of the sand mine some 80 metres (260 ft) east, indicating burial pits. During the initially launched rescue excavation, the complete burial site were excavated and documented in a three-week operation. It was the first fully documented late Saxon burial site of northern Germany so far with a total of 210 examined burials.
21 burials were oriented in south-north direction and the majority of 189 burials were created in west-east orientation. The Maschen disc brooch was found in the grave No. 54 of a wealthy woman. | [
"northern Germany",
"ceramic",
"Maschen",
"razor",
"Germany",
"tumuli",
"mound",
"Saxon",
"sand",
"findings",
"humus",
"Bundesautobahn 1",
"Bronze Age",
"burial",
"cemetery"
] |
|
15370_NT | Maschen disc brooch | In this artwork, how is the Discovery discussed? | The cemetery was located on the western fringes of the Hallonen, an approximately 63-metre-high (207 ft) mountain range which is running out on the 23-metre-high (75 ft) Fuchsberg some 1,200 metres (3,900 ft) southeast of the village center of Maschen. During sand extraction from the Fuchsberg for the construction of the nearby Bundesautobahn 1, two Bronze Age tumuli were discovered in 1958.
The following excavations revealed that both grave mounds were disturbed to the undisturbed ground. Except for a few ceramic vessel shards and a razor from several later burials on the hill, no further findings were recorded. While pushing off the humuslayer 20 metres (66 ft) north of the tumuli, the first late Saxon flat graves appeared in the ground. Additionally some soil discolorations appeared at a brim of the sand mine some 80 metres (260 ft) east, indicating burial pits. During the initially launched rescue excavation, the complete burial site were excavated and documented in a three-week operation. It was the first fully documented late Saxon burial site of northern Germany so far with a total of 210 examined burials.
21 burials were oriented in south-north direction and the majority of 189 burials were created in west-east orientation. The Maschen disc brooch was found in the grave No. 54 of a wealthy woman. | [
"northern Germany",
"ceramic",
"Maschen",
"razor",
"Germany",
"tumuli",
"mound",
"Saxon",
"sand",
"findings",
"humus",
"Bundesautobahn 1",
"Bronze Age",
"burial",
"cemetery"
] |
|
15371_T | Maschen disc brooch | Focus on Maschen disc brooch and explore the Findings. | The Maschen disc brooch lay with its face side down on the woman's chest. The brooch has a diameter of 30 millimetres (1.2 in) and is made of different colored vitreous enamel in cloisonné technique on a copper plate. The copper base of the brooch is can shaped, and the enamel plate was fixed in the copper base on a bed of loam by flanging the protruding edges of the bases wall. The needle apparatus was not preserved. The remaining hinges indicate that it was a needle with a coil spring. Both the metal parts and enamel inlays are slightly worn. A radiological examination revealed that the enamel layer has a thickness of 0.4 millimetres (0.016 in). The front face of the disc brooch depicts a stylized chest portrait on a now red background. The face and neck of the portrayed person are made of now greenish white enamel. Its eyes and nose region is formed by a curved bar made of copper, ending in two loops as stylized eyes. Around the head a kind of halo is shown, made of whitish to light blue enamel. The upper body has a semi-elliptical shape. The body is decorated by two widely arced copper bars from the neck towards the shoulders, which end there in small loops. The area around the neck of the figure is made of now light blue to turquoise enamel. The lower chest area, below the copper bars, is made of a now dark blue enamel. | [
"loam",
"Maschen",
"flanging",
"cloisonné",
"halo",
"vitreous enamel",
"radiological",
"copper"
] |
|
15371_NT | Maschen disc brooch | Focus on this artwork and explore the Findings. | The Maschen disc brooch lay with its face side down on the woman's chest. The brooch has a diameter of 30 millimetres (1.2 in) and is made of different colored vitreous enamel in cloisonné technique on a copper plate. The copper base of the brooch is can shaped, and the enamel plate was fixed in the copper base on a bed of loam by flanging the protruding edges of the bases wall. The needle apparatus was not preserved. The remaining hinges indicate that it was a needle with a coil spring. Both the metal parts and enamel inlays are slightly worn. A radiological examination revealed that the enamel layer has a thickness of 0.4 millimetres (0.016 in). The front face of the disc brooch depicts a stylized chest portrait on a now red background. The face and neck of the portrayed person are made of now greenish white enamel. Its eyes and nose region is formed by a curved bar made of copper, ending in two loops as stylized eyes. Around the head a kind of halo is shown, made of whitish to light blue enamel. The upper body has a semi-elliptical shape. The body is decorated by two widely arced copper bars from the neck towards the shoulders, which end there in small loops. The area around the neck of the figure is made of now light blue to turquoise enamel. The lower chest area, below the copper bars, is made of a now dark blue enamel. | [
"loam",
"Maschen",
"flanging",
"cloisonné",
"halo",
"vitreous enamel",
"radiological",
"copper"
] |
|
15372_T | Maschen disc brooch | Focus on Maschen disc brooch and explain the Interpretation. | Due to its halo-like ornament around the head, the figure on the Maschen disc brooch is interpreted as an unspecified saint, and may possibly depict Jesus Christ. The addition of the fibula as a grave good indicates that the buried woman was an early Christian. She may have promised herself a salvation effect from the depicted figure, as the brooch was found placed with its face side on her chest.Due to the geographical orientation of the burial and its location within the cemetery, the burial has been dated to the period between 800 and 900 AD, which marks the beginning of the thorough Christianization of Northern Germany.So far, some 100 comparison finds of fibulae of the Maschen disc brooch type were known, but they all came from stray finds or were collected from the surface without any assignment to a specific grave, and therefore a more precise dating of this type of brooches has been impossible before.By the end of 2012 another nearly identical piece was found in a construction area at the Tostedt district of Todtglüsingen. The origin of this fibula is believed to be the Lower Rhine region and the noticeable accumulation of finds at the Niederelbe area may indicate that it has faced an increased popularity especially in this region. | [
"grave good",
"Jesus",
"Northern Germany",
"Christianization",
"Jesus Christ",
"Lower Rhine region",
"Maschen",
"dated",
"Germany",
"saint",
"Niederelbe",
"burial",
"cemetery",
"fibula",
"halo",
"Tostedt"
] |
|
15372_NT | Maschen disc brooch | Focus on this artwork and explain the Interpretation. | Due to its halo-like ornament around the head, the figure on the Maschen disc brooch is interpreted as an unspecified saint, and may possibly depict Jesus Christ. The addition of the fibula as a grave good indicates that the buried woman was an early Christian. She may have promised herself a salvation effect from the depicted figure, as the brooch was found placed with its face side on her chest.Due to the geographical orientation of the burial and its location within the cemetery, the burial has been dated to the period between 800 and 900 AD, which marks the beginning of the thorough Christianization of Northern Germany.So far, some 100 comparison finds of fibulae of the Maschen disc brooch type were known, but they all came from stray finds or were collected from the surface without any assignment to a specific grave, and therefore a more precise dating of this type of brooches has been impossible before.By the end of 2012 another nearly identical piece was found in a construction area at the Tostedt district of Todtglüsingen. The origin of this fibula is believed to be the Lower Rhine region and the noticeable accumulation of finds at the Niederelbe area may indicate that it has faced an increased popularity especially in this region. | [
"grave good",
"Jesus",
"Northern Germany",
"Christianization",
"Jesus Christ",
"Lower Rhine region",
"Maschen",
"dated",
"Germany",
"saint",
"Niederelbe",
"burial",
"cemetery",
"fibula",
"halo",
"Tostedt"
] |
|
15373_T | Equestrian statue of Simón Bolívar (Washington, D.C.) | Explore the Description of this artwork, Equestrian statue of Simón Bolívar (Washington, D.C.). | The statue shows Bolívar riding his horse with his proper right arm raised over his head. In that hand he wields his sword, holding it upwards. He wears a military uniform with great detail, including the gold medal that was once George Washington's. The sculpture sits on a base made of granite or marble (142 in. x 72 in. x 184 in., 8 tons).The sculpture is signed: Felix W. de Weldon / Arch. Faulkner, Kingsbury & Stenhouse
The front of the base is inscribed with:SIMON BOLIVAR
THE LIBERATOR
BORN JULY 24 1783
CARACAS VENEZUELA
DIED DECEMBER 17 1830
SANTA MARTA COLOMBIAThe east side of the base is inscribed with:THE REPUBLIC OF VENEZUELA BY THE UNITED STATES OF AMERICAThe west side of the base is inscribed with:LIBERATED VENEZUELA COLOMBIA ECUADOR PERU BOLIVIA AND PANAMA | [
"George Washington's",
"Faulkner, Kingsbury & Stenhouse",
"granite",
"marble",
"George Washington"
] |
|
15373_NT | Equestrian statue of Simón Bolívar (Washington, D.C.) | Explore the Description of this artwork. | The statue shows Bolívar riding his horse with his proper right arm raised over his head. In that hand he wields his sword, holding it upwards. He wears a military uniform with great detail, including the gold medal that was once George Washington's. The sculpture sits on a base made of granite or marble (142 in. x 72 in. x 184 in., 8 tons).The sculpture is signed: Felix W. de Weldon / Arch. Faulkner, Kingsbury & Stenhouse
The front of the base is inscribed with:SIMON BOLIVAR
THE LIBERATOR
BORN JULY 24 1783
CARACAS VENEZUELA
DIED DECEMBER 17 1830
SANTA MARTA COLOMBIAThe east side of the base is inscribed with:THE REPUBLIC OF VENEZUELA BY THE UNITED STATES OF AMERICAThe west side of the base is inscribed with:LIBERATED VENEZUELA COLOMBIA ECUADOR PERU BOLIVIA AND PANAMA | [
"George Washington's",
"Faulkner, Kingsbury & Stenhouse",
"granite",
"marble",
"George Washington"
] |
|
15374_T | Equestrian statue of Simón Bolívar (Washington, D.C.) | Focus on Equestrian statue of Simón Bolívar (Washington, D.C.) and discuss the Information. | The statue was authorized by the United States Congress on July 5, 1949, and permission for the piece to be installed on public property was granted on June 29, 1955. The sculpture was donated by the Venezuelan government, which also paid for its installation.
The sculpture was cast in New York and parts were broken down in order to be transported via highway to Washington. The head, neck and rider were disconnected to make it under the overpasses along the highways. | [
"Venezuela",
"United States",
"United States Congress"
] |
|
15374_NT | Equestrian statue of Simón Bolívar (Washington, D.C.) | Focus on this artwork and discuss the Information. | The statue was authorized by the United States Congress on July 5, 1949, and permission for the piece to be installed on public property was granted on June 29, 1955. The sculpture was donated by the Venezuelan government, which also paid for its installation.
The sculpture was cast in New York and parts were broken down in order to be transported via highway to Washington. The head, neck and rider were disconnected to make it under the overpasses along the highways. | [
"Venezuela",
"United States",
"United States Congress"
] |
|
15375_T | Equestrian statue of Simón Bolívar (Washington, D.C.) | How does Equestrian statue of Simón Bolívar (Washington, D.C.) elucidate its Condition? | This sculpture was surveyed in June 1993 for its condition and it was stated that the sculpture was "well maintained." | [] |
|
15375_NT | Equestrian statue of Simón Bolívar (Washington, D.C.) | How does this artwork elucidate its Condition? | This sculpture was surveyed in June 1993 for its condition and it was stated that the sculpture was "well maintained." | [] |
|
15376_T | Supper at Emmaus (Caravaggio, Milan) | Focus on Supper at Emmaus (Caravaggio, Milan) and analyze the abstract. | Supper at Emmaus (1606) is a painting by the Italian master Caravaggio, housed in the Pinacoteca di Brera (Sala XXIX Archived 2013-10-23 at the Wayback Machine), Milan.
In the collection of Marchese Patrizi by 1624 and possibly commissioned by him, references by Caravaggio's early biographers Giulio Mancini and Giovanni Bellori suggest it was painted in the few months after May 1606 when the artist was in hiding on the estates of Prince Marzio Colonna following the death of Ranuccio Tomassoni (see main article, Caravaggio), although it may also have been painted in Rome earlier in the year - the innkeeper's wife seems to be the same as the model for Saint Anne in Madonna and Child with St. Anne of 1605, although given the almost complete echoing of pose and lighting, she may have been done from memory.The painting inevitably invites comparison with the National Gallery version of the same subject: the expansive theatrical gestures have become understated and natural, the shadows are darkened, and the colours muted although still saturated. The effect is to emphasize presence more than drama. Some details - the ear of the disciple on the right, the right hand of the innkeeper's wife - remain badly drawn, but there is a fluidity in the handling of the paint which was to increase in Caravaggio's post-Roman work as his brushwork became increasingly calligraphic. The artist may have had problems working out his composition - the innkeeper's wife looks like a last-minute addition. Neither she nor the innkeeper are mentioned in the Gospel of Luke 24:28-32, but had been introduced by Renaissance painters to act as a foil to the amazement of the two disciples as they recognise the resurrected Christ. | [
"Milan",
"Pinacoteca di Brera",
"Madonna and Child with St. Anne",
"Giulio Mancini",
"Wayback Machine",
"M",
"Giovanni Bellori",
"Caravaggio",
"Christ",
"Supper at Emmaus",
"Gospel of Luke",
"National Gallery"
] |
|
15376_NT | Supper at Emmaus (Caravaggio, Milan) | Focus on this artwork and analyze the abstract. | Supper at Emmaus (1606) is a painting by the Italian master Caravaggio, housed in the Pinacoteca di Brera (Sala XXIX Archived 2013-10-23 at the Wayback Machine), Milan.
In the collection of Marchese Patrizi by 1624 and possibly commissioned by him, references by Caravaggio's early biographers Giulio Mancini and Giovanni Bellori suggest it was painted in the few months after May 1606 when the artist was in hiding on the estates of Prince Marzio Colonna following the death of Ranuccio Tomassoni (see main article, Caravaggio), although it may also have been painted in Rome earlier in the year - the innkeeper's wife seems to be the same as the model for Saint Anne in Madonna and Child with St. Anne of 1605, although given the almost complete echoing of pose and lighting, she may have been done from memory.The painting inevitably invites comparison with the National Gallery version of the same subject: the expansive theatrical gestures have become understated and natural, the shadows are darkened, and the colours muted although still saturated. The effect is to emphasize presence more than drama. Some details - the ear of the disciple on the right, the right hand of the innkeeper's wife - remain badly drawn, but there is a fluidity in the handling of the paint which was to increase in Caravaggio's post-Roman work as his brushwork became increasingly calligraphic. The artist may have had problems working out his composition - the innkeeper's wife looks like a last-minute addition. Neither she nor the innkeeper are mentioned in the Gospel of Luke 24:28-32, but had been introduced by Renaissance painters to act as a foil to the amazement of the two disciples as they recognise the resurrected Christ. | [
"Milan",
"Pinacoteca di Brera",
"Madonna and Child with St. Anne",
"Giulio Mancini",
"Wayback Machine",
"M",
"Giovanni Bellori",
"Caravaggio",
"Christ",
"Supper at Emmaus",
"Gospel of Luke",
"National Gallery"
] |
|
15377_T | Supper at Emmaus (Caravaggio, Milan) | In Supper at Emmaus (Caravaggio, Milan), how is the Major loans discussed? | From 5 June to 31 August 2013, Supper at Emmaus was exhibited in The Museum of Arts and Crafts in Zagreb, as a welcoming present of Italian government for Croatia's joining the EU on 1 June 2013.In March 2014, Supper at Emmaus was loaned to Hong Kong's The Asia Society for an exhibition called "Light and Shadows – Caravaggio • The Italian Baroque Master". The society also arranged other artworks and activities to promote the exhibition in Park Court, Pacific Place, which ran from 12 March until 13 April 2014. | [
"M",
"Caravaggio",
"Pacific Place",
"Hong Kong",
"Supper at Emmaus",
"The Museum of Arts and Crafts in Zagreb"
] |
|
15377_NT | Supper at Emmaus (Caravaggio, Milan) | In this artwork, how is the Major loans discussed? | From 5 June to 31 August 2013, Supper at Emmaus was exhibited in The Museum of Arts and Crafts in Zagreb, as a welcoming present of Italian government for Croatia's joining the EU on 1 June 2013.In March 2014, Supper at Emmaus was loaned to Hong Kong's The Asia Society for an exhibition called "Light and Shadows – Caravaggio • The Italian Baroque Master". The society also arranged other artworks and activities to promote the exhibition in Park Court, Pacific Place, which ran from 12 March until 13 April 2014. | [
"M",
"Caravaggio",
"Pacific Place",
"Hong Kong",
"Supper at Emmaus",
"The Museum of Arts and Crafts in Zagreb"
] |
|
15378_T | Peasant Character Studies (Van Gogh series) | Focus on Peasant Character Studies (Van Gogh series) and explore the abstract. | Peasant Character Studies is a series of works that Vincent van Gogh made between 1881 and 1885.
Van Gogh had a particular attachment and sympathy for peasants and other working class people that was fueled in several ways. He was particularly fond of the peasant genre work of Jean-François Millet and others. He found the subjects noble and important in the development of modern art. Van Gogh had seen the changing landscape in the Netherlands as industrialization encroached on once pastoral settings and the livelihoods of the working poor with little opportunity to change vocation.
Van Gogh had a particular interest in creating character studies of working men and women in the Netherlands and Belgium, such as farmers, weavers, and fishermen. Making up a large body of Van Gogh's work during this period, the character studies were an important, foundational component in his artistic development. | [
"Jean-François Millet",
"Peasant",
"peasant",
"working poor",
"Belgium",
"Vincent van Gogh",
"working class",
"Netherlands"
] |
|
15378_NT | Peasant Character Studies (Van Gogh series) | Focus on this artwork and explore the abstract. | Peasant Character Studies is a series of works that Vincent van Gogh made between 1881 and 1885.
Van Gogh had a particular attachment and sympathy for peasants and other working class people that was fueled in several ways. He was particularly fond of the peasant genre work of Jean-François Millet and others. He found the subjects noble and important in the development of modern art. Van Gogh had seen the changing landscape in the Netherlands as industrialization encroached on once pastoral settings and the livelihoods of the working poor with little opportunity to change vocation.
Van Gogh had a particular interest in creating character studies of working men and women in the Netherlands and Belgium, such as farmers, weavers, and fishermen. Making up a large body of Van Gogh's work during this period, the character studies were an important, foundational component in his artistic development. | [
"Jean-François Millet",
"Peasant",
"peasant",
"working poor",
"Belgium",
"Vincent van Gogh",
"working class",
"Netherlands"
] |
|
15379_T | Peasant Character Studies (Van Gogh series) | Explore the Peasant genre about the Background of this artwork, Peasant Character Studies (Van Gogh series). | The "peasant genre" of the Realism movement began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. Van Gogh described the works of Millet and Breton as having religious significance, "something on high," and described them as being the "voices of the wheat."The Van Gogh Museum says of Millet's influence on Van Gogh: "Millet's paintings, with their unprecedented depictions of peasants and their labors, mark a turning point in 19th-century art. Before Millet, peasant figures were just one of many elements in picturesque or nostalgic scenes. In Millet's work, individual men and women became heroic and real. Millet was the only major artist of the Barbizon School who was not interested in 'pure' landscape painting." | [
"Jean-François Millet",
"Peasant",
"Realism movement",
"peasant",
"Jules Breton",
"Barbizon School",
"Van Gogh Museum"
] |
|
15379_NT | Peasant Character Studies (Van Gogh series) | Explore the Peasant genre about the Background of this artwork. | The "peasant genre" of the Realism movement began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. Van Gogh described the works of Millet and Breton as having religious significance, "something on high," and described them as being the "voices of the wheat."The Van Gogh Museum says of Millet's influence on Van Gogh: "Millet's paintings, with their unprecedented depictions of peasants and their labors, mark a turning point in 19th-century art. Before Millet, peasant figures were just one of many elements in picturesque or nostalgic scenes. In Millet's work, individual men and women became heroic and real. Millet was the only major artist of the Barbizon School who was not interested in 'pure' landscape painting." | [
"Jean-François Millet",
"Peasant",
"Realism movement",
"peasant",
"Jules Breton",
"Barbizon School",
"Van Gogh Museum"
] |
|
15380_T | Peasant Character Studies (Van Gogh series) | In the context of Peasant Character Studies (Van Gogh series), discuss the Artistic development and influences of the Background. | In 1880, when he was 27 years old, Van Gogh decided to become an artist. In October of that year he moved to Brussels and began a beginner's course of study.Van Gogh returned to Etten in April 1881 to live with his parents and studied art on his own. His younger brother Theo, an art dealer at the main branch of Goupil & Cie, encouraged him and started covering Van Gogh's expenses.Van Gogh used images from illustrated magazines to teach himself how to draw. Charles Bargue, a French artist, wrote two books on drawing that were a significant source of study for Van Gogh. Both written in 1871, one is "Cours de dessin" and the other "Exercises au fusain pour préparer à l’étude de l’académie d’après nature," Van Gogh created copies of the drawings or adapted nude images for clothed depictions.In January 1882, he settled in The Hague where he called on his cousin-in-law, the painter Anton Mauve (1838–88). Mauve introduced him to painting in both oil and watercolor and lent him money to set up a studio.Van Gogh began drawing people from the working poor, including the prostitute Clasina Maria "Sien" Hoornik (1850–1904), with whom he would become involved. Van Gogh dreamed his studio would one day become a form of respite for the poor where they could receive food, shelter and money for posing. His work was not well received; Mauve and H.G. Tersteeg, manager of Goupil & Cie, considered the drawings coarse and lacking charm. Van Gogh likened the "unrefined" characteristics of his drawings to harsh "yellow soap" made of lye.Van Gogh's relationship with Sien changed as they lived together with Maria, her five-year-old daughter, to the great disappointment of his family.Mauve appears to have suddenly gone cold towards Van Gogh and did not return a number of his letters. Van Gogh supposed that Mauve did not approve of his domestic arrangement with Sien and her young daughter. Van Gogh created a number of drawings of Sien and her daughter. Having ended his relationship with Sien, Van Gogh moved to Drenthe in September 1883 and painted landscapes. Three months later, he moved back in with his parents, who were at that point living in Nuenen.In 1884, Van Gogh created the weaver series, works of rural life and landscapes. For a brief period of time, he gave painting lessons in Eindhoven. Near the end of the year, Van Gogh began experimenting with complementary colors, influenced by the color theories of Charles Blanc.Vincent made many studies of peasants in 1885, culminating in his first major painting, The Potato Eaters. In his works, Van Gogh used particularly somber colors and colors mixed with black, which he felt was like that of 17th-century masters, such as Frans Hals. His brother, Theo van Gogh (art dealer) had asked him often to lighten up his work, referring to the work of the Impressionists. Once Van Gogh went to Paris, he did open up his palette to color and light and admitted that his works from this period were old-fashioned.Theodorus van Gogh, Vincent's father, died March 26, 1885. In November, Vincent moved to Antwerp. | [
"Charles Bargue",
"Potato Eaters",
"Theo",
"Anton Mauve",
"prostitute",
"Clasina Maria \"Sien\" Hoornik",
"Impressionists",
"peasant",
"The Potato Eaters",
"working poor",
"The Hague",
"Nuenen",
"oil",
"watercolor",
"Eindhoven",
"Drenthe",
"studio",
"Frans Hals",
"Theo van Gogh (art dealer)",
"Charles Blanc"
] |
|
15380_NT | Peasant Character Studies (Van Gogh series) | In the context of this artwork, discuss the Artistic development and influences of the Background. | In 1880, when he was 27 years old, Van Gogh decided to become an artist. In October of that year he moved to Brussels and began a beginner's course of study.Van Gogh returned to Etten in April 1881 to live with his parents and studied art on his own. His younger brother Theo, an art dealer at the main branch of Goupil & Cie, encouraged him and started covering Van Gogh's expenses.Van Gogh used images from illustrated magazines to teach himself how to draw. Charles Bargue, a French artist, wrote two books on drawing that were a significant source of study for Van Gogh. Both written in 1871, one is "Cours de dessin" and the other "Exercises au fusain pour préparer à l’étude de l’académie d’après nature," Van Gogh created copies of the drawings or adapted nude images for clothed depictions.In January 1882, he settled in The Hague where he called on his cousin-in-law, the painter Anton Mauve (1838–88). Mauve introduced him to painting in both oil and watercolor and lent him money to set up a studio.Van Gogh began drawing people from the working poor, including the prostitute Clasina Maria "Sien" Hoornik (1850–1904), with whom he would become involved. Van Gogh dreamed his studio would one day become a form of respite for the poor where they could receive food, shelter and money for posing. His work was not well received; Mauve and H.G. Tersteeg, manager of Goupil & Cie, considered the drawings coarse and lacking charm. Van Gogh likened the "unrefined" characteristics of his drawings to harsh "yellow soap" made of lye.Van Gogh's relationship with Sien changed as they lived together with Maria, her five-year-old daughter, to the great disappointment of his family.Mauve appears to have suddenly gone cold towards Van Gogh and did not return a number of his letters. Van Gogh supposed that Mauve did not approve of his domestic arrangement with Sien and her young daughter. Van Gogh created a number of drawings of Sien and her daughter. Having ended his relationship with Sien, Van Gogh moved to Drenthe in September 1883 and painted landscapes. Three months later, he moved back in with his parents, who were at that point living in Nuenen.In 1884, Van Gogh created the weaver series, works of rural life and landscapes. For a brief period of time, he gave painting lessons in Eindhoven. Near the end of the year, Van Gogh began experimenting with complementary colors, influenced by the color theories of Charles Blanc.Vincent made many studies of peasants in 1885, culminating in his first major painting, The Potato Eaters. In his works, Van Gogh used particularly somber colors and colors mixed with black, which he felt was like that of 17th-century masters, such as Frans Hals. His brother, Theo van Gogh (art dealer) had asked him often to lighten up his work, referring to the work of the Impressionists. Once Van Gogh went to Paris, he did open up his palette to color and light and admitted that his works from this period were old-fashioned.Theodorus van Gogh, Vincent's father, died March 26, 1885. In November, Vincent moved to Antwerp. | [
"Charles Bargue",
"Potato Eaters",
"Theo",
"Anton Mauve",
"prostitute",
"Clasina Maria \"Sien\" Hoornik",
"Impressionists",
"peasant",
"The Potato Eaters",
"working poor",
"The Hague",
"Nuenen",
"oil",
"watercolor",
"Eindhoven",
"Drenthe",
"studio",
"Frans Hals",
"Theo van Gogh (art dealer)",
"Charles Blanc"
] |
|
15381_T | Peasant Character Studies (Van Gogh series) | In Peasant Character Studies (Van Gogh series), how is the Regard for peasants and manual laborers of the Background elucidated? | Throughout Van Gogh's adulthood he had an interest in serving others, especially manual workers. As a young man, he served and ministered to coal miners in Borinage, Belgium, which seemed to bring him close to his calling of being a missionary or minister to workers.He held laborers up to a high standard of the dedication with which he should approach painting, "One must undertake with confidence, with a certain assurance that one is doing a reasonable thing, like the farmer who drives his plow... (one who) drags the harrow behind himself. If one hasn't a horse, one is one's own horse."The close association of peasants and the cycles of nature particularly interested Van Gogh, such as the sowing of seeds, harvest and sheaves of wheat in the fields. Van Gogh saw plowing, sowing and harvesting symbolic to man's efforts to overwhelm the cycles of nature. | [
"peasant",
"Belgium",
"harrow",
"Borinage"
] |
|
15381_NT | Peasant Character Studies (Van Gogh series) | In this artwork, how is the Regard for peasants and manual laborers of the Background elucidated? | Throughout Van Gogh's adulthood he had an interest in serving others, especially manual workers. As a young man, he served and ministered to coal miners in Borinage, Belgium, which seemed to bring him close to his calling of being a missionary or minister to workers.He held laborers up to a high standard of the dedication with which he should approach painting, "One must undertake with confidence, with a certain assurance that one is doing a reasonable thing, like the farmer who drives his plow... (one who) drags the harrow behind himself. If one hasn't a horse, one is one's own horse."The close association of peasants and the cycles of nature particularly interested Van Gogh, such as the sowing of seeds, harvest and sheaves of wheat in the fields. Van Gogh saw plowing, sowing and harvesting symbolic to man's efforts to overwhelm the cycles of nature. | [
"peasant",
"Belgium",
"harrow",
"Borinage"
] |
|
15382_T | Peasant Character Studies (Van Gogh series) | In the context of Peasant Character Studies (Van Gogh series), analyze the Industrialization of the Background. | Van Gogh was extremely mindful of the impact of 19th-century industrialization on the changing landscape and what that meant to people's lives. Van Gogh wrote in a letter to Anthon van Rappard: "I remember as a boy seeing that heath and the little farms, the looms and the spinning wheels in exactly the same way as I see them now in Anton Mauve’s and Adam Frans van der Meulen’s drawings… But since then that part of Brabant with which I was acquainted has changed enormously in consequence of agricultural developments and the establishment of industries. Speaking for myself, in certain spots I do not look without a little sadness on a new red-tiled tavern, remembering a loam cottage with a moss-covered thatched roof that used to be there. Since then there have come beet-sugar factories, railways, agricultural developments of the heath, etc., which is infinitely less picturesque." | [
"Anton Mauve",
"Anton Mauve’s",
"Adam Frans van der Meulen’s",
"Adam Frans van der Meulen",
"Anthon van Rappard"
] |
|
15382_NT | Peasant Character Studies (Van Gogh series) | In the context of this artwork, analyze the Industrialization of the Background. | Van Gogh was extremely mindful of the impact of 19th-century industrialization on the changing landscape and what that meant to people's lives. Van Gogh wrote in a letter to Anthon van Rappard: "I remember as a boy seeing that heath and the little farms, the looms and the spinning wheels in exactly the same way as I see them now in Anton Mauve’s and Adam Frans van der Meulen’s drawings… But since then that part of Brabant with which I was acquainted has changed enormously in consequence of agricultural developments and the establishment of industries. Speaking for myself, in certain spots I do not look without a little sadness on a new red-tiled tavern, remembering a loam cottage with a moss-covered thatched roof that used to be there. Since then there have come beet-sugar factories, railways, agricultural developments of the heath, etc., which is infinitely less picturesque." | [
"Anton Mauve",
"Anton Mauve’s",
"Adam Frans van der Meulen’s",
"Adam Frans van der Meulen",
"Anthon van Rappard"
] |
|
15383_T | Peasant Character Studies (Van Gogh series) | In Peasant Character Studies (Van Gogh series), how is the Peasant character studies discussed? | In November 1882, Van Gogh began drawings of individuals to depict a range of character types from the working class. He aimed to be a "peasant painter", conveying deep feeling realistically, with objectivity.To depict the essence of the life of the peasant and their spirit, Van Gogh lived as they lived, he was in the fields as they were, enduring the weather for long hours as they were. To do so was not something taught in schools, he noted, and became frustrated by traditionalists who focused on technique more so than the nature of the people being captured. So thoroughly was he engaged in living the peasant lifestyle, his appearance and manner of speech began to separate himself from others, but this was a cost he believed he needed to bear for his artistic development. Of getting along better with "poor and common folk" than cultured society, Van Gogh wrote in 1882, "after all, it's right and proper that I should live like an artist in the surroundings I'm sensitive to and am trying to express." | [
"Peasant",
"peasant",
"working class"
] |
|
15383_NT | Peasant Character Studies (Van Gogh series) | In this artwork, how is the Peasant character studies discussed? | In November 1882, Van Gogh began drawings of individuals to depict a range of character types from the working class. He aimed to be a "peasant painter", conveying deep feeling realistically, with objectivity.To depict the essence of the life of the peasant and their spirit, Van Gogh lived as they lived, he was in the fields as they were, enduring the weather for long hours as they were. To do so was not something taught in schools, he noted, and became frustrated by traditionalists who focused on technique more so than the nature of the people being captured. So thoroughly was he engaged in living the peasant lifestyle, his appearance and manner of speech began to separate himself from others, but this was a cost he believed he needed to bear for his artistic development. Of getting along better with "poor and common folk" than cultured society, Van Gogh wrote in 1882, "after all, it's right and proper that I should live like an artist in the surroundings I'm sensitive to and am trying to express." | [
"Peasant",
"peasant",
"working class"
] |
|
15384_T | Peasant Character Studies (Van Gogh series) | In the context of Peasant Character Studies (Van Gogh series), explore the Women of the Peasant character studies. | Van Gogh made many studies of women, a large number made in 1885. Of painting women, Van Gogh commented that he preferred to paint women in blue denim rather than his sisters in refined dresses. This is a sampling of some of his works.
Gordina de Groot (called Sien by Hulsker on the strength of a single reference to the name in van Gogh's letters), who sat for Head of a Woman (F160), was one of the daughters of the De Groot family, the subjects of The Potato Eaters (Gordina is the figure on the left in that painting). Van Gogh made at least 20 studies while in Nuenen of Gordina, who possessed the "coarse, flat faces, low foreheads and thick lips, not sharp but full" of peasants that he admired in Jean-François Millet's work. Vincent signed this study, one of the few character studies that he signed.Head of a woman, 1884 (F1182, the image is not shown), was a drawing Van Gogh made of a peasant woman from Nuenen. Her face, worn by a difficult life, is symbolic of the peasant's hard life. Van Gogh made the studies of heads, arms and hands and building blocks for the large painting The Potato Eaters that he made in 1885.The working class woman in Head of a Woman with her Hair Loose (F206) is portrayed with seeming eroticism, her hair disheveled and in a state of undress. In July 2022, an x-ray of the painting Head of a Peasant Woman with White Cap uncovered a hidden self-portrait of Van Gogh on the back of the original artwork. | [
"Potato Eaters",
"Jean-François Millet",
"Peasant",
"peasant",
"The Potato Eaters",
"Jean-François Millet's",
"Nuenen",
"working class"
] |
|
15384_NT | Peasant Character Studies (Van Gogh series) | In the context of this artwork, explore the Women of the Peasant character studies. | Van Gogh made many studies of women, a large number made in 1885. Of painting women, Van Gogh commented that he preferred to paint women in blue denim rather than his sisters in refined dresses. This is a sampling of some of his works.
Gordina de Groot (called Sien by Hulsker on the strength of a single reference to the name in van Gogh's letters), who sat for Head of a Woman (F160), was one of the daughters of the De Groot family, the subjects of The Potato Eaters (Gordina is the figure on the left in that painting). Van Gogh made at least 20 studies while in Nuenen of Gordina, who possessed the "coarse, flat faces, low foreheads and thick lips, not sharp but full" of peasants that he admired in Jean-François Millet's work. Vincent signed this study, one of the few character studies that he signed.Head of a woman, 1884 (F1182, the image is not shown), was a drawing Van Gogh made of a peasant woman from Nuenen. Her face, worn by a difficult life, is symbolic of the peasant's hard life. Van Gogh made the studies of heads, arms and hands and building blocks for the large painting The Potato Eaters that he made in 1885.The working class woman in Head of a Woman with her Hair Loose (F206) is portrayed with seeming eroticism, her hair disheveled and in a state of undress. In July 2022, an x-ray of the painting Head of a Peasant Woman with White Cap uncovered a hidden self-portrait of Van Gogh on the back of the original artwork. | [
"Potato Eaters",
"Jean-François Millet",
"Peasant",
"peasant",
"The Potato Eaters",
"Jean-François Millet's",
"Nuenen",
"working class"
] |
|
15385_T | Peasant Character Studies (Van Gogh series) | In the context of Peasant Character Studies (Van Gogh series), explain the Men of the Peasant character studies. | Van Gogh's studies of men are primarily at work; here are the studies that he made of their heads or figure.
Desiring to make studies of peasants in Drenthe during his three-month stay in 1883, Van Gogh had difficulty finding people willing to pose for him. In Nuenen the situation was different. It was winter and there was little to be done in the fields. In addition, he had connections to people through his father, a town minister. In Nuenen, Van Gogh was able to produce a large number of works of peasant's heads, such as the Head of a Man (F164) completed in 1885. | [
"peasant",
"Nuenen",
"Drenthe"
] |
|
15385_NT | Peasant Character Studies (Van Gogh series) | In the context of this artwork, explain the Men of the Peasant character studies. | Van Gogh's studies of men are primarily at work; here are the studies that he made of their heads or figure.
Desiring to make studies of peasants in Drenthe during his three-month stay in 1883, Van Gogh had difficulty finding people willing to pose for him. In Nuenen the situation was different. It was winter and there was little to be done in the fields. In addition, he had connections to people through his father, a town minister. In Nuenen, Van Gogh was able to produce a large number of works of peasant's heads, such as the Head of a Man (F164) completed in 1885. | [
"peasant",
"Nuenen",
"Drenthe"
] |
|
15386_T | Peasant Character Studies (Van Gogh series) | Regarding Peasant Character Studies (Van Gogh series), how does the Gender roles's Women incorporate the Home and child care? | Home and child care Peasant Woman Cooking by a Fireplace (F176) was painted by Van Gogh in 1885 following the completion of The Potato Eaters. Both paintings were made in dark hues like "green soap" or a "good dusty potato." Seeking realism, Van Gogh was "convinced that in the long run to portray peasants in their coarseness gives better results than introducing conventional sweetness. If a peasant painting smells of bacon, smoke, potato steam, very well, that's not unhealthy; if a stable smells of manure, alright, that's why it's a stable..."Peasant Woman Peeling Potatoes, also called The Potato Peeler, was painted by Van Gogh in 1885, the year before he left the Netherlands for France. It is typical of the peasant studies that he made in Nuenen, "with its restricted palette of dark tones, coarse fracture, and blocky drawing." | [
"Potato Eaters",
"Peasant",
"peasant",
"The Potato Eaters",
"Nuenen",
"Netherlands"
] |
|
15386_NT | Peasant Character Studies (Van Gogh series) | Regarding this artwork, how does the Gender roles's Women incorporate the Home and child care? | Home and child care Peasant Woman Cooking by a Fireplace (F176) was painted by Van Gogh in 1885 following the completion of The Potato Eaters. Both paintings were made in dark hues like "green soap" or a "good dusty potato." Seeking realism, Van Gogh was "convinced that in the long run to portray peasants in their coarseness gives better results than introducing conventional sweetness. If a peasant painting smells of bacon, smoke, potato steam, very well, that's not unhealthy; if a stable smells of manure, alright, that's why it's a stable..."Peasant Woman Peeling Potatoes, also called The Potato Peeler, was painted by Van Gogh in 1885, the year before he left the Netherlands for France. It is typical of the peasant studies that he made in Nuenen, "with its restricted palette of dark tones, coarse fracture, and blocky drawing." | [
"Potato Eaters",
"Peasant",
"peasant",
"The Potato Eaters",
"Nuenen",
"Netherlands"
] |
|
15387_T | Peasant Character Studies (Van Gogh series) | Focusing on the Gender roles of Peasant Character Studies (Van Gogh series), analyze the Farm and other labor about the Women. | Farm and other labor Van Gogh described Peasant Woman Digging (F95a) as a "woman ... seen from the front, her head almost on the ground, digging carrots". Made in Nuenen in 1885, this painting was part of the peasant studies Van Gogh conducted to "catch their character."Peasant Woman Digging in Front of Her Cottage (F142) was one of the paintings that Van Gogh left behind when he went to Antwerp in 1885 and went to his mother Anna Carbentus van Gogh. | [
"Peasant",
"peasant",
"Peasant Woman Digging",
"Nuenen"
] |
|
15387_NT | Peasant Character Studies (Van Gogh series) | Focusing on the Gender roles of this artwork, analyze the Farm and other labor about the Women. | Farm and other labor Van Gogh described Peasant Woman Digging (F95a) as a "woman ... seen from the front, her head almost on the ground, digging carrots". Made in Nuenen in 1885, this painting was part of the peasant studies Van Gogh conducted to "catch their character."Peasant Woman Digging in Front of Her Cottage (F142) was one of the paintings that Van Gogh left behind when he went to Antwerp in 1885 and went to his mother Anna Carbentus van Gogh. | [
"Peasant",
"peasant",
"Peasant Woman Digging",
"Nuenen"
] |
|
15388_T | Peasant Character Studies (Van Gogh series) | When looking at the Gender roles of Peasant Character Studies (Van Gogh series), how do you discuss its Women's Sewing and winding yarn? | Sewing and winding yarn Woman Sewing (F71) depicts a woman seated at a window. In this study Van Gogh was experimenting with how to reflect an interior figure, backlit by a window. Here the woman is a dark silhouette. Van Gogh shows the effect of the light streaming in the window on her sewing.
In 1885 Van Gogh wrote his brother Theo of his attempts to manage the backlit lighting, "especially figures à contre jour (English against daylight). I have studies of heads, both lit and against the light, and I have worked on the whole figure a number of times, a seamstress, [someone] winding yarn or peeling potatoes. En face and en profil. I do not know whether or not I shall ever finish it, as this is a difficult effect, although I believe I have learned one or two things by it."The Woman Winding Yarn (F36) portrays a woman sitting close to a window, winding spools of yarn to be woven. Weaving was a historical trade in Nuenen, where Van Gogh lived with his parents in 1884. Van Gogh described the workers as "exceptionally poor folk." The woman in this painting is the mother of the De Groot family who is pouring coffee in The Potato Eaters painting. | [
"English",
"Potato Eaters",
"Theo",
"The Potato Eaters",
"Nuenen",
"à contre jour"
] |
|
15388_NT | Peasant Character Studies (Van Gogh series) | When looking at the Gender roles of this artwork, how do you discuss its Women's Sewing and winding yarn? | Sewing and winding yarn Woman Sewing (F71) depicts a woman seated at a window. In this study Van Gogh was experimenting with how to reflect an interior figure, backlit by a window. Here the woman is a dark silhouette. Van Gogh shows the effect of the light streaming in the window on her sewing.
In 1885 Van Gogh wrote his brother Theo of his attempts to manage the backlit lighting, "especially figures à contre jour (English against daylight). I have studies of heads, both lit and against the light, and I have worked on the whole figure a number of times, a seamstress, [someone] winding yarn or peeling potatoes. En face and en profil. I do not know whether or not I shall ever finish it, as this is a difficult effect, although I believe I have learned one or two things by it."The Woman Winding Yarn (F36) portrays a woman sitting close to a window, winding spools of yarn to be woven. Weaving was a historical trade in Nuenen, where Van Gogh lived with his parents in 1884. Van Gogh described the workers as "exceptionally poor folk." The woman in this painting is the mother of the De Groot family who is pouring coffee in The Potato Eaters painting. | [
"English",
"Potato Eaters",
"Theo",
"The Potato Eaters",
"Nuenen",
"à contre jour"
] |
|
15389_T | Peasant Character Studies (Van Gogh series) | Focusing on the Gender roles of Peasant Character Studies (Van Gogh series), explain the The basket maker about the Men. | The basket maker As the seasons changed, Van Gogh made paintings of those who worked indoors, like the basket maker. Years after making the paintings, Van Gogh wrote in 1888 of the solitary nature of the occupation: "A weaver or a basket maker often spends whole seasons alone, or almost alone, with his craft as his only distraction. And what makes these people stay in one place is precisely the feeling of being at home, the reassuring and familiar look of things." | [] |
|
15389_NT | Peasant Character Studies (Van Gogh series) | Focusing on the Gender roles of this artwork, explain the The basket maker about the Men. | The basket maker As the seasons changed, Van Gogh made paintings of those who worked indoors, like the basket maker. Years after making the paintings, Van Gogh wrote in 1888 of the solitary nature of the occupation: "A weaver or a basket maker often spends whole seasons alone, or almost alone, with his craft as his only distraction. And what makes these people stay in one place is precisely the feeling of being at home, the reassuring and familiar look of things." | [] |
|
15390_T | Peasant Character Studies (Van Gogh series) | Explore the The farm laborer and shepherd about the Men of the Gender roles in this artwork, Peasant Character Studies (Van Gogh series). | The farm laborer and shepherd Van Gogh had a poetic ideal in painting rural life and dreamed of a time when he might work side-by-side with his brother:
"Theo, be a painter, try to disentangle yourself and come to Drenthe… So boy, do come and paint with me on the heath, in the potato field, come and walk with me behind the plow and the shepherd -- come and sit with me, looking into the fire -- let the storm that blows across the heath blow through you. Break loose from your bonds… Don’t seek [the future] in Paris, don’t seek it in America; it is always the same, forever, and ever exactly the same. Make a thorough change indeed, try the heath. | [
"Theo",
"Drenthe"
] |
|
15390_NT | Peasant Character Studies (Van Gogh series) | Explore the The farm laborer and shepherd about the Men of the Gender roles in this artwork. | The farm laborer and shepherd Van Gogh had a poetic ideal in painting rural life and dreamed of a time when he might work side-by-side with his brother:
"Theo, be a painter, try to disentangle yourself and come to Drenthe… So boy, do come and paint with me on the heath, in the potato field, come and walk with me behind the plow and the shepherd -- come and sit with me, looking into the fire -- let the storm that blows across the heath blow through you. Break loose from your bonds… Don’t seek [the future] in Paris, don’t seek it in America; it is always the same, forever, and ever exactly the same. Make a thorough change indeed, try the heath. | [
"Theo",
"Drenthe"
] |
|
15391_T | Peasant Character Studies (Van Gogh series) | Focusing on the Gender roles of Peasant Character Studies (Van Gogh series), discuss the The sower about the Men. | The sower Over Van Gogh's artistic career, he made over 30 works of the sower. He wrote of the symbolism of sowing: "One does not expect to get from life what one has already learned it cannot give; rather, one begins to see more clearly that life is a kind of sowing time, and the harvest is not yet here."Van Gogh was particularly inspired by Jean-François Millet's work image of the sower and the soulfulness he brought to the works, honoring peasants' agricultural role. Plowing, sowing, and harvesting were seen by Van Gogh as symbols for man's command of nature and its eternal cycles of life. | [
"Jean-François Millet",
"peasant",
"Jean-François Millet's"
] |
|
15391_NT | Peasant Character Studies (Van Gogh series) | Focusing on the Gender roles of this artwork, discuss the The sower about the Men. | The sower Over Van Gogh's artistic career, he made over 30 works of the sower. He wrote of the symbolism of sowing: "One does not expect to get from life what one has already learned it cannot give; rather, one begins to see more clearly that life is a kind of sowing time, and the harvest is not yet here."Van Gogh was particularly inspired by Jean-François Millet's work image of the sower and the soulfulness he brought to the works, honoring peasants' agricultural role. Plowing, sowing, and harvesting were seen by Van Gogh as symbols for man's command of nature and its eternal cycles of life. | [
"Jean-François Millet",
"peasant",
"Jean-François Millet's"
] |
|
15392_T | Peasant Character Studies (Van Gogh series) | Regarding Peasant Character Studies (Van Gogh series), how does the Gender roles's Men incorporate the The weaver? | The weaver While living in Nuenen in 1884, Van Gogh made paintings and drawings of weavers over a six-month period. To Van Gogh, the weaver, like the peasant, were considered men who lived a noble life, symbolic of the ongoing cycles of life. Van Gogh was interested in the "meditative appearance" of the weavers. "A weaver who has to direct and to interweave a great many little threads has no time to philosophize about it, but rather he is so absorbed in his work that he doesn't think but acts, and he feels how things must go more than he can explain it." he wrote in 1883.In the paintings of the weaver, the composition focuses primarily on the loom and the weaver, in nearly iconic imagery. There's a feeling of distance, like someone looking into the scene. It is difficult to discern the weaver's emotion, character or skill. Van Gogh experimented with different mediums and techniques and the effect of light from the window on items in the room using lighter shades of gray.Rural weaving was not a prosperous trade; income could vary dramatically depending upon crop yields for material and market conditions. Weavers lived a poor life, especially in comparison to urban centers of textile manufacturing such as Leiden, Netherlands. As textile manufacturing was industrialized, the rural artisan's livelihood became increasingly precarious.Van Gogh wrote to his brother Theo, "Their life is hard. A weaver who stays hard at work makes a piece of about 60 yards a week. While he weaves, his wife has to sit before him, winding – in other words, winding the spools of yarn – so there are two of them who work and have to make a living from it."There are mixed impressions about Van Gogh's weavers. Carl Nordenfolk, art historian, wrote: "Van Gogh presents the weaver as a victim held fast in the spiked jaws of the loom, or a captive in a medieval instrument of torture. The social significance is quite unmistakable. Still, there is one possible explanation: the paintings also possess a tender, intimate atmosphere." A 1969 French text commented that although the depictions are awkward and rigid, "the suite of 'Weavers' is stunning in its presence, its mystery, its brutal force."In Weaver Facing Left with Spinning Wheel, Van Gogh conveys his feelings for the working poor. The painting is made with somber colors, contrasted against the woven red fabric on the loom.The Bobbin Winder (F175) wound yarn onto a bobbin for weaving. In this painting, made in the winter of 1883-1884, Van Gogh uses touches of light grey to depict the light falling on the dark room and instrument. | [
"Theo",
"peasant",
"working poor",
"Nuenen",
"Netherlands"
] |
|
15392_NT | Peasant Character Studies (Van Gogh series) | Regarding this artwork, how does the Gender roles's Men incorporate the The weaver? | The weaver While living in Nuenen in 1884, Van Gogh made paintings and drawings of weavers over a six-month period. To Van Gogh, the weaver, like the peasant, were considered men who lived a noble life, symbolic of the ongoing cycles of life. Van Gogh was interested in the "meditative appearance" of the weavers. "A weaver who has to direct and to interweave a great many little threads has no time to philosophize about it, but rather he is so absorbed in his work that he doesn't think but acts, and he feels how things must go more than he can explain it." he wrote in 1883.In the paintings of the weaver, the composition focuses primarily on the loom and the weaver, in nearly iconic imagery. There's a feeling of distance, like someone looking into the scene. It is difficult to discern the weaver's emotion, character or skill. Van Gogh experimented with different mediums and techniques and the effect of light from the window on items in the room using lighter shades of gray.Rural weaving was not a prosperous trade; income could vary dramatically depending upon crop yields for material and market conditions. Weavers lived a poor life, especially in comparison to urban centers of textile manufacturing such as Leiden, Netherlands. As textile manufacturing was industrialized, the rural artisan's livelihood became increasingly precarious.Van Gogh wrote to his brother Theo, "Their life is hard. A weaver who stays hard at work makes a piece of about 60 yards a week. While he weaves, his wife has to sit before him, winding – in other words, winding the spools of yarn – so there are two of them who work and have to make a living from it."There are mixed impressions about Van Gogh's weavers. Carl Nordenfolk, art historian, wrote: "Van Gogh presents the weaver as a victim held fast in the spiked jaws of the loom, or a captive in a medieval instrument of torture. The social significance is quite unmistakable. Still, there is one possible explanation: the paintings also possess a tender, intimate atmosphere." A 1969 French text commented that although the depictions are awkward and rigid, "the suite of 'Weavers' is stunning in its presence, its mystery, its brutal force."In Weaver Facing Left with Spinning Wheel, Van Gogh conveys his feelings for the working poor. The painting is made with somber colors, contrasted against the woven red fabric on the loom.The Bobbin Winder (F175) wound yarn onto a bobbin for weaving. In this painting, made in the winter of 1883-1884, Van Gogh uses touches of light grey to depict the light falling on the dark room and instrument. | [
"Theo",
"peasant",
"working poor",
"Nuenen",
"Netherlands"
] |
|
15393_T | Peasant Character Studies (Van Gogh series) | Focus on Peasant Character Studies (Van Gogh series) and analyze the Man and woman working together. | Peasant Man and Woman Planting Potatoes (F129a) is a spring-planting painting of a man and woman working together. He turns the earth with a spade and she plants the potato seed. The figures of both sit below the horizon, symbolic of their connection to the earth. The painting was made in Nuenen, within the North Brabant district where Van Gogh was raised. Two weeks after completing this painting, Van Gogh completed his best known painting, The Potato Eaters. Potatoes were a staple in the diet of the poor peasants, those who could barely afford bread, and meat was a luxury. Potato was a food not fit for those who could afford better in the 19th century. Thomas Carlyle, a Scottish philosopher, deemed the poor "root-eaters". Van Gogh may have been inspired by the description of Jean-François Millet's biographer, Alfred Sensier of Potato Planting: "one of his [Millet's] most beautiful works" of a married couple "on a wide plain, at the edge of which is a village is lost in the luminous atmosphere; the man opens the ground and the woman drops in the seed potato."The previous year, Van Gogh painted Potato Planting (F172) which shows a man creating a furrow and the woman dropping the seed potato behind him.
Another occupation in which a man and woman often worked together was weaving. The woman would wind yarn into spools while the man worked at the loom creating yards of woven fabric. Women also supported men in the fishing trade by minding their nets. In farm labor, a woman was particularly important, aiding in planting and harvesting. There are many images above of women digging potatoes. | [
"Potato Eaters",
"Jean-François Millet",
"Peasant",
"peasant",
"The Potato Eaters",
"Jean-François Millet's",
"Nuenen",
"Thomas Carlyle",
"North Brabant"
] |
|
15393_NT | Peasant Character Studies (Van Gogh series) | Focus on this artwork and analyze the Man and woman working together. | Peasant Man and Woman Planting Potatoes (F129a) is a spring-planting painting of a man and woman working together. He turns the earth with a spade and she plants the potato seed. The figures of both sit below the horizon, symbolic of their connection to the earth. The painting was made in Nuenen, within the North Brabant district where Van Gogh was raised. Two weeks after completing this painting, Van Gogh completed his best known painting, The Potato Eaters. Potatoes were a staple in the diet of the poor peasants, those who could barely afford bread, and meat was a luxury. Potato was a food not fit for those who could afford better in the 19th century. Thomas Carlyle, a Scottish philosopher, deemed the poor "root-eaters". Van Gogh may have been inspired by the description of Jean-François Millet's biographer, Alfred Sensier of Potato Planting: "one of his [Millet's] most beautiful works" of a married couple "on a wide plain, at the edge of which is a village is lost in the luminous atmosphere; the man opens the ground and the woman drops in the seed potato."The previous year, Van Gogh painted Potato Planting (F172) which shows a man creating a furrow and the woman dropping the seed potato behind him.
Another occupation in which a man and woman often worked together was weaving. The woman would wind yarn into spools while the man worked at the loom creating yards of woven fabric. Women also supported men in the fishing trade by minding their nets. In farm labor, a woman was particularly important, aiding in planting and harvesting. There are many images above of women digging potatoes. | [
"Potato Eaters",
"Jean-François Millet",
"Peasant",
"peasant",
"The Potato Eaters",
"Jean-François Millet's",
"Nuenen",
"Thomas Carlyle",
"North Brabant"
] |
|
15394_T | Peasant Character Studies (Van Gogh series) | Explore the The Potato Eaters about the Groups of people of this artwork, Peasant Character Studies (Van Gogh series). |
The Potato Eaters (Dutch: De Aardappeleters) is a painting by Van Gogh which he painted in April 1885 while in Nuenen, Netherlands. It is housed in the Van Gogh Museum in Amsterdam. The version at the Kröller-Müller Museum in Otterlo is a preliminary oil sketch; he also made a version as a lithograph. | [
"Potato Eaters",
"Otterlo",
"Amsterdam",
"The Potato Eaters",
"Kröller-Müller Museum",
"Nuenen",
"oil",
"Van Gogh Museum",
"Netherlands"
] |
|
15394_NT | Peasant Character Studies (Van Gogh series) | Explore the The Potato Eaters about the Groups of people of this artwork. |
The Potato Eaters (Dutch: De Aardappeleters) is a painting by Van Gogh which he painted in April 1885 while in Nuenen, Netherlands. It is housed in the Van Gogh Museum in Amsterdam. The version at the Kröller-Müller Museum in Otterlo is a preliminary oil sketch; he also made a version as a lithograph. | [
"Potato Eaters",
"Otterlo",
"Amsterdam",
"The Potato Eaters",
"Kröller-Müller Museum",
"Nuenen",
"oil",
"Van Gogh Museum",
"Netherlands"
] |
|
15395_T | The Banks of the Bièvre near Bicêtre | Focus on The Banks of the Bièvre near Bicêtre and discuss the abstract. | The Banks of the Bièvre near Bicêtre is an oil-on-canvas painting executed c. 1908–09 by French artist Henri Rousseau. It depicts the working-class community of Bicêtre on the outskirts of southern Paris. The painting is in the collection of the Metropolitan Museum of Art. | [
"Paris",
"southern Paris",
"Henri Rousseau",
"Metropolitan Museum of Art"
] |
|
15395_NT | The Banks of the Bièvre near Bicêtre | Focus on this artwork and discuss the abstract. | The Banks of the Bièvre near Bicêtre is an oil-on-canvas painting executed c. 1908–09 by French artist Henri Rousseau. It depicts the working-class community of Bicêtre on the outskirts of southern Paris. The painting is in the collection of the Metropolitan Museum of Art. | [
"Paris",
"southern Paris",
"Henri Rousseau",
"Metropolitan Museum of Art"
] |
|
15396_T | Statue of Barry Goldwater | How does Statue of Barry Goldwater elucidate its abstract? | Barry Goldwater is a bronze sculpture depicting American politician and businessman of the same name by Deborah Copenhaver Fellows, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was donated by the U.S. state of Arizona in 2015 and replaced a statue of John Campbell Greenway, which the state of Arizona gifted to the collection in 1930.The statue was installed in the March 28, 2014 and unveiled March 31 at the Arizona Capitol. It remained there until being moved to Washington, D.C., for its unveiling in the National Statuary Hall Collection. | [
"Arizona",
"statue",
"Barry Goldwater",
"John Campbell Greenway",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"American politician and businessman of the same name",
"National Statuary Hall",
"Deborah Copenhaver Fellows",
"U.S. state",
"United States Capitol"
] |
|
15396_NT | Statue of Barry Goldwater | How does this artwork elucidate its abstract? | Barry Goldwater is a bronze sculpture depicting American politician and businessman of the same name by Deborah Copenhaver Fellows, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was donated by the U.S. state of Arizona in 2015 and replaced a statue of John Campbell Greenway, which the state of Arizona gifted to the collection in 1930.The statue was installed in the March 28, 2014 and unveiled March 31 at the Arizona Capitol. It remained there until being moved to Washington, D.C., for its unveiling in the National Statuary Hall Collection. | [
"Arizona",
"statue",
"Barry Goldwater",
"John Campbell Greenway",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"American politician and businessman of the same name",
"National Statuary Hall",
"Deborah Copenhaver Fellows",
"U.S. state",
"United States Capitol"
] |
|
15397_T | Untitled (Wool) | Focus on Untitled (Wool) and analyze the abstract. | Untitled is a 2013 bronze sculpture by Christopher Wool, installed on the north end of Chicago's Buckingham Fountain Plaza in Grant Park, in the U.S. state of Illinois. The work has been installed since August 2014. According to the Chicago Parks Foundation, the sculpture "stands out as an amorphous shape against the grid of the skyline behind". | [
"Christopher Wool",
"bronze sculpture",
"U.S. state",
"Buckingham Fountain",
"Chicago",
"Grant Park",
"Illinois"
] |
|
15397_NT | Untitled (Wool) | Focus on this artwork and analyze the abstract. | Untitled is a 2013 bronze sculpture by Christopher Wool, installed on the north end of Chicago's Buckingham Fountain Plaza in Grant Park, in the U.S. state of Illinois. The work has been installed since August 2014. According to the Chicago Parks Foundation, the sculpture "stands out as an amorphous shape against the grid of the skyline behind". | [
"Christopher Wool",
"bronze sculpture",
"U.S. state",
"Buckingham Fountain",
"Chicago",
"Grant Park",
"Illinois"
] |
|
15398_T | Statue of George Washington (Austin, Texas) | In Statue of George Washington (Austin, Texas), how is the abstract discussed? | George Washington is an outdoor 1955 bronze sculpture by Italian American artist Pompeo Coppini, located on the University of Texas at Austin campus in Austin, Texas, in the United States. | [
"bronze sculpture",
"Italian American",
"Pompeo Coppini",
"Austin, Texas",
"University of Texas at Austin",
"George Washington"
] |
|
15398_NT | Statue of George Washington (Austin, Texas) | In this artwork, how is the abstract discussed? | George Washington is an outdoor 1955 bronze sculpture by Italian American artist Pompeo Coppini, located on the University of Texas at Austin campus in Austin, Texas, in the United States. | [
"bronze sculpture",
"Italian American",
"Pompeo Coppini",
"Austin, Texas",
"University of Texas at Austin",
"George Washington"
] |
|
15399_T | Statue of George Washington (Austin, Texas) | Focus on Statue of George Washington (Austin, Texas) and explore the Background. | Coppini sculpted three distinct statues of Washington. The first was installed in 1912 in Mexico City. The second was created to commemorate the 1926 sesquicentennial of the Declaration of Independence and was dedicated in Portland in 1927. The third statue was installed in February 1955 on the campus of the University of Texas at Austin. | [
"University of Texas at Austin",
"first",
"second"
] |
|
15399_NT | Statue of George Washington (Austin, Texas) | Focus on this artwork and explore the Background. | Coppini sculpted three distinct statues of Washington. The first was installed in 1912 in Mexico City. The second was created to commemorate the 1926 sesquicentennial of the Declaration of Independence and was dedicated in Portland in 1927. The third statue was installed in February 1955 on the campus of the University of Texas at Austin. | [
"University of Texas at Austin",
"first",
"second"
] |
|
15400_T | Dama col mazzolino | Focus on Dama col mazzolino and explain the abstract. | Woman with Flowers (Italian: Dama col mazzolino or Italian: Gentildonna dalle belle mani) is a marble sculpture 60 centimetres (24 in) in height executed by Andrea del Verrocchio between 1475 and 1480. It is in the Bargello Museum in Florence.The identity of the woman could be Fioretta Gorini, mistress of Giuliano de' Medici, Lucrezia Donati, platonic love of Lorenzo il Magnifico, or Ginevra d'Amerigo Benci, also portrayed in a painting by Leonardo da Vinci.Dama col mazzolino influenced Leonardo's Studies of hands. It stands out for having the hands on the chest. | [
"Lucrezia Donati",
"Florence",
"a painting by Leonardo da Vinci",
"Bargello Museum",
"Bargello",
"Fioretta Gorini",
"Giuliano de' Medici",
"marble sculpture",
"platonic love",
"Andrea del Verrocchio",
"Lorenzo il Magnifico",
"Ginevra d'Amerigo Benci"
] |
|
15400_NT | Dama col mazzolino | Focus on this artwork and explain the abstract. | Woman with Flowers (Italian: Dama col mazzolino or Italian: Gentildonna dalle belle mani) is a marble sculpture 60 centimetres (24 in) in height executed by Andrea del Verrocchio between 1475 and 1480. It is in the Bargello Museum in Florence.The identity of the woman could be Fioretta Gorini, mistress of Giuliano de' Medici, Lucrezia Donati, platonic love of Lorenzo il Magnifico, or Ginevra d'Amerigo Benci, also portrayed in a painting by Leonardo da Vinci.Dama col mazzolino influenced Leonardo's Studies of hands. It stands out for having the hands on the chest. | [
"Lucrezia Donati",
"Florence",
"a painting by Leonardo da Vinci",
"Bargello Museum",
"Bargello",
"Fioretta Gorini",
"Giuliano de' Medici",
"marble sculpture",
"platonic love",
"Andrea del Verrocchio",
"Lorenzo il Magnifico",
"Ginevra d'Amerigo Benci"
] |
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